Bartók két százéves levele 239. - 245. o
Korody P. István abstract
Bartók’s Two 100 Years Old Letters
István P. Korody

This study contains two Bartók-letters appearing first in the original German draft then in the Hungarian translation representing here the first publication of these letters in Bartók’s native tongue. The 24 years old composer-pianist wanted to introduce himself to the Berlin public in the very same category within the frame of an orchestral concert. He knew Busoni personally and appreciated his artistry as well. This is the reason why – the otherwise pretty shy composer – trusted himself to write to the Italian maestro living in Berlin.
Egy jellegzetes bartóki tématípus: a skála 247. - 257. o
Kárpáti János abstract
A Characteristic Theme Type of Bartók: The Scale
János Kárpáti

Although the scale is an abstract and artificial melody, Bartók very often used it. I am presenting a list of nearly half hundred examples, all souverain themes occurring in important structural function. The inspiration might have come from three sources: themes of J. S. Bach and of Beethoven, furthermore folk songs. The scale themes are created by divisions of the octave by five, six, seven, eight and twelve degrees. The simple scale melody is frequently shaped by means of mistuning and asymmetry.

Bartók és a román kolindák 259. - 272. o
László Ferenc abstract
Bartók und die rumänischen Kolinde
Ferenc László

Die Kolinda ist kein „Weihnachtslied“, „chant de Noël“ oder „Christmas song“ (wie das auch in Bartóks Schriften zu lesen ist), sondern „carmen solstitialis“ vochristlicher Herkunft: ein „Wintersonnenwendelied“ („winter-solstice song“ in Bartóks späteren englishen Terminologie), die musikalische Komponente eines bäuerlichen Ritus, der sich von anderen Volksbräuchen der Wintersonnenwendezeit (vicleim oder irozi, cântec de stea, pluguºor, brezaia usw.) wesentlich unterscheidet. Bartók hat sie schon anlässich seiner ersten rumänischen Sammelfahrt (Sommer 1909) entdeckt, jedoch in seinem ersten Buch (1913) nur ganz kurz erörtet. In den letzten Friedensjahren (1910-1913) verbrachte er die Weihnachstzeit unter rumänischen Bauern mit Erforschung dieses Brauches und seiner Musik, später widmete er der Gattung eine bahnbrechende Monographie (1926, herausgegeben 1935). Von den Eigentümlichkeiten der Kolindamelodien wird hier der Refrain betrachtet, mit besonderer Hinsicht auf neuere Interpretatonen des Phänomens (Constantin Brãiloiu und seine rumänischen Nachfolger), die Bartóks analytische Betrachtungen wesentlich übersteigen und Termini wie pseudorefrain, refrain régulier und irregulier, refrain-d’appoint, refrain strofique, anacruse d’appoint usw. in der Fachliteratur einbürgerten. Die Klavierminiaturen Bartóks, Rumänische Weihnachtslieder (1915), werden im Kontext der Geschichte der Neoklasik betrachtet.
Toronyzene 273. - 280. o
Laki Péter abstract
Tower Music
Péter Laki

Declared mentally ill, the great German poet Friedrich Hölderlin (1770-1843) spent the last thirty-six years of his life confined in a tower adjoining the house of his caretaker, where he wrote some exquisitely beautiful poetry. Several contemporary composers were inspired by this poetry, and also by Hölderlin’s earlier works, to express sensibilities that belong entirely to our own era. The article examines Hölderlin-inspired works by Heinz Holliger, Luigi Nono, György Ligeti, and György Kurtág, and discusses how each composer responds to the poetic word according to his own personal style.

„Was ist des Deutschen Vaterland?” : Liszt német Zarándokévének terve 281. - 300. o
Bozó Péter abstract
”Was ist des deutschen Vaterland?“
Liszt Proposed German Volume to the Cycle Années de pèlerinage
Péter Bozó

According to the evidence of an entry in the so-called Lichnowsky sketchbook, at the beginning of the 1840s, Franz Liszt proposed – in addition to the Swiss and Italian books – also a German volume to his cycle Années de pèlerinage. The study deals with this compositional plan, identifying and analysing the pieces referred to in the sketchbook. Interestingly, the plan consists rather of vocal works than piano pieces including the titles of nationalistic male choruses and romantic Rhein-lieder inspired by German poets such as Ernst Moritz Arndt, Theodor Körner, Heinrich Heine and Felix Lichnowsky. The study also examines the autobiographical and political background of the proposed volume, which seems to be in close connection partly with Liszt’s German concert tours, partly with the contemporary French-German conflict concerning the national identity of the Rheinland.
Palestrina Stabat matere : Richard Wagner közreadásában 301. - 312. o
Domokos Zsuzsanna abstract
Palestrina’s Stabat Mater
In Richard Wagner’s Edition
Domokos Zsuzsanna

