Nmeth G. Istvn

(4 találat)
# Cím Abstract Folyóirat Oldalszám
"Mr nem is csupn zenei problma" : a npzene mint forrs Csky Boldizsr mveiben abs.
Romanian composer of Hungarian descent Boldizsr Csky (1937) has written ever since 1958 compositions infatuated with Transylvanian folk music. This study presents through the rather extraordinary example of Csky the way the entire school of Transylvanian composers from the 2nd half of the 20th century dealt with folk music. The analysis examines first Csky's aesthetic beliefs in terms of the relationship between art music and folk music, which exhibit the features of an essentially conservative avant-gardism, being obviously modelled on Bla Bartk's music. Csky's series of some 20 folk music arrangements (1962-1979) was exclusively commissioned by the Marosvsrhely (Tg. Mure_/Romania) State Folk Ensemble (and performed by singer Erzsbet Tth). The study also includes an indepth investigation regarding the history of this institution, which was founded in 1956-57, and during its heyday operated under the dual influence of the Moiseyev Dance Company of the USSR and of the Hungarian State Folk Ensemble of Budapest/ Hungary. The latter opened in 1951 with, among other pieces, Zoltn Kodly's Kll Double Dance, a composition that thus became the main model for the composers active in Marosvsrhely. Csky stopped composing folk song arrangements once the tnchz (dance hall) movement arose in the early 1980s, consequently the historical review of the Marosvsrhely State Folk Ensemble also deals with the polemics connected the representation of folk music and dance on stage without any artificial (compositional or choreographic) additions to them. The musical analysis demonstrates the subtle, though evident connections of Csky's compositional methods used both in his folk song arrangements and his compositions intended for concert hall audiences. The final section takes a closer look at Csky's abstract compositions written after 1980, including the Piccola musica ebraica per motivi transsylvanici di Marmarosch, commissioned in 2001 by a Swiss chamber ensemble, which shows the validity of Csky compositional methods developed during the period of his earlier folk music arrangements. Data on genre, scoring, manuscript sources, commercial recordings and performance history of the pieces can be seen in the detailed catalogue of Csky's folksong arrangements at the end of the article.
2010., 48. évf. 3. szám 328. - 350.o
A msik Ruzitska operja : Ruzitska Gyrgy-Christian Heyser: Alonso oder Die Wege des Verhngnisses abs.
An Opera by the Other Ruzitska
Gyrgy Ruzitska-Christian Heyser:
Alonso oder die Wege des Verhngnisses
Istvn Nmeth G.

In 1822 Jzsef Ruzitska wrote in Kolozsvr (Cluj) Bla futsa (Bela’s Flucht), generally considered to be the foundation of Hungarian national opera. A few years later, in 1828 in the same town, Gyrgy Ruzitska (born 1789 in Vienna, died 1869 in Kolozsvr) completed the opera Alonso which was intended for performance on the stage of the Stdtisches Theater in Pest. However the performance never took place because of the departure of the singer August Fischer, in spite of his contract.
Gyrgy Ruzitska’s Alonso, based on a libretto by the Transylvanian German author Christian Heyser, is a rescue opera which joins together the traditions of the Singspiel and opra comique, at the same time showing the melodic influence of the contemporary Italian opera composer Rossini. This paper presents a biography of the composer focusing on his production of musical stage works including the early Vienna period. The opera is presented mainly through the extracts employed in the overture, and rearranged by the composer according to a specific narrative strategy which, if compared with the libretto, suggests the dominance of human resoluteness and action versus a priori determined fate.
2002., 40. évf. 3. szám 279. - 290.o
Kodly zeneszerzi recepcija Erdlyben abs.
Kodly’s Influence on Hungarian Composers from Romania
Istvn G. Nmeth

The paper offers a review of those composers from Transylvania who had been influenced by Zoltn Kodly. Members of the older generation had known him personally. This group of Transylvanian composers includes rpd Lszl (1864-1960) who consulted Kodly about his own compositions in Budapest in the year 1928 and Gbor Jodl (1913-1989) who studied composition at the Budapest Academy of Music between 1939 and 1942 along with folklorist Jnos Jagamas and choir director Istvn Nagy. Some representatives of the later generation like Cornel ranu (*1934) still had the opportunity to pay a visit to Kodly. Others had access to Kodly’s art through Gbor Jodl, their teacher of composition at the Kolozsvr/Cluj Academy of Music - this is the case of Aladr Zoltn (1929-1978), Ede Ternyi (*1935) and Csaba Szab (1936-2003). Further compositions and statements of Csky Boldizsr (*1937), Pter Vermesy (1939-1989) and Gyrgy Orbn (*1942) testify that Kodly’s choral works were (for Boldizsr Csky: are) considered as a model for new pieces. The paper also contains analyses of Aladr Zoltn’s Divertimento for chamber orchestra (1964), Pter Vermesy’s pair of hommage-pieces - Postludium in memoriam Kodly Zoltn (1978) and “... Super sepulchrum Kodly Zoltn” (1982) both of them quoting motives from Kodly’s Psalmus hungaricus and Gyrgy Orbn’s mixed choir Kdr Kata (1971), an arrangement of a folk ballad modelled on Kodly’s Molnr Anna belonging to the same genre.
2008., 46. évf. 3. szám 285. - 299.o
Rec. „Eurpai szemllet” zene-elemzs : Krpti Jnos: Bartk-analitika. Vlogatott tanulmnyok - 2005., 43. évf. 1. szám 99. - 103.o