Németh G. István

(4 találat)
# Cím Abstract Folyóirat Oldalszám
"Már nem is csupán zenei probléma" : a népzene mint forrás Csíky Boldizsár mûveiben abs.
Romanian composer of Hungarian descent Boldizsár Csíky (1937) has written ever since 1958 compositions infatuated with Transylvanian folk music. This study presents through the rather extraordinary example of Csíky the way the entire school of Transylvanian composers from the 2nd half of the 20th century dealt with folk music. The analysis examines first Csíky'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 Béla Bartók's music. Csíky's series of some 20 folk music arrangements (1962-1979) was ex­clusively commissioned by the Marosvásárhely (Tg. Mure_/Romania) State Folk Ensemble (and performed by singer Erzsébet Tóth). 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, Zoltán Kodály's Kálló Double Dance, a composition that thus became the main model for the composers active in Marosvásárhely. Csíky stopped composing folk song arrangements once the táncház (dance hall) movement arose in the early 1980s, consequently the historical review of the Marosvásárhely 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 Csíky'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 Csíky'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 Csíky 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 Csíky's folksong arrangements at the end of the article.
2010., 48. évf. 3. szám 328. - 350.o
A másik Ruzitska operája : Ruzitska György-Christian Heyser: Alonso oder Die Wege des Verhängnisses abs.
An Opera by the Other Ruzitska
György Ruzitska-Christian Heyser:
Alonso oder die Wege des Verhängnisses
István Németh G.

In 1822 József Ruzitska wrote in Kolozsvár (Cluj) Béla futása (Bela’s Flucht), generally considered to be the foundation of Hungarian national opera. A few years later, in 1828 in the same town, György Ruzitska (born 1789 in Vienna, died 1869 in Kolozsvár) completed the opera Alonso which was intended for performance on the stage of the Städtisches Theater in Pest. However the performance never took place because of the departure of the singer August Fischer, in spite of his contract.
György 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 opéra 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
Kodály zeneszerzõi recepciója Erdélyben abs.
Kodály’s Influence on Hungarian Composers from Romania
István G. Németh

The paper offers a review of those composers from Transylvania who had been influenced by Zoltán Kodály. Members of the older generation had known him personally. This group of Transylvanian composers includes Árpád László (1864-1960) who consulted Kodály about his own compositions in Budapest in the year 1928 and Gábor Jodál (1913-1989) who studied composition at the Budapest Academy of Music between 1939 and 1942 along with folklorist János Jagamas and choir director István Nagy. Some representatives of the later generation like Cornel Þãranu (*1934) still had the opportunity to pay a visit to Kodály. Others had access to Kodály’s art through Gábor Jodál, their teacher of composition at the Kolozsvár/Cluj Academy of Music - this is the case of Aladár Zoltán (1929-1978), Ede Terényi (*1935) and Csaba Szabó (1936-2003). Further compositions and statements of Csíky Boldizsár (*1937), Péter Vermesy (1939-1989) and György Orbán (*1942) testify that Kodály’s choral works were (for Boldizsár Csíky: are) considered as a model for new pieces. The paper also contains analyses of Aladár Zoltán’s Divertimento for chamber orchestra (1964), Péter Vermesy’s pair of hommage-pieces - Postludium in memoriam Kodály Zoltán (1978) and “... Super sepulchrum Kodály Zoltán” (1982) both of them quoting motives from Kodály’s Psalmus hungaricus and György Orbán’s mixed choir Kádár Kata (1971), an arrangement of a folk ballad modelled on Kodály’s Molnár Anna belonging to the same genre.
2008., 46. évf. 3. szám 285. - 299.o
Rec. „Európai szemléletû” zene-elemzés : Kárpáti János: Bartók-analitika. Válogatott tanulmányok - 2005., 43. évf. 1. szám 99. - 103.o