Konferencia a 75 ves Krpti Jnos tiszteletre
Ksznt : Krpti Jnoshoz a 75. szletsnapja tiszteletre rendezett konferencin 3. - 5. o
Vikrius Lszl
Bartk s Scarlatti : oknyomozs s hatstanulmny 7. - 29. o
Mikusi Balzs abstract
Bartk and Scarlatti
A study of motives and influence
Balzs Mikusi

The long-held notion that Bartks style presents a unique synthesis of features derived from folk music, from the works of his best contemporaries as well as from the great classical masters has resulted in a certain asymmetry in Bartk studies. This article provides a short overview of the debate concerning the Bartkian synthesis, and presents a case study to illuminate how an ostensibly lesser historical figure like Domenico Scarlatti could have proved important for Bartk in several respects. I suggest that it must almost certainly have been Sndor Kovcs who called Scarlattis music to Bartks attention around 1910, and so Kovcss 1912 essay on the Italian composer may tell us much about Bartks Scarlatti reception as well. I argue that, while Scarlattis musical style may indeed have appealed to Bartk in more respects than one, he may also have identified with Scarlatti, the man, who (in Kovcss interpretation) developed a thoroughly ironic style after he realized the unavoidable loneliness resulting from the impossibility of communicating human emotions (an idea that must have intrigued Bartk right around the time he composed his Duke Bluebeards castle).In conclusion I propose that Scarlattis E major sonata (L21/K162), which Bartk performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartks Third Quartet.
Bartk: „Medvetnc” 31. - 49. o
Vikrius Lszl abstract
Bartk: Bear Dance
Lszl Vikrius

The point of departure for the investigation in this article is a closer look at „Bear Dance” as a nineteenth-century character piece exemplified by Schumann’s two related compositions in A minor, Twelve Pieces for Four Hands, op. 85, no. 2 and its rudimentary early version, for piano solo, composed for the Album for the Young but only published posthumously, as well as Mendelssohn’s F major occasional piece (available only as a facsimile in the Musical Times of 1909). These pieces are all characterized by a very low ostinato-like tone-repetition in the base (recalling the clumsy movements of the bear in Schumann’s piece while imitating the leader’s drumming in the Mendelssohn) and melody with the range of an octave in high register, an obvious imitation of the leader’s pