Két Bánk bán-tanulmány 259. - 286. o
Dolinszky Miklós abstract
Two Papers on Bánk Bán
Miklós Dolinszky

Torments of Bánk Bán
Bánk Bán, one of Ferenc Erkel’s two operas that have been repertoire pieces for almost a hundred and fifty years, was reworked radically in the 1930’s by the leading musicians at the Budapest Opera House and in Budapest has been performed exclusively in this adaptation ever since. By means of changing the tessitura, of dramaturgic rearrangement and of adding new musical compositions, practically a new opera was born under the aegis of the popular-realistic opera ideal, a genre which forms one of the missing links of the Hungarian opera history and whose original representatives (Simon Boccanegra, Boris Godunov, Khovanshchina, Prince Igor) were staged in Budapest during the very same period.
When as a result of the demand for the original form of Bánk Bán a CD recording was published in 1993, the score used for the recording were prepared exclusively on the basis of the autograph. Therefore, it was still not revealed that Bánk Bán had been revised by Erkel shortly after the first performance. The changes affected the orchestration, the layout and the prosody, and survived in score copies of the work that have never been studied before. Erkel’s sons had also contributed to the orchestration and the composition of the individual parts, and it turnes out that the composer’s interventions were mainly adjustments of these elements, from other hands than his own.

Pas de deux
It was well known at the time of the first performance that the composer of the divertissements of Bánk Bán had been one of Erkel’s sons. The previously uninvestigated autograph copies of the parts reveal that Erkel omitted the foreign dances of the divertissement soon after the premiere. He only retained the Hungarian Dance which he transferred to another part of the first act and changed into a two-part czardas that was more suitable for representing the national character of the opera. In order to achieve his goal, Erkel had to change the original Hungarian Dance radically: the Adagio was an all-new addition, while the Vivace was extracted from the original dance. This way the extremely popular divertissement is unveiled as the work of two composers; Erkel’s method further refines the image entertained by Hungarian musicologists of a composer making the most of his sons’ skills in the shaping of the scores of his works.
Huszárok és magyaros elemek a 19. századi francia zenében 287. - 299. o
Pethõ Csilla
Bartók humora 301. - 312. o
Kárpáti János abstract
Humour in Bartók’s Music
János Kárpáti

In Bartók’s oeuvre humour plays an important role, not only as an individual piece (e.g. Three burlesques) or movement (e.g. Burletta, String Quartet No. 6), but also as an episode in a larger instrumental composition (e.g. Allegretto indifferenza, String Quartet No. 5, V. movement). The study does not enumerate the humourous motifs, but examines the characteristics and musical means of Bartók’s humour. In spite of the Viennese masters, who created their musical jokes by surprise or combination of unrelated elements, Bartók’s jokes are manifested in grotesque and in sarcasm. His musical means are the distortion of melodic material by larger intervals, particular rhythmic patterns and semitonal shifting of certain structures.
Forma és dramaturgia Bartók Szólószonátájának zárótételében 313. - 325. o
Szabó Balázs abstract
Form und Dramaturgie in dem Finale Bartóks Sonate für Violine solo
Balázs Szabó

Während der kompositorischen Arbeit seiner Sonate für Violine solo hat Bartók die Konzeption des Schlussatzes teilweise geändert. Der Komponist hat aus der ursprünglichen Form des Satzes einen 100-taktigen, durch einer schnellen, virtuosen 16-el Bewegung bestimtten Abschnitt herausgehoben. Um die endgültige Variante mit diesem Abschnitt anzufangen. Diese Änderung formt aber nicht nur die Struktur des Satzes um, sondern beeinflusst auch den dramaturgischen Aufbau. Die Abhandlung möchte die Gründe dieser Veränderung durch die Analyse der zwei Form-Varianten erklären und die neue dramaturgische Zusammenhänge interpretieren.
„A szeretet és a szépség szigete” : adalékok Lajtha László mûvészetének 17-18. századi inspirációjához 327. - 336. o
Solymosi Tari Emõke abstract
»The Island of Love and Beauty«
Some evidence suggesting 17th and 18th century inspiration in László Lajtha’s music
Emõke Tari Solymosi

László Lajtha (1892-1963), one of the most outstanding Hungarian composers of the first half of the 20th century and a member of the French Academy, is too often categorized as a musician whose primary influences were Hungarian folk music and French music of the turn of the century. In this essay the author seeks to prove that German, Austrian, and Italian arts of the 17th and 18th centuries also provided decisive inspiration for Lajtha. He was above all a humanist who strove to recall the European golden age through the preservation of classical ideals of beauty and the creation of a synthesis in his art. In the composer’s own words: “According to my concept I would actually like to write European music. Europe has many faces, and I would like my music to be one of them.” Quotations from unpublished letters by Lajtha are featured, which offer very important insight into the composer’s sense of aesthetics.
Egy „Commedia in musica” 1622-ben Sopronban – a Habsburg birodalom elsõ Operaelõadása? (Ford. Király Péter és Szegedi Eszter) 337. - 372. o
Schindler, Otto G.
A Zeneakadémia Olvasóköre 1891-1907 [II. rész] 373. - 386. o
Gádor Ágnes; Szirányi Gábor
Richter beszél? : Bruno Monsaingeon: Richter. Írások, beszélgetések 387. - 393. o
Csengery Kristóf