Kodly, 2007 225. - 230. o
Srosi Blint
Tanulmny
Az Op.111 Ariettjtl a Zene fgjig : a bartki kozmikus kvintspirl beethoveni elkpe 231. - 264. o
Zeke Lajos abstract
From the Arietta of the op. 111 to the Fugue of the Music
Bartk’s Cosmic Spiral of Fifths and its Beethovenian Prototype
Lajos Zeke

The majority of Bartk scholars perceives in the opening movement of the Music for strings, Percussion and Celesta an act of developing the inherent principles of Bachian counterpoint to their logical conclusion. Whereas one finds sporadic allusions to the fugue’s extreme motivic concentration as direct evidence of Beethoven’ s influence, the latter is more often seen in terms of a deeper spiritual kinship between the two composers which left its mark more at the level of musical dramaturgy than on the visible surface of the piece’s structure. However, it is likely that Bartk had no need to depend on Bach for guiding the implicit formative tendencies of this genuinely Beethovenian creative impulse to their full realization in the novel design of the Music’s fugue. A careful analysis of his last piano sonata movement (the Arietta of op. 111) suggests that it was Beethoven who initiated the symmetrical “double-arm” growth pattern of spiraling fifths as a quasi-consciously employed structural blueprint. The pattern is only quasi-conscious since Beethoven’s deliberate efforts were presumably limited to the domain of meter and phrase-structure which bears only a partial imprint of the full pattern. We cannot even be certain whether he realized that by grouping the beats and the bars along the “waxing and waning” (i.e., positive and negative) powers of three he, in effect, reproduced a double-path version of the chain of fifths in the realm of inaudible frequencies. That the same pattern simultaneously emerged at the level of audible frequencies in the Arietta and that the two spirals spontaneously joined arms at the threshold of hearing – these were almost certainly outcomes utterly unplanned by him. These fascinating phenomena must be manifestations of the autonomous subliminal dynamics of the formative forces which brought the piece into being. Similarly, it may well be the case that the Arietta’s extraordinary formal economy exerted its inspiration on Bartk more along the concealed pathways of intuition than through conscious observation. In the paper the question of demonstrable influence is not raised, the attention is focused on analizing the Beethoven piece and exhibiting its structural ties with the Bartk movement.
Dohnnyi fogadtatsa Amerikban : sajtrecepci 1949-1960 265. - 288. o
Kusz Veronika abstract
Dohnnyi’s Reception in the United States
Press Revies, 1949-1960
Veronika Kusz

At the age of 72, Ern Dohnnyi arrived to Tallahassee, Florida to take up his position offered by the Florida State University Music School. Because of his financial difficulties, the last decade of the old composer proved to be very active in many aspects. In the course of his frequent concert tours as a pianist, chamber musician and director, he appeared on the concert podium of big cities and small towns, as well. However, the enthusiastic reports of the provincial towns, the rather reserved expressions of New York and the intimate informations of the Tallahassee press draw a many-sided and sometimes contradictory picture. This paper attempts to investigate Dohnnyi’s American reception on the basis of the scrapbooks and other documents of the Dohnnyi Collection of FSU Warren D. Allen Music Library.
Magyar nyelv nekelt (dal-)kltszet a 18. szzadi Magyarorszgon 289. - 342. o
Hovnszki Mria abstract
Hungarian Lyric Poetry in the 18th Century in Hungary
Mria Hovnszki

This essay consisiting two chapters namely the gallant lyric poetry and the rococo song poetry examines the reformation of traditional Hungarian lyric generally written in accentual-syllabic scansion, i.e. its separation from the earlier forms, pioneered by the gallant-rococo poetry of Ferenc Faludi and Lszl Amade. The modernization of Hungarian lyrics means not only the renewal of the forms, but of the expressions as well, initialized by the new music of the 18th century Europe called gallant Empfindsamer songs (Lieder) and by the opera and lyrics literature of school dramas. Therefore this treatise is based upon the research of those lyric texts which melodies have been remained as well.
Since in fact no Hungarian composing existed till the end of the 18th century not only the genre of “art song” (Lied) but the cult of singing had to be created and popularized by poets e. g. Mikls Rvai, dm Horvth, Ferenc Verseghy and Mihly Csokonai. Through their oeuvre this essay discovers on the one part the connection of the foreign tunes and the “innovation of the metre”, and on the other hand the Hungarian Empfindsamer songs which became fashionable after the Hungarian translation of the German Musenalmanachs (1780-90) and culminated in the verbunkoche lyrics at the end of the 18th century.
Recenzi
Afrika vonzsban : Bartk Bla biskrai gyjttja : Bartk s az arab npzene 343. - 353. o
Lampert Vera
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