Wagner’s edition of the Stabat mater by Palestrina takes a special place among the 19th century practice editions of the composer’s works, since Liszt declared it to be a masterpiece to be followed by others throughout his life, albeit he knew and appreciated editions with historical aspect, too.
Wagner prepared his version of Palestrina’s composition in 1848 for his historical concert in Dresden, and it was published on the recommendation of Liszt in 1878 by C. F. Kahnt.
The study summarizes the present documents of the genesis of Wagner’s work with the background of Palestrina’s Stabat mater-editions before 1878, and tries to preveal Wagner’s concept and musical decisions in the light of the performing practice of the Cappella Sistina of the time, as well as following the the main aspects in the review by F. X. Witt published in 1878.
Az ifjú Dohnányi recepciója : a zeneszerzõ és az elõadómûvész sikere az elsõ hangversenykörutak idején 313. - 330. o
Gombos László abstract
Reception of the Young Ernst von Dohnányi: Successes of the Performer and Composer during His First Concert Tours
László Gombos

October 24, 1898, the day of Dohnányi’s debut in London meant a decisive turn in the artist’s career. After successes in Hungary, Vienna and Germany he came into the focus of attention of wide audiences by playing Beethoven’s Piano Concerto in G major at the St James’s Hall. The warm reception, the sensational news in the press launched a chain reaction of invitations and Dohnányi’s international career. His first England tour (October-December 1898) was followed by two further tours within a year (January-March and October-December 1899, respectively) and his series of successes was crowned by this two tours of America (March-April 1900, November 1900-March 1901). In the meantime he acquired fame as a composer as well: with his Piano Concerto in E minor (op. 5b) he won the Bösendorfer Competition in Vienna in March 1899 and the three-movement version of the work (op. 5) was performed several times in Hungary, England, Germany and the United States. His String Quartet (op.7) was performed in London, his Sonata for Violoncello (op.8) in London and New York. His piano pieces (op. 2, 4, 6) – just as the piano parts of his Quintet (op.1) and Concerto – were played by him several times. The promising, yet unknown youth at the beginning of his career turned into an internationally acknowledged and appreciated artist within three years. This article tries to reveal the background of these events through the investigation of all available press articles, concert programs, letters and other contemporary documents, to make a step to create an authentic image of Dohnányi as a performer and a composer.
Johann Nepomuk Fuchs élete és mûködése - úgy is mint kutatástörténeti példa (Ford. Székely András) 331. - 338. o
Hochradner, Thomas abstract
The Life and Work of Johann Nepomuk Fuchs (1766-1839) as an Example of the History of Music-Research
Thomas Hochradner

Bárdos Kornel has altogether investigated into six comprehensive studies of musical life in several Hungarian residences and towns in the course of history. Based on an empirical-historical research method and taking up an exemplary case this paper wants to discuss the status and perspectives of biographical music research for the 19th century. Data concerning the life and work of Johann Nepomuk Fuchs (1766?-1839 Eisenstadt) have repeatedly been represented incorrectly in specialised literature and music-encyclopaedia; frequently the latest results in research are simply ignored. Thus shortcomings in the process of catching up with historical sources characteristic of the 19th century in General are finally collected resulting in the presentation of a catalogue of criteria to be considered in historical music research.

The paper has already appeared in German in Studia Musicologica Academiae Scientiarum Hungaricae 46 (2005), Heft ½, S. 135-143.
„Minek az magának”, avagy a Fõiskola állandósága 339. - 351. o
Gádor Ágnes; Szirányi Gábor abstract
[Német cím?]
Ágnes Gádor – Gábor Szirányi

Margit Prahács (1893-1974) war die erste hauptberufliche Bibliothekarin der Ferenc Liszt Hochschule für Musik (Musikakademie). Sie studierte in Budapest (Psychologie und Ästhetik) sowie in Berlin (Musikwissenschaft). Ab 1928 bis 1961 arbeitete er in der Bibliothek der Musikakademie. Die Studie beschäftigt sich mit den ersten Jahren ihrer hiesigen Tätigkeit. Sie versuchte, den Bestand systematisch zu entwickeln, sie tat die ersten Schritten im Interesse des Bestandschutzes. Unter ihrer Leitung wurde der grosse alphabetische Katalog erstellt, sie bearbeitete den Bücher- und Notennachlass von Liszt. Im Zusammenhang damit entstanden ihre Bücher und Studien über Liszt (Unpublizierte Liszt-Briefe in dem Archiv der Hochschule für Musik, Der Liszt-Nachlass der Hochschule für Musik, Franz Liszts Briefe in ungarischen Sammlungen). Margit Prahács begründete das Liszt-Gedenkzimmer an der Musikakademie, den Vorläufer des heutigen Liszt-Gedenkmuseums und Forschungzentrums. Aufgrund der Arbeiten an dem alphabetischen Katalog entstanden ihre Studien Ungarische Themen in der ausländischen Musikliteratur sowie die Ausgewählte Bibliographie der ungarischen Musikliteratur.
Képes magyar zenetörténet (szerk. Kárpáti János) 353. - 354. o
Laki Péter
Hagyomány és újjászületés : Folk Song Tradition, Revival and Re-Creation (ed. by Ian Russel and David Atkinson) 355. - 360. o
Tari Lujza