{"id":85417,"date":"2025-10-19T12:50:14","date_gmt":"2025-10-19T10:50:14","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-afrikaans-is-100\/"},"modified":"2025-10-19T17:48:14","modified_gmt":"2025-10-19T15:48:14","slug":"resensie-afrikaans-is-100","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-afrikaans-is-100\/","title":{"rendered":"Resensie: \u2018Afrikaans is 100\u2019"},"content":{"rendered":"\t\t
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CLASSICAL MUSIC<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Prettig en vermaaklik... met \u2019n paar klein jakkalsies<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Produksie: Afrikaans is 100<\/strong>
Deur: Naud\u00e9 van der Merwe<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ingeval iemand dit nog nie weet nie: Afrikaans is vanjaar amptelik 100 jaar oud, so dit kon seker nie anders nie dat \u2019n konsert vol bekende Afrikaanse liedjies ook \u2019n plek op die Woordfeesprogram kry. En dit was pret, skryf Naud\u00e9 van der Merwe<\/span>. <\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Min of meer dieselfde groep musici wat vroe\u00ebr die week \u2019n program van operagunstelinge aangebied het (\u2019n konsert waar ek nie was nie), het in die Afrikaans is 100<\/em>-konsert opgetree.<\/p>

Die sangers Lynelle Kenned, Janel Speelman, Minette du Toit-Pearce, Corneil Muller, Timothy Moloi en William Berger, almal begaaf met st\u00e9mme, met die uitstekende Elna van der Merwe as musiekregisseur en pianis, het saam met \u2019n groep strykers hier opgetree, en verwerkings van liedjies soos \u201cHeimwee\u201d, \u201cLiefling\u201d, \u201cKinders van die wind\u201d, \u201cVoshaarnooi\u201d, \u201cSonneblom uit Bethlehem\u201d, \u201cSproetjies\u201d, \u201cBloemfonteinse rose\u201d, \u201cKaroonag\u201d en nog vele meer uitgevoer.<\/p>

Die treffende verwerkings is gedoen deur die US musiekdepartement se komposisiedosente Arthur Feder en Antoni Schonken en hulle studente. \u2019n Super jazzy weergawe van \u201cSweef soos \u2019n arend\u201d, gesing deur Du Toit-Pearce, het daai arend \u2019n paar ekstra draaie laat vlieg. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2019n Hoogtepunt was Lynelle Kenned se uitvoering van ‘Mali, die slaaf, se lied’, die bekende komposisie deur S. le Roux Marais met \u2019n teks deur C. Louis Leipoldt. Sy het die vermo\u00eb om met gemak tussen sangstyle te beweeg en het hier gesorg vir hoendervleis. <\/span><\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Al die sangers het uiteenlopende stemme, so hulle mikrofoontegniek, die Endler se akoestiek, en mikrofone wat soms nie wou werk nie, het plek-plek \u2019n bietjie balansprobleme veroorsaak, maar deur die loop van die program het dinge gesettle.<\/p>

\u2019n Hoogtepunt was Kenned se uitvoering van \u201cMali, die slaaf, se lied\u201d, die bekende komposisie deur S. le Roux Marais met \u2019n teks deur C. Louis Leipoldt. Sy het die vermo\u00eb om met gemak tussen sangstyle te beweeg en hier gesorg vir hoendervleis. <\/p>

Deurgaans het \u2019n mens besef almal hier kan werklik met gevoel en nuanse sing, maar ook behoorlik bl\u00ear wanneer dit moet, soos in die encore, \u201cJerusalem\u201d, waar enige van di\u00e9 sangers wat G\u00e9 Korsten- of Rina Hugo-drome koester, dit kon uitleef.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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As akteurs bladsye en bladsye se monolo\u00eb kan memoriseer, kan sangers tog sekerlik \u2019n paar liedjies uit die kop leer? Die deurlopende gekyk na bladmusiek in \u2019n ligtemusiekkonsert soos di\u00e9, laat \u2019n mens wonder of almal ewe voorbereid was. <\/span><\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Dit was uiteindelik \u2019n vermaaklike geleentheid, so gun my \u2019n oomblik om klein irritasies ook uit te wys: Die konsert het \u2019n seremoniemeester gekort, net om die vloei van dinge \u2019n bietjie makliker te maak en vir die gehoor die korrekte inligting te gee oor wie die musiek en lirieke van die treffers geskryf het. Want nee, Laurika Rauch is nie die skrywer van haar liedjies nie, dis hoofsaaklik haar man, Christopher Torr. En een van haar grootste treffers, \u201cHuisie by die see\u201d, met woorde deur H.A. Fagan, se toonsetting is deur Laurinda Hofmeyr, wat heel toevallig langs my gesit het. <\/p>

My laaste punt van kritiek: As akteurs bladsye en bladsye se monolo\u00eb kan memoriseer, kan sangers tog sekerlik \u2019n paar liedjies uit die kop leer? Die deurlopende gekyk na bladmusiek in \u2019n ligtemusiekkonsert soos di\u00e9, laat \u2019n mens wonder of almal ewe voorbereid was. Want sommige sangers kyk d\u00e9finitief meer na hulle note en woorde as ander. Kom ek noem eerder nie name nie. <\/p>

Ek laat my ook nie vertel dat jy teen hierdie tyd in jou loopbaan nie die woorde van \u201cHeimwee\u201d ken nie. Onse Mimi kry \u2019n hartaanval! <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i>Naud\u00e9 van der Merwe<\/p>\n","protected":false},"author":3799,"featured_media":85393,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[445,612],"tags":[541],"class_list":["post-85417","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-toyota-music-festival","category-ink-festival-newspaper-2025","tag-woordfees-2025-en"],"yoast_head":"\nResensie: \u2018Afrikaans is 100\u2019 - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2025\/resensie-afrikaans-is-100\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: \u2018Afrikaans is 100\u2019 - 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