Kodly Zoltn, az egykori Mohi s a rgi magyar mdalok 357. - 372. o
Tari Lujza abstract
Zoltn Kodly, the Former Village of Mohi and Old Hungarian Art-song in Folk Music
Lujza Tari

The topic of this study is the folk music collection from the former village of Mohi (from Hungary's old Bars county), written on the occasion of the 125th birthday of Zoltn Kodly. This village is one of the most important places in the life of the composer, because Kodly used eight folksongs from here as source-material for his works. Among these the most popular folksong in Hungary is: Hej, a mohi hegy bornak, which was found also in other villages in different variants.
His collections were made in 1912 and in 1914. Singers and instrumentalists were interwiewed. The village (and the whole county) after WWI. went to (Czecho)Slovakia.
The author describes the history of the collections, and shows different samples (sound recordings and transcriptions) of the old Hungarian art songs which were present in a great number in the folk tradition of Mohi. Kodly's collection is very valuable. This is the only single folk musical material because the village no longer exists. In its place there is now a nuclear power-station.
"Jungfrau, Mutter, Knigin...": a N Mozart egyhzi zenjben 373. - 380. o
Farkas Zoltn abstract
"Jungfrau, Mutter, Knigin..."
The Depiction of Woman in the Ecclesiastical Music of Mozart
Zoltn Farkas

It is know that Goethe himself meant the 2nd part of Faust to be set to music. According to Eckermann, on 12th February 1829 Goethe declared: "The nature of the music shall be similar to that of Don Juan. Faust should have been composed by Mozart." It was this unfulfilled wish of the poet sovereign of Weimar that raised the question how Mozart's ecclesiastical music depicts Mary. The minor works of the young Mozart dedicated specifically to Mary provide no distinct portrait of her. The Et incarnatus passages of his masses are almost disappointing in this respect. Lesser contemporary composers usually come forward with a lengthy, sophisticated solo or ensemble movement here using obbligato instruments. Mozart, on the other hand, fails to employ exhaustive depictions not only in his brevises but also in the majority of his more ceremonial masses. The formal discipline of the symphonic style of his later masses does not favour lengthy expositions either. The obbligato use of the oboe and of the bassoon in Missa solemnis in C major (K337) from 1780 and the themes of the Et incarnatus movement of his Mass (K262) herald the last and most accomplished of all the Et incarnatus movements, that of Mass in C minor (K427). The paper interprets this movement as the scene of the Immaculate Conception, the Announcement of the Incarnation (Annuntiatio). The figure of the kneeling Mary and the of the Holy Ghost, symbolized by the three obbligato wind instruments, can be identified by almost iconographical precision. The portrayal of Mary in the Et incarnatus of the Mass in C minor has an unparalleled atmosphere and reappears at the end of Mozart's life-work, in the instrumental postlude of Ave verum corpus. In the author's view the image of the worldly source of this body, Mozart's mother also appears at the end of this movement emotionally celebrating the Lord's Body, the Eucharist.
"Charakteristische Musik unterscheidet sich von der malerischen..." : avagy volt-e Schumann-nak "dn stlusa"? 381. - 395. o
Mikusi Balzs abstract
"Characteristic Music Differs from the Picturesque"
Or Did Schumann have a "Danish" manner?
Balzs Mikusi

Schumann's larger-scale exotic works have often been criticized for their but faint couleur locale. In this paper I seek to reconsider this problem by using the composer's four Andersen settings (in the song cycle op. 40) as starting point. I argue that these exemplify an "Andersenian," rather than a "Danish," manner: the inspiration was primarily literary, not geographical, in nature. Expanding on this, I propose that musicologists' quest for conspicuously exotic features may have been based on a misunderstanding: if the larger-scale, cyclic works seem to be lacking in the "surface exoticism" that smaller-scale compositions amply exhibit, they should probably be understood as aiming at something else. The different function of these works apparently confirms such a distinction: the small-scale group typically includes "snapshots" with a distinct pedagogical hint (cf. Schumann's own term: Guckkastenbilder fr Kinder), while in the larger-scale compositions the exotic associations are used in an allegorical sense (the two Spanish song cycles move the plot itself to the level allegory, and the musical style of the Bilder aus Osten seeks to recapture the oriental way of thought).
In conclusion, I return to the "Danish" works, and point out a yet unrecognized secret program in the "Volksliedschen" of the Album fr die Jugend. Similarly to the "Nordisches Lied" (which uses the motive GADE), this piece is arguably also an homage to Niels Gade: the main motive, ADE, both refers to his name, and says farewell (Ade!) to him, after he returned to Copenhagen for good in 1848.
Vallomsok letutak metszspontjban : az imdott nalak Schumann s Brahms mvszetben 397. - 409. o
Richter Pl abstract
Declarations in the Intersection of Paths
The Adored Female Figure in the Music of Schumann and Brahms
Pl Richter

Was Clara described by tones in the music of Schumann and Brahms? Did the composers declare their love in music? Was it enough for them to cipher Clara's name in motifs, or did they use a more complex way to express their emotions? Looking for the answers different theories confront each other (eg. the results of the studies of Eric Sams and John Daverio) and biographical data and information from correspondence are considered, completed by several analyses of works.

Ujjrend, artikulci, dszts: hrom alappillr Sweelinck mveinek eladsi gyakorlatban 411. - 428. o
Jakab Hedvig abstract
Fingering, Articulation, Ornamentation
The three Keywords in the Performance Practice of Sweelinck's Works
Hedvig Jakab

This study makes a compilation of types of fingerings used in the 16th and 17th centuries in Europe, based on the fingerings of Sweelinck's Toccatas found in the Lbbenauer Orgeltabulatur (LyA1). The article throws new light upon the several keyboard articulations of this time, namely the interpretation of repeated notes, intervals and chords, the structured legato, etc. The third problem that concerns practicing musicians is the execution of ornaments. The most important publications on this topic from the decades around 1600 are compared, and four categories of ornaments that can be ascertained from these sources are summarized in this study. This compilation makes reference to the detailed presentation of the keyboard playing techniques contained in Volume II of the edition of Samuel Scheidt's Tabultura Nova written by Harald Vogel.
"Klaviervirtuose aus Wien" : Dohnnyi Ern fogadtatsa a bcsi vekben 429. - 438. o
Gombos Lszl abstract
"Klaviervirtuose aus Wien" - Ernst von Dohnnyi's Reception in His Viennese Years
Lszl Gombos

As a consequence of his first successful tours in England and the United States, Dohnnyi became a world-renowned and acclaimed performer. In autumn 1901 he settled in Vienna, and for four years he and his family mainly resided here. With some generalization, therefore, we may dub the period between 1901 and 1905 as Dohnnyi's "Viennese years," after which he moved to Berlin. This study analyses Dohnnyi's career as a pianist, his reception and repertory. Dohnnyi had won almost universal recognition with critics and musicians alike, but his art was truly appreciated not so much by the sensationalist public as by a significantly narrower circle of musically literate listeners. He did not enter any such biographical stage which we could term his "virtuoso years," but his concert life resembled that of a "classic" performer, who still gave recitals fairly regularly, while also composing symphonic pieces and conducting them himself. He retained his artistic and personal freedom through resisting the travelling virtuoso lifestyle offered by impresarios. His reception in Hungary was highly contradictory: in 1903, at the time of the Budapest performance of his Symphony in d-minor, he was celebrated as the creator of Hungarian symphonic music, but he was often attacked here, because he did not show much evidence of his national feelings in his compositions and actions.
Paul Charl Durant : egy valsznleg Pozsonybl szrmaz nmetorszgi lantos s csaldja 439. - 448. o
Kirly Pter abstract
Paul Charl Durant - An 18th Century German Lutenist Probably Originating from Pressburg / Hungary, and His Family
Pter Kirly

Some kind of family relationship has already been suggested between the German lutenist, Paul Charl Durant (documented ca. 1736-1746 in Mannheim, 1747 in Frankfurt and 1756-1759 in Bayreuth) and Anton Aloys Durant, Esterhzy court musician, singer and lutenist, in Hungary. This study shows, that on 28 June 1712 a son of Anton Aloys Durant and his wife Maria Elisabetha Langier, called Paul Karl, was baptized in Pressburg (Hung. Pozsony, today Bratislava, Slovakia). This son Paul Karl (sometimes called Karl Paul or only Paul) was employed 1724-1727 as a boy singer at the church of St. Martin in Pressburg, and may be the later German lutenist. This assumption is based on three facts: 1. The name is identical. 2. Paul Karl Durant's musical activity is documented from an early age. 3. His father was also a lute player.
The study, based on earlier publications as well as the author's own researches, but first of all on unpublished archival research by the late Kornl Brdos, outlines the life of Anton Aloys Durant (ca. 1702-ca. 1709 church musician, tenor at St. Martin of Pressburg; ca. 1709-1721 court musician, tenor and lutenist in the services of the Esterhzys; ca. 1724-1733 again church musician in Pressburg), as well as presenting the few known facts about the early musical activities of his sons.
Furthermore the study also gives a picture of what is known about Paul Charl Durant's life and works in Germany. The author also states, that there no historical evidence for the present day use of his first name in the form "Paul Charles".
A Bartk-emlkv fakszimile kiadsa : Bartk Bla: A kkszakll herceg vra, opus 11, 1911 : autogrf fogalmazvny. Kzreadja Vikrius Lszl 449. - 455. o
Somfai Lszl
Liszt Ferenc ismeretlen dala 457. - 462. o
Korody P. Istvn abstract
An Unknown Song by Liszt
Istvn P. Korody

While preparing for an exhibition about the local author, painter and musician Franz Graf Pocci to mark the 200th anniversary of his, Sigrid von Moisy (Head of the Department of Manuscripts and Old Prints at the Bavarian State Library, Munich) made a new musical discovery in the form of an unknown autograph by Franz Liszt. "When The Last Stars Fade" is a short song (24 measureslong) and was composed on 20th of October 1843 in Munich.
During his concert trip to Southern Germany, Liszt spent two weeks in Munich from the middle to the end of October 1843. He played four official and numerous private recitals in the Bavarian capital. At the same time, Bettina von Arnim arrived in Munich accompanied by her three daughters; Maximiliane, Armgart and Gisela. Liszt and the Arnims stayed at the same hotel, the Bayerischer Hof, where Madame Arnim kept a private salon. This salon became the centre of Munich's social life in the second half of October 1843. Count Franz Pocci also belonged to the circle of Liszt's friends who gathered at the Bayerischer Hof. Even the Bavarian king, Louis I. paid a visit to Liszt and friends at this hotel. One of the von Arnim sisters, Armgart had a fine voice and it is not impossible that she sang for very first time the newly discovered Liszt song. However, the first official performance of the song took place on the 11th of July, 2007 at the Bavarian State Library in Munich. Julianse Banse (soprano) sang with Helmut Deutsch's piano accompaniment.
A Magyar Zene 2007. vi, a XLV. vfolyam tartalomjegyzke 462. - 465. o