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language and culture, becoming deeply embedded in the consciousness of the
Afrikaner community. Marais's work was part of a broader movement that sought to elevate Afrikaans as a language of literary and musical expression. According to Grové, the cultivation of an Afrikaans art song tradition in the 20th century aimed to 'make the Dutchman proud of his language,' reflecting a cultural and nationalistic sentiment among Afrikaners during this period. His compositions became an integral part of this movement, reinforcing the significance of the Afrikaans language in both domestic and artistic spheres. His music was widely disseminated through the
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271:, Hanlie van Niekerk, and Cato Brink propagated his works, introducing them to audiences abroad through concert recitals and recordings. In the post-apartheid era, Marais's music has been revisited and re-evaluated, reflecting its historical and cultural significance as well as the complexities of South African history. His legacy endures in his role in awakening the Afrikaner community's consciousness of the musical values of their language and in cementing Afrikaans as a "singing language."
198:(1942–1944), Ficksburg (1944–1946), and Benoni North (1947–1955). He also lectured in school music and class singing at the Wellington Training College between 1941 and 1942. During his service to the Church, he organized concerts, often donating the proceeds to charity. His modesty and sincerity earned him the respect and affection of every community he served.
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seen as both a reflection of
Afrikaner culture and an instrument for embedding a European influence within the South African environment. Despite critiques of aesthetic conservatism, Marais's works became cornerstones of Afrikaner cultural expression, admired for their accessibility and emotional depth.
429:
In 1945, Marais married Edith
Johanna Rex, a teacher of commercial subjects at the Union High School in Graaff-Reinet. They had no children, and Marais continued his involvement in music and painting. He retired as an organist in 1955 and settled in Graaff-Reinet, where he taught music until 1964. He
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Stephanus le Roux Marais played a pivotal role in establishing
Afrikaans art songs in the early 20th century, marking a transition from traditional folk music and patriotic songs to a more refined art song tradition modeled after European forms. His work captured the unique qualities of the Afrikaans
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in 1937. It was during his time in
Brandfort that he gained recognition as a composer, encouraged by the singer Mrs. B. du Preez. His song "Die Roos" won first prize at the Cape Town Eisteddfod in 1929, leading to further compositions, including "Geboorte van die lente" (1930) and "Malie die slaaf se
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Marais's music, described as "simple, uncomplicated," carried a sweet melancholy that resonated with the collective sentiment of the
Afrikaner community. It played a role in shaping an imagined national identity, projecting a romanticized vision of the South African landscape. His compositions were
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Marais’s compositional style is often described as instinctive, characterized by its melodic warmth and simplicity. According to
Holzapfel, Marais did not concern himself with formal compositional techniques or word-painting; instead, his works embraced a neo-romantic idiom with melodies that were
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Marais began taking piano lessons at the age of eight. In 1910, after his father was ordained as a minister in
Wepener, Marais continued his piano lessons under Miss A. Nowers. He matriculated in 1913 and then enrolled at the Bloemfontein Normal and Polytechnical College in 1914, where he studied
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Despite his lack of formal composition training, Marais’s music exhibits a strong sense of melody, often described as straightforward and uncomplicated. This simplicity, however, does not detract from its aesthetic value; rather, it is seen as one of the defining features that made his music
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emotionally charged and accessible to a wide audience. His songs, such as "Heimwee" and "Die Roos," display a clear, lyrical quality, reflecting a deep emotional resonance in their musical portrayal of themes like longing, nostalgia, and the South
African landscape.
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and later became the principal of
Daljosaphat Elementary School in 1901. Marais’s mother, Brechje Jakoba le Roux, passed away in 1898, after which his father remarried Hester Helena le Roux, who played a significant role in raising Stephanus and his siblings.
178:, earning the Associate of the Royal College of Music (ARCM) diploma in 1924. Returning to South Africa, he started his career as a rural music teacher and church musician, serving the Dutch Reformed Church for 36 years.
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relatable and enduring. His use of traditional harmonic structures, with frequent shifts between major and minor tonalities, adds a melancholic depth to his compositions, enhancing their emotional impact.
241:. His songs, such as "Heimwee" and "Kom dans Klaradyn," gained popularity to the point that they were considered almost as national songs, reinforcing cultural and nationalistic ideals among Afrikaners.
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Stephanus le Roux Marais was born on 1 February 1896, on the farm Aasvogelkop in the district of Bloemfontein, South Africa. His father, Jakobus Francois Marais, was initially a school teacher in the
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The legacy of Marais extended beyond his lifetime. His songs were widely performed by notable South African singers such as Betsy de la Porte, Louis Knobel, and Helena Strauss. Later, artists like
174:(Theory and History of Music), Thomas Barrow-Dowling (Organ), and Pierre de Beer (Piano). He obtained a Teacher's Licentiate in 1923 and subsequently traveled to London to study at the
318:(1932): Features "Voor jou en mij" (A. van Scheltema), "Geboorte van die lente" (A.G. Visser), "Malie die slaaf se lied" (Leipoldt), and "Sluimer beminde" (Dirk Mostert).
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300:(1928): "Wees sterk my siel" (J.F.E. Celliers), "Slaapdeuntjie" (J.R.L. van Bruggen), "Viermaal gesien" (Totius), and "Amors konfetti" (Jan Celliers).
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Marais held various posts across South Africa as an organist and music teacher. His career included roles in Bloemfontein North (1924–1926),
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264:'s influence on Afrikaans literature, highlighting his role in fulfilling the Afrikaner's need for cultural expression in their language.
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with a medal at a special event in Bloemfontein. During this occasion, Prof. W.F.C. Arndt compared Marais's impact on Afrikaans music to
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music under P.K. de Villiers, who encouraged him to start composing. This marked the beginning of his commitment to a career in music.
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Marais's body of work was extensive, including vocal pieces, instrumental works, and operettas. Below is a selected list based on the
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His contributions to Afrikaans music were publicly recognized multiple times during his career. In 1946, he was honored by the
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lied" (1931). By 1934, he had received 23 distinctions at various eisteddfods and subsequently withdrew from competitions.
146:(1 February 1896 – 25 May 1979) was a South African composer known for his significant contribution to Afrikaans art song.
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Various school songs, including "Ermelo School Song" (J.J. Spruyt) (1938) and "Potchefstroom School Song" (1949).
520:
Muller, Stephanus (2016). Apartheid Aesthetics and Insignificant Art: The Songs of Stephanus le Roux Marais.
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312:(1930): Includes "Die roos" (A.G. Visser), "Dis al" (J.F.E. Celliers), "As saans" (A.D. Keet), and others.
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Grové, Izak (2011). “Making the Dutchman proud of his language…”: A century of Afrikaans art song.
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324:(1934): "Bosveld-toe" (C.F. Visser), "Gee my!" (J.R.L. van Bruggen), and "Nuwe somer" (Eitemal).
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Marais's first composition, "Slaapdeuntjie," was completed in 1918 and later included in the
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336:(1938): Includes "Moder" (A.D. Keet) and "Bosveldhuisie" (Ben Dreyer).
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Published Songs (by R. MĂĽller and later by Boosey & Hawkes):
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Die liedere van S. le Roux Marais: 'n Geannoteerde katalogus
498:, vol. 3, pp. 197-201. Cape Town: Oxford University Press.
235:, the 20th-century South African equivalent of the German
402:"Amors konfetti" (included in the 1st and 3rd editions).
408:"Bosveldhuisie" (included in the 1st and 3rd editions).
544:(PhD diss.). Stellenbosch: University of Stellenbosch.
414:"Kom dans Klaradyn" (included in all three editions).
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https://www.scielo.org.za/pdf/tvg/v51n4/v51n4a13.pdf
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417:"Die roos" (included in the 1st and 3rd editions).
387:(1946), dedicated to his wife, Edith Johanna Rex.
342:(operetta, 4 acts, 1961, libretto: Joan Retief).
248:First page of S le Roux Marais's song 'Heimwee'.
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420:"Slaapdeuntjie" (included in the 1st edition).
258:Suid-Afrikaanse Akademie vir Wetenskap en Kuns
430:passed away on 25 May 1979 in Graaff-Reinet.
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359:(operetta, libretto: S.J.M. Osborne, 1937).
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405:"As saans" (included in the 3rd edition).
411:"Heimwee" (included in the 3rd edition).
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587:People from the Free State (province)
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310:Die roos en ander Afrikaanse liedere
37:Stephanus le Roux Marais (1896–1979)
223:Significance, influence, and legacy
16:South African composer (1896–1979)
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496:South African Music Encyclopaedia
322:Bosveld-toe en twee ander liedere
282:South African Music Encyclopaedia
156:Republic of the Orange Free State
106:Composer, Organist, Music Teacher
182:Career and musical contributions
555:Tydskrif vir Geesteswetenskappe
166:In 1921, Marais studied at the
168:South African College of Music
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540:Holzapfel, Helmut W. (1992).
602:South African male composers
306:(1930) (J.R.L. van Bruggen).
612:20th-century male musicians
89:Graaff-Reinet, South Africa
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494:Malan, J.P. (ed.) (1984).
340:Lida en die liedjieskrywer
522:The Journal of Musicology
392:C. Songs included in the
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150:Early life and education
144:Stephanus le Roux Marais
53:Stephanus le Roux Marais
25:Stephanus le Roux Marais
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607:20th-century composers
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176:Royal College of Music
74:District, South Africa
43:Background information
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367:B. Instrumental works
330:(1936) (C.F. Visser).
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238:Des Knaben Wunderhorn
385:My eerste musiekboek
353:(Longfellow) (1919).
298:Four Afrikaans Songs
524:, 33(1), pp. 45-69.
394:FAK Volksangbundel'
346:Unpublished wongs:
210:Compositional style
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98:Afrikaans art song
381:for organ (1930).
375:for piano (1916).
328:Kom dans Klaradyn
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134:Edith Johanna Rex
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592:Afrikaner people
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68:1 February 1896
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120:Years active
114:Piano, Organ
84:(1979-05-25)
72:Bloemfontein
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582:1979 deaths
577:1896 births
262:Langenhoven
111:Instruments
82:25 May 1979
571:Categories
557:, 51(4). (
448:References
64:1896-02-01
49:Birth name
373:Mymeringe
188:Brandfort
172:W.H. Bell
124:1918–1979
351:Daybreak
304:Heimwee
379:Aubade
192:Ermelo
130:Spouse
95:Genres
275:Works
79:Died
58:Born
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529:^
503:^
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66:)
62:(
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