Idiomatiek in geselekteerde solo kitaarwerke van Leo Brouwer (Afrikaans)

Abstract

Die Kubaanse komponis Leo Brouwer (1939- ) het ʼn unieke idiomatiek vir die kitaar ontwikkel wat met die eerste oogopslag ingewikkeld lyk (en klink), maar steeds logies is en gemaklik onder die vingers lê. In hierdie mini-verhandeling word Brouwer in konteks geplaas met ontwikkelings in Kuba. Biografiese agtergrond van sy lewe word verskaf, en sy werke word in drie komposisiefases verdeel. Elke komposisiefase word afsonderlik bespreek met fokus op die volgende solo kitaarwerke: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li></ul> Hierdie werke word bespreek meestal in terme van komposisietegnieke en notasie. Aspekte wat Brouwer se idiomatiek verduidelik word uitgelig en die toeganklikheid van die werke word krities geëvalueer. Brouwer se groei en ontwikkeling as komponis word uitgewys, en sy invloed op hedendaagse komponiste en kitaarspelers word bespreek. Daar word bevind dat die idiomatiek in Brouwer se geselekteerde solo kitaarwerke ʼn dominante rol speel in sy benadering tot kitaarkomposisie. Die studie is veral vir kitaarkomponiste van waarde om sinvolle komposisie-besluite te kan maak. ENGLISH : The Cuban composer Leo Brouwer (1939- ) developed an idiomatic writing style for the classical guitar which is an important factor when the difficult technical requirements of the guitar are taken into consideration. This idiomatic writing style might seem (and sound) complex at first glance, but is in fact logical and easily accessible on the instrument. In this mini-dissertation Brouwer is placed in context with political and artistic development in Cuba. Biographical background of his life is given, and his works are divided into three compositional periods. Each period is discussed separately with the focus on the following solo guitar works: <ul> <li>Danza Caracteristica (1972)</li> <li>Elogio de la Danza (1964)</li> <li>10 Etudes Simples (1973)</li> <li>Canticuum (1968)</li> <li>La Espiral Eterna (1971)</li> <li>El Decameron Negro (1982)</li> <li>Paisaje Cubano con Campañas (1987)</li> <li>Sonata (1990)</li> </ul> These solo guitar works is discussed mostly in terms of compositional techniques and notation. Aspects that describe Brouwer’s idiomatic writing style are emphasised, and the accessibility of the works is critically evaluated. Brouwer’s development as a composer is highlighted, and his influence on guitar composers and guitarists is discussed. As a conclusion it is shown that the idiomatic writing style of Brouwer plays a leading role in his approach to solo guitar composition. The study is of value to guitar composers when sensible compositional decisions have to be made.