Emlkfzr Grdonyi Zoltn centenriumra
Egy megjul Grdonyi-kp krvonalainak eslye 241. - 243. o
Berlsz Melinda
„A Seregek Ura velnk van…” : Grdonyi Zoltnra emlkezve 243. - 245. o
Eckhardt Mria
Emlkkpek Grdonyi Zoltnrl 245. - 247. o
Hamburger Klra
Hrom bemutat – s ami elttk volt 247. - 249. o
Karasszon Dezs
Grdonyi tanr r 250. o
Komls Katalin
Egyttmkdsnk a Liszt-sszkiadsban 250. - 251. o
Mez Imre
Grdonyi Zoltn – Emlkek s reflexik 251. - 254. o
Rovtkay Lajos
Grdonyi tanr r 254. - 260. o
Somfai Lszl
Tredkek Grdonyi Zoltnrl 260. - 262. o
Szab Mikls
[Quasi Abstract] 262. o
abstract
In Memoriam Zoltn Grdonyi

On the occasion of the 100th birthday (25th April 2006) of Zoltn GRDONYI composer, music historian, church musicologist and music pedagogue his former colleagues and students, Melinda Berlsz, Mria Eckhardt, Klra Hamburger, Dezs Karasszon, Katalin Komls, Imre Mez, Lajos Rovtkay, Lszl Somfay (sic!), and Mikls Szab commemorate the musician who died on 27th June 1986.
Tanulmny
Napja Isten haragjnak : Egy temetsi nek rsos emlkei s nphagyomnyban l vltozatai 263. - 277. o
Richter Pl abstract
Dies irae – Written Sources and Folk Variants of a Funeral Hymn
Pl Richter

Already in 1933, Zoltn Kodly directed researcher’s attention to the close connection between folk music and the history of music. He said, that only ethnographical experience and ethnographical knowledge gave the necessary warmth for infusing life into the historical data of music. It means, with the help of folk music, we can study the music of earlier times in its vitality, and the music of the centuries is no longer lifeless notations on paper, on the one hand. With the help of folk music we can recover data lost from the historical sources, on the other hand. This study shows a Dies irae example from the 17th century (notated by Johannes Kajoni, a franciscan monk from Transylvania, in 1667) to illustrate the manifold relationship between folk melodies and historical data.
Haydn Mrs. Bartolozzinak ajnlott kt „londoni” szontja : kvetkezetlen kottzs vagy manipullt korabeli kiads? 279. - 294. o
Somfai Lszl abstract
Joseph Haydn’s Two “London” Sonatas Dedicated to Mrs. Bartolozzi: Inconsistent Notation or Doctored Contemporary Editions?
Lszl Somfai

Up to the 1960s the different source situation of the two “London” sonatas dedicated to Mrs. Bartolozzi – from the E-flat (Hob.XVI:52) the autograph and two reliable editions exist, from the C major (Hob:XVI:50) only a belated English print with strange features – led to dissimilar reception. I argue that the missing printer’s copy of the 1800 Caulfield first edition of the C major could have been Haydn’s autograph, the dedication copy to Mrs. Bartolozzi, but in an edited form by turning hairpins into dim. instruction, possibly adding dynamics, etc., according to Mrs. Bartolozzi’s performance. However, as far as the finale is concerned, this is a better presentation and a more reliable text of the piece than the Henle critical edition or the Wiener Urtext, with slightly different performing signs in the written-out repeats. I also discuss the question of page turning in the E-flat autograph and the first edition of both sonatas that reveal practical as well as rhetorical considerations, even at the expense of leaving a page blank in the printed edition (E-flat, Longman & Clementi ed.) or blank half pages in the autograph at Cornell University on the occasion of Malcolm Bilson’s 70s birthday.
A Bermbach-tanulmny el [A nrnbergi mesterdalnokok] 295. o
Zoltai Dnes
A nrnbergi mesterdalnokok : A demokratikus nszablyozs klti elvei (Ford. Zoltai Dnes) 296. - 329. o
Bermbach, Udo abstract
„Quasi Abstrakt“

Der Aufsatz: Die Meistersinger von Nrnberg.egeln demokratischer Selbstregierung ist ein Kapitel de Monigraphie von Udo Bermbach (1938): “Blhendes Leid.“ Politik und Gesellschaft in Richard Wagners Musikdramen. (Stuttgart-Weimar: Verlag J. B, Metzler, 2003, 247-280.) in der bersetzung von Dnes Zoltai.
»Csokonai-dallamok« s forrsaik [I. rsz] 331. - 358. o
Hovnszki Mria abstract
“Melodies of Csokonai” and Their Sources
Mria Hovnszki

The essay tries to reveal and collect those “melodies of Csokonai” which have come down in contemporary manuscripts or printed papers, and served as a model for the poet’s verses modelled on pre-existing tunes. A large number of pieces of Csokonai’s work consist of songs that were written, continuing traditions of popular “college culture” or composed to follow the fashionable West-European Klavierlied. It is important to say that Csokonai always used different musical styles in accordance with their own places, and in his “musical theory” he wanted to serve the most modern and elite musical aesthwetics. (He often quoted J. J. Rousseau, Sulzer, Batteux.
His musical collection consists of three songs composed by J. Haydn, Mr. Stpa and J. Kossovits, and was published in 1803 in Vienna. He wanted to issue his Anacreon’s translations with tunes like Anacreon’s edition of Paris. He translated cantatas, canzonettas and duets by Metastasio and wrote pastorals. What is more, he was planning original operas (so-called “nekes jtkok” i. e. plays connected with singing), naturally he would have just written the libretto. As to their genres, contents and styles, these melodies and texts are very heterogeneous because Csokonai drew on the most different sources according to a given piece. Extraordinarily variable oral folk songs were used as well as artistic song by Haydn.
So this article consists partly of primitively written “melodiarium”, partly modern written manuscript collections with instrumental accompaniment (generally guitar or fortepiano), partly contemporary printed papers. Finally, certain songs by Csokonai were used to interpret recent “live” folk songs. By virtue of revealing and comparing tunes we can not only understand his creative method more deeply but we can get a better comprehension of the works’ effect on contemporary reception.
The critical edition of Csokonai has published a fraction of the tunes in the past years. Since it happened to have many phiological faults as well as inconsistencies, interpretation has always begun by pointing these out.
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