Everybody seems to have called Miranda by that name, although it was a made-up
one; her maiden name was Rosa Lily Odette Baruch de la Pardo.
I first became aware of Josef's music while I was a student at UCLA; this
must have been in 1939, 1940, or early 1941. My chief professorial mentor and
employer was Dr. Raymond Bridgman Cowles. who had been reared in Africa with
his missionary parents. He had a set of 78-rpm records of Josef Marais and
His Bushveld Band, which I lost no time in securing: I still have them. I
think this is the original form of the entry listed in your excellent
discography as
Josef moved to the U.S. in 1939, and had a weekly radio program called
"African Trek" which ran for two years. In 1941 he went to work for the Office
of War Information as head of their Voice of America broadcasts to the
Netherlands and to South Africa. "Miranda" Baruch (a professional concert
pianist) was a member of the same team; they became good friends, began
working together as professional musicians, and were married in 1946.
Both Josef and Miranda were schooled in classical music; he was trained as a
violinist, and for several years played that instrument in the Capetown
Symphony Orchestra before continuing violin studies in England. I don't know
where he learned classical guitar. Miranda especially was steeped in the
classical tradition, and in my opinion she seemed to think that folk music was
worth consideration only if treated in a classical manner. The pair on
several occasions conducted classes at ISOMATA in the presentation of
concerts, and Miranda always insisted that performers should not only plan
their programs very carefully, but should wear formal clothes; she disliked
Woody Guthrie, in his dress, in his choice of songs, and in his manner of
singing. Josef was a little more relaxed . . .
Josef with the Bushveld Band used to perform a number called "Pack Your Things
and Trek, Fereira" with its chorus of "Johnny with the wooden leg." During the
War, when jokes about maiming and injuries were in particularly bad taste,
they changed it to "Johnny with the bandy legs." That's quite understandable,
but they went further, and made up a story about a familiar character named
Johnny Fereira, an itinerant salesman who rode a mule, and thereby developed
bowed ("bandy") legs, and they always used this story in introducing the
song.
I remember in one panel discussion at the Berkeley Festival where a number of
us were on the stage, and Miranda voiced some of her disapproval of genuine
folksong styles. Frank Warner was one of the panelists , and in disagreeing
with her said emphatically "Well, you're WRONG!" Miranda appeared upset by
this directness, and Frank, a large but gentle person, got up and went over to
her and enveloped her in a reassuring bear-hug. (I think I have a photo of
this particular panel on stage, and will try to find it and copy it if you are
interested.)
They were great at working together on stage in concert. Miranda had a
pixieish quality to which Josef responded as a straight man. After his death,
Miranda tried to continue concertizing, working as a soloist and for a while
with a talented young woman named Carol Merrill, but the magic simply wasn't
there. She gave up public performances some time before she died, and I lost
contact with her. I'm sorry I don't have the date of her passing.
Cordially,
Sam
|
From the liner notes to Marais and Miranda in Person Josef Marais and his wife, Miranda, have earned the title of "International Balladeers." They are modern minnesingers - troubadors who not only collect and arrange songs of many lands but present them in their own inimitable way. Marais composes and plays the accompaniments on a classic guitar, and he and Miranda collaborate in conveying the spirit of the originals by free English adaptations and enlivening renditions. Josef Marais was born in South Africa and the beginnings of his extensive repertoire of South African folk songs dates from his boyhood which was spent on a sheep ranch. Later he studied violin and composition in London, Prague, Budapest, and Paris. For a time it appeared that he would become a violinist, but his recordings of songs in Afrikaans became immediately popular, and Marais was soon established as a singer and recorder of folk songs. In America he became famous for two albums of "Songs from the African Veld" which were made for Decca in the early 1940's. It was while he was with the Office of War Information, supervising its broadcasts to South Aftrica, that he met his future wife. Miranda (Baruch de la Pardo) was born in Amsterdam. Her father was a dentist who was also a music critic and collector of ancient instruments. Her mother was a concert singer and her brother a violinist. destined to be a musician, she came to new York in 1939 where, after teaching piano, she was engaged by the Office of War Information and assigned to the department supervisedf by Marais. It was two years before Marais discovered that his assistant was also a singer; thereafter the two began to appear together on broadcasts. When the war was over Marais and Miranda decided to form a team. they made their Town Hall debut in 1946, married, and moved to Hollywood, and established a home. Their success in many fields was sensational. They appeared throughout the country in countless recitals; they gave concerts, made recordings, and appeared on Radio and TV. For thirty-two weeks they were on NBC and CBS networks. They were guest stars on the Ford Hour, the Paul Whiteman program, Omnibus, and other top shows. |
Henry Lowengard, jhhl-at-panix.com / 324 Wall St #5 / Kingston NY 12401
© 2011,2001 Henry Lowengard