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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Verwysings na klassieke musiek in Marlene van Niekerk se roman

 

Abstract

Marlene van Niekerk se roman (2004) het groot lof ontvang vir die ingewikkelde verwysings wat daarin voorkom. In hierdie artikel word die verwysings na klassieke musiek nagegaan. Die hoofkarakter Milla het musiekopleiding ontvang en hunker na die intieme ervaring wat sy by die luister na klassieke musiek ondervind. Maar hierdie musieksmaak vorm 'n breuk tussen haar en haar man Jak. Sy probeer haar seun Jakkie beïnvloed om in klassieke musiek op te gaan. Ook Agaat word deur die radio en plate aan klassieke musiek blootgestel. 'n Ondersoek na die verwysings na klassieke musiek in die roman toon dat Van Niekerk 'n deeglike kennis van klassieke musiek besit. Sy gebruik die verwysings om die karakters, hulle gedagtes en hulle omstandighede te teken. In hierdie proses verwys Van Niekerk na werke van 'n groot aantal komponiste (soms word die komponiste nie genoem nie) : Bach, Bizet, Brahms, Dvořák, Elgar, Falla, Mahler, Mendelssohn, Rachmaninoff, Schubert, Schumann, Smetana, Verdi. Haar vernuf by die onopvallende inkorporering in die teks van veranderde en/of aangepaste reëls uit getoonsette gedigte uit die Duitse kunsliedrepertorium (Brahms, Mahler) is indrukwekkend.

Marlene van Niekerk's novel (2004) gained great praise for its complex system of references. In the present article the references to classical music are traced. Milla, the main character, received music training and yearns for the intimate feelings she experiences when listening to classical music. But her taste in music creates a barrier between her and her husband Jak. She tries to influence her son Jakkie to be excited about classical music. Agaat is also exposed to classical music on the radio and on records. An investigation of the references to classical music in the novel indicates that Van Niekerk possesses a thorough knowledge of it. She uses these references to paint the characters, their thoughts and their circumstances. In this process she refers to the works of many composers (who are not always mentioned by name) : Bach, Bizet, Brahms, Dvořák, Elgar, Falla, Mahler, Mendelssohn, Rachmaninov, Schubert, Schumann, Smetana, Verdi. Her skillful inconspicuous incorporation into the text of changed and/or adapted lines from poems set to music by composers of the German Lied (Brahms, Mahler) is impressive.

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/content/litnet/6/3/EJC62235
2009-12-01
2016-12-07
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