Mozart, az elõadómûvész 123. - 130. o
Komlós Katalin abstract
Mozart the Performer
Katalin Komlós

Mozart was an exceptionally versatile performer: in addition to being a virtuoso keyboardist, he played the violin and the viola, sang, and conducted as well. As a celebrated fortepianist, he ran a highly successful concert career in Vienna in the 1780s. He appeared in public and private concerts, and gave subscription series for his own benefit.
The article briefly describes Mozart’s artistic personality as well as his maxims regarding musical performance.
Két Mozart-tanulmány : 1. „Mozart másolt!”: adalék a Mozart-recepció kórtörténetéhez. 2. Egy újabb zenei tréfa? : a Haffner-szerenád g-moll menüettje 131. - 150. o
Mikusi Balázs abstract
[Two Mozart-Studies]
Balázs Mikusi
1. “Mozart Copied!” : Supplement to the Case History of Mozart Reception

While the literature on Mozart often presents his development as a more or less continuous assimilation of outside influences, the idea that he might have committed plagiarism on even a single occasion seems taboo. In this essay I examine three representative articles by prominent Mozart scholars presenting cases in which the suspicion of theft could arise. None of the authors explicitly touch upon the possibility of plagiarism, and in the end each of them suggests that Mozart’s copying was intended as an act of homage. This typical conclusion is unconvincing, even unlikely in these cases. The primary motivation for scholars’ turning to this idea seems to be that it clears Mozart of the accusation of plagiarism: instead, he appears not merely an innocent, but indeed most honourable man, eager to show his respect for his colleagues by quoting their music. In this light, I propose to abandon the “homage theory,” because the often unacknowledged retreat to this concept blurs the boundaries between very different cases, and consequently stands in the way of our understanding each of them in its own right.

2. Yet another Musical Joke? : The G-minor minuet of Mozart’s “Haffner Serenade,” K. 250

The reception history of this minuet is marred by a contradiction: all commentators consider it an eminent example of the composer’s “tragic G-minor” style, which seems to be at odds with the rest of the serenade, and especially its celebratory function. I propose that this paradox might be illusory: the minuet’s first four bars are arguably intended as a twisted quotation of an 18th-century lied, “Nun lasset die Sorgen” (“Enough of the troubles”), thus turning the whole movement into a parody. As a kind of internal evidence, I suggest that the peculiar form of the piece could have been inspired by the incorporated foreign material: the “inverted recapitulation” – supported by vast contrasts in dynamics and harmony – effectively separates the suspected quotation from the rest of the movement. While this reading sheds light on how Mozart’s Salzburg audience may have perceived the work, it also suggests that such a possibly “authentic” hearing is essentially lost for modern listeners.
Mozart Alla turcája mint rondó 151. - 154. o
László Ferenc abstract
Alla Turca von Mozart als Rondo
Ferenc László

Hätte nicht Mozart selbst sein unter KV 300i (331) verzeichnetes, dreisätziges Werk mit dem Titel „Sonata“ herausgegeben, könnte es die Nachwelt nicht für eine solche halten, weil (1) keiner seiner Sätze eine Sonatenform hat, (2) alle drei Sätze in derselben Tonart stehen, was für eine dreisätzige Sonate unvorstellbar ist und als Stileigentümlichkeit eher an die Barocksuite erinnert (3) und der erste Satz eine Variationenreihe ist. Das Finale ist auch selbst „regelwidrig“. Sein türkischer Charakter ist eindeutig, für seine Rondo-Beschaffenheit fanden wir jedoch in der Literatur keine befriedigende Deutung: Die von Georges de Saint Foix (1936) ist unhaltbar, die von Hanns Dennerlein (1951) dilettantistisch, die von Wolfgang Plath und Wolfgang Rehm (1986) widespüchlich; Siegbert Rampe (1995) übergeht die Frage. Die vorgeschlagene Deutung des Satzes ist: eine typische „A B A C A B A Koda“-Rondoform in A-Dur mit dem B-Couplet in der gleichnamigen und dem C in der paralellen Moll-Tonart, mit der einzigen, wahrscheinlich alleinstehenden „Regelwidrigkeit“, daß das erste A nincht erklingt und infolgedessen der Satz mit dem ersten Couplet beginnt.
Liszt Ferenc és keresztfia, Korbay Ferenc : újabb dokumentumok a Liszt Ferenc Emlékmúzeumban 155. - 176. o
Eckhardt Mária abstract
Ferenc Liszt and his Godson Ferenc Korbay : New Documents in the Liszt Ferenc Memorial Museum, Budapest
Mária Eckhardt

This study examines the relationship between Liszt and his Hungarian godson Ferenc (Francis) Korbay, a singer, pianist and composer who spent the major part of his life abroad, in New York City and in London. In connection with new documents bought recently by the Liszt Ferenc Memorial Museum (Budapest), the narrative clarifies the genesis of the Korbay/Liszt transcriptions “Le Matin” and “Gebet”, titles that have eluded much of Liszt scholarship through most of the 20th century. The article includes Liszt’s new version of “Gebet” for voice and organ or harmonium (an orchestrated version has never existed) and a letter from Korbay to Liszt, in which Korbay’s later wife, the Liszt pupil Ilona Ravasz is also mentioned.
A shorter English version of this study was published in the “Journal of the American Liszt Society”, Volume LIV/LV/LVI (2003-2005), 85-101.
Supplèment a Zarándokévek második kötetéhez 177. - 214. o
Bozó Péter abstract
The Supplément to the Second Book of the Années de pèlerinage
Péter Bozó

The composition of the second book of Années de pèlerinage occupied Liszt for almost two decades, and over these decades the book underwent significant changes in relation to how it was first conceived. The present study traces the development of the cycle’s organization based on primary sources (album pages, inscriptions in sketch books, drafts, printed scores, letters, diary entries and contemporary press reports). Special attention is given to the compositions in the book based on borrowed material. The plan for an Italia set of pieces found in the Ce qu’on ented sketch book is discussed in detail, suggesting a reading at variance with the one published by Rena Charnin Mueller, pointing out that at the end of the 1840s Liszt may have intended to include a piano version of his symphonic poem Tasso in the Italian Année. The source material for the early version of the Dante Sonata is also interpreted differently from Mueller – since from the documents it appears that Liszt at first conceived the work in two movements, and only added it to the end of the cycle around 1849.
Hommages à Somfai : Essays in Honor of László Somfai on His 70th Birtday : Studies int he Sources and the Interpretation of Music 215. - 224. o
Mikusi Balázs
„Fogalmak sûrûjében”. Grabócz Márta: Zene és narrativitás : Írások 18-19. századi és kortárs zenemûvekrõl 225. - 233. o
Balázs István
Zongora ≠ zongora? Komlós Katalin: Fortepianók és zenéjük : Németország, Ausztria és Anglia, 1760-1800 235. - 238. o
Székely András