'n Analitiese bespreking van Jeanne Zaidel-Rudolph se Pendulum met verwysing na komposisietegnieke en invloede

Abstract

In hierdie miniverhandeling word ’n onlangse komposisie van een van Suid-Afrika se vooraanstaande hedendaagse komponiste geanaliseer en bespreek. Jeanne Zaidel-Rudolph is in 2010 deur SAMRO gevra om ’n werk vir klavier en orkes te komponeer: Pendulum. Die komposisie bestaan uit drie bewegings. Elke beweging is afsonderlik ontleed ten opsigte van struktuur, harmoniese samestelling, melodiese en ritmiese aspekte, orkestrasie en tekstuur, asook pianistiek. Twintigste-eeuse analitiese tegnieke het gedien as uitgangspunt tydens die analise van Pendulum. Beskrywings draai om moderne kontoere en strukture; hedendaagse harmoniese tegnieke, melodieë en ritme; asook Zaidel-Rudolph se benadering tot orkestrasie en timbre. Zaidel-Rudolph se styl en die insluiting van Afrika-etniese elemente vorm deel van die analitiese bespreking. Uiteindelik is vergelykings tussen die bewegings getref, en Pendulum as ’n geheel bestudeer. Die navorser het gepoog om die uiteensetting van die analise op ’n logiese wyse weer te gee. Zaidel-Rudolph se komposisiestyl word vereenselwig met die ryk bron van invloede in haar lewe. Die uiteenlopende tegnieke en karakters wat in Pendulum aangetref word, is afkomstig van die invloede van Zaidel-Rudolph se mentors wat György Ligeti (1923 – 2006) insluit, haar eklektiese benadering, asook die omgewing waarin sy haar bevind. As gevolg van die komponis se agtergrond en omgewing, vorm Afrika-etniese, Joodse en spirituele elemente deel van haar komposisiestyl. Pendulum kan onderskei word van ander Suid-Afrikaanse komponiste se komposisies deur die toeganklike idioom van Zaidel-Rudolph se komposisiestyl. Pendulum is ’n waardevolle bydrae tot die Suid-Afrikaanse klavierrepertorium. Die titel verwys na die bedrywighede en konstante ontwikkeling in Suid-Afrika, terwyl verskeie komposisietegnieke ingesluit is om Suid-Afrikaanse elemente te verbeeld.

This mini-dissertation contains the analysis and discussion of a recent composition by one of South-Africa’s most distinguished composers. Pendulum for piano and orchestra by Jeanne Zaidel-Rudolph was commissioned by SAMRO in 2010. The composition consists of three movements. Each of the movements were analysed separately in terms of structure, harmonic composition, melodic and rhythmic elements, orchestration and texture, as well as pianism. Twentieth century analytical methods were used in the approach of the analysis of Pendulum. Modern terms and methods describe the contours and structure, harmonic, melodic and rhythmic elements, and Zaidel-Rudolph’s approach to orchestration and timbre. Zaidel-Rudolph’s compositional style and the inclusion of African-ethnic elements form part of the analytical discussion. Finally, comparisons were made between the movements and Pendulum was studied as a whole. The researcher aimed to convey the exposition of the analysis in a logical way. Zaidel-Rudolph’s compositional style is a direct result of the many remarkable influences in her life. The diverse characters and techniques which are found in Pendulum can be traced back to the influences of Zaidel-Rudolph’s mentors, including György Ligeti (1923 – 2006), her eclectic approach, as well as her surroundings. Due to the composer’s background and environment, aspects including African, Jewism and spiritual elements cannot be separated from her compositional style. Pendulum can be distinguished from other South African compositions by the accessible idiom associated with Zaidel-Rudolph’s compositional style. Pendulum is a great contribution to South African piano repertoire. The title, Pendulum, refers to the activities and constant development in South Africa. In addition, various compositional techniques have been included to portray South African elements.