Egy antik »operajelenet« : a musik Aischylos Agamemnnjnak Kassandra-jelenetben 3. - 22. o
Fodor Gza abstract
An Antique »Scena«
Gza Fodor

Opera was born in 16th- and 17th-century Italy from the traditions of the pastorale but under the ideological pretext of resurrecting the antique tragedy. One of the core elements of this ideology was the misunderstanding originating from Girolamo Mei that antique tragedies were sung throughout. Even though musike that creates the unity of poetry, chant and dance and instrumental accompaniment was only represented by choruses and monodies, while dramatic dialogues and longer texts, the so-called rheses were recited, there really was such a formal unit of Greek tragedies in which the dialogue of the chorus and the actor and musike were joined, the amoibaion. It had two forms: one of them, the semilyric amoibaion was recited by one of the characters (mainly the actor) and sung and danced by the other (i.e. the chorus), the other, the purely lyric amoibaion was sung and danced by both the actor and the chorus. Agamemnon, the first piece of the only surviving Greek trilogy, The Oresteia by Aeschylus contains an interesting combination of these two types (lines 1072-1178). At the beginning of the 2. scene of epeisodion IV Cassandra, daughter of Trojan king Priam, and a slave of Agamemnon, using her prognostic power bestowed upon her by Apollo and immersed in a state of enthusiasmos for the god amidst the musike (singing and dancing accompanied by auloses) recalls in a series of visions the horrific past of the House of Atrides, its tragic present (the assassination of Agamemnon) and predicts her own fate. The leader of the chorus comprising 12 argive elders refuses to face the horrible truth and opposes Cassandras enthusiasmos and musike with the sober and rational parlance, recital or ìprose of the iambic trimester. Cassandras four strophe-antistrophe pairs and the two lines of speech of the chorus leader as a response to the individual sections up to line 1113 form a semi-lyric amoibaion. However, Cassandras exalted state of mind and the intensity of her musike gradually erodes the sobriety and rationality of the chorus, enraptures the elders and infects the whole chorus. After Cassandras 5th strophe and antistrophe the leader of the chorus still keeps to the iambic trimester but the chorus of the remaining 11 elders adopts the atmosphere of the musike (the singing, dancing and the accompaniment of auloses). At this point the leader merges in the chorus, his unique parlance of iambic trimeters disappears. Cassandras 6th and 7th pairs of strophe-antistrophe are followed by sections of musike of the full, 12-member chorus and after the transitional 6th pair of strophe-antistrophe the semi-lyric amoibaion is transformed into a purely lyric amoibaion. The study showed in detail that behind every change of the form and subject-matter of the text between lines 1072 and 1178 there is a twofold psychodrama, that of Cassandra and the argive elders. Aeschylus exploited the dramatic and theatrical opportunities of the musike worthily of a true genius.
Mozart s az orgona 23. - 27. o
Komls Katalin abstract
Mozart and the Organ
Katalin Komls

The short study discusses Mozart’s relationship to, and experiences with the organ, also the influence of the instrument on his musicianship. Of the surviving descriptions of Mozart’s improvisations, one report of an ear-witness is of particular example. The order of modulations in this organ extemporazation of Mozart can be reconstructed, and illustrated with a musical example.
Indirectly connected to the subject is the fact, that during the 1780s Mozart had a pedal keyboard built to his Walter fortepiano.
A nagybg klnleges szerepe a magyar nemesi egyttesekben a 18. szzad msodik felben 29. - 34. o
Seifert, Herbert abstract
The Special Role of the Double Bass in the Hungarian Music Establishments of the Nobility in the Second Half of the 18th Century
Herbert Seifert

Many compositions with solistic parts for double bass in that time came from the historical Hungary, but almost all of them from the parts which today do not belong to that state any more: Grosswardein, Pressburg, Eisenstadt Kohfidisch and Varazdin, where the most important kapellen of the nobility had their residences: the bishops Patachich and Batthyny and the families Esterhzy and Erddy. Their composers Dittersdorf, Sperger, Kmpfer, Haydn and Vanhal cared for concertos and chamber music for the virtuoso members of their musical establishments, among others for the double bass, which was the instrument of Sperger and Kmpfer.
Zene s szveg hrom huszadik szzadi dalmben : a hetvenves Somfai Lszlnak 35. - 64. o
Szegedy-Maszk Mihly abstract
Text and Music in Three Twentieth-Century Operas
Mihly Szegedy-Maszk

What happens to a poetic work when it is transformed into a piece of vocal music? Trying to find an answer to this question, the author examines three operas based on literary works written in the late nineteenth or the early twentieth century: Debussy’s Pelleas et Melisande, Bartok’s Duke Bluebeard’s Castle, and Britten’s The Turn of the Screw. The French and the Hungarian composer deleted certain parts of the text and thereby changed the message: for Debussy Golaud is the hero, for Bartok Bluebeard is a victim rather than a criminal. Their operas are less didactic than the plays they used as a starting point. By adding three scenes to the text of Henry James, Britten made the story less ambiguous. The different strategies of these composers may explain why the works of James, Debussy, and Bartok have had a more impressive history of interpretations than those of Maeterlinck, Balazs, and Britten. The conclusion is inescapable that in certain operas the relation between libretto and music can be characterized as discord rather than harmony. There may be more discrepancy than analogy between the histories of the two media.
„Tudomnyos mvszet” : tudomny s kznyelvisg Etvs Pter mvszetben 65. - 76. o
Veres Blint abstract
»Scientific Art«-Science and Communication in Peter Etvs’ Art
Blint Veres

The present study is a second version of a discourse held at the Partium Christian University (in Oradea, Romania) in summer 2004. It contains a twin-survey of a music philosophical phenomenon of the post-war New Music and the first creative period of Pter Etvs’ work as a composer. These two topics find their common denominator in the primordial subject of the relationships between music and sciences. Since Etvs’ work has a very close contact with science from the very beginning. Considering Martin Heidegger’s reflections concerning the nature of modern sciences (Die Zeit des Weltbildes, 1938), we can find not only the inspirative force of the science in the “early” compositions of Etvs (Elektrochronik, Intervalles-Interieurs, Mese, etc.), but its limits also which is revealed by the art itself.
Megksettek-e Mozart „porosz” kvartettjei? : szletsnapi ksznt tanulmny formban 77. - 84. o
Virny Gbor abstract
Are Mozart’s »Prussian« Quartets Really Overdue Ones?
Gbor Virny

My most famous class-mate, Lszl Somfai, wrote his first famous study on the Haydn-quartets by Mozart. But there are no Hungarian studies about Mozarts Prussian Quartets. In Budapest Programme Notes there are some brief appraisals of the late Mozart quartets, but I have chosen therefore some longer notesand remarks on the three masterpieces, which Mozart planned for a post at the Prussian Court, an application which proved unsuccessful. This study was planned not only as a congratulation for Somfai’s 70th birthday, but also to counter the negative opinion regarding these masterpieces, that they are too late, but these compositions by the Second Viennese Classic Master are not to be ignored.
Az imaginrius kr kzppontja : Dolinszky Mikls: Idrengs - Kilenc muzsikus, tz valloms 85. - 88. o
Mesterhzi Mt
Zenrl Nyugattl Keletig : Szabolcsi Bence vlogatott rsai 89. - 93. o
Kaczmarczyk Adrienne
A kenguruktl a rnszarvasokig : Dorottya Fabian: Bach Performance Practice 1945-1975 94. - 98. o
Spnyi Mikls
„Eurpai szemllet” zene-elemzs : Krpti Jnos: Bartk-analitika. Vlogatott tanulmnyok 99. - 103. o
Nmeth G. Istvn
A 20. szzad magyar zenetrtnete – „fldkzelbl” : Vallomsok a zenrl. Farkas Ferenc vlogatott rsai (kzr. Gombos Lszl) 104. - 108. o
Sz. Farkas Mrta
Dohnnyi vknyv 2003 (Szerk. Sz. Farkas Mrta s Kiszely-Papp Deborah) 109. - 113. o
Berlsz Melinda
A Magyar Zene 2004. vi, XLIII. vfolyam tartalomjegyzke 114. - 115. o