Sewes Van Rensburg - Boere Mazurka скачать в хорошем качестве

Sewes Van Rensburg - Boere Mazurka

Super-rare recording by the Boere music legend, Sewes van Rensburg. Please excuse the sound quality — this transfer was taken directly from the original Decca 78 rpm shellac release, issued over 80 years ago. circa 1944. Born Josephus Daniël (Sewes) van Rensburg on 26 January 1903 in Schweizer Reneke, in the Western Transvaal. One of the richest publicly accessible narratives linking Sewes van Rensburg to the broader boeremusiek recording world centers on Die Vier Transvalers, led by concertina figure Faan Harris. In that account, the group’s personnel is given as Harris plus guitarists Sewes van Rensburg and Frans Hendrik Ebersohn, and cellist, Bossie Bosman. The same source ties the group’s early 1930s recordings to a Johannesburg recording campaign by an English recording engineer, William Laybourne Ewing Dickson, and states that the group cut multiple titles in early October 1932 in Johannesburg. It also records a small but telling social detail: the group allegedly rehearsed for their first recordings at Sewes van Rensburg’s house, and he is described there as the lead guitar player. A further claim in that narrative is that later (1939) recordings were never issued because masters were destroyed when a ship carrying them to England was sunk, with the author noting that at that time “record pressings were still made in England and shipped back to South Africa.” These treasures were released in a re-issue 2 x volume compilation in 1982, Die Vier Transvalers – Die Oorspronlike Vier Transvalers Volume 1, Skatkis – SLS 1, Volume 2, Skatkis – SLS 2. Sewes was an exceptional guitarist and banjo player. He accompanied Faan on all of his recordings for His Master’s Voice, providing guitar accompaniment throughout. He also played alongside Chris Blignaut on several recordings. In the late 1940s, Sewes led his own orchestra and regularly participated in radio broadcasts from Tant Betta’s Tea Room in Johannesburg. These variety concerts featured artists such as H.P. Hamman, Marié Chaden, Frederick Burgers, and many others. Sewes passed away in the prime of his life on 21 March 1949. His daughter, Corra, is highly musical and plays the concertina. She has appeared as a guest artist on a Concertina Club broadcast with Willie Fourie and his orchestra. She is married to the well-known Manie Bodenstein. Through her father, she had the privilege of meeting many of the older generation of musicians. Sewes also released the following guitar gems: Sannie Se Vastrap/ Ou Dan Se Wals - AC 714, Ou Roelf Se Polka (here played on the banjo)/ Klerksdorp Se Wals - AC 720, Kaapse Wals/ Booysens Polka - AC 745 Sewes Van Rensburg - “Boere Mazurka” Flip side: “Ou Sewes Se Settees”. Released on the Decca label, AC 704, c.1944. Note: the tracks were also released on the Trek label, AC 704. A Mazurka is a lively folk dance and musical style that originated in Poland, particularly in the Mazovia region. It later spread across Europe and became popular in both folk and classical music traditions. • Time signature: Usually in 3/4 time. • Accent pattern: The accent is often placed on the second or third beat of the bar, rather than the first beat. • Rhythm and feel: Lively, rhythmic, slightly bouncy, and sometimes playful. • Tempo: Often brisk and energetic, though it can vary. Unlike the waltz, which emphasizes the first beat (ONE-two-three), the mazurka often emphasizes the second or third beat, creating patterns such as: ONE-two-THREE, one-TWO-three. This shifted accent gives the mazurka its distinctive lift and rhythmic character. The mazurka began as a traditional Polish peasant dance, typically accompanied by fiddles and other folk instruments. It was social, energetic, and community-based. The Polish composer Frédéric Chopin elevated the mazurka to a refined concert form. He wrote many mazurkas for solo piano, preserving the characteristic rhythm while adding expressive depth and harmonic sophistication. In the South African boeremusiek tradition, the mazurka was adapted into local dance music, typically played on instruments such as the concertina, guitar, and banjo. It retains its distinctive rhythmic accent but reflects local musical style and performance practice. Publisher: Unknown Thanks to Marius De Vos for providing additional information for the narrative and picture of Sewes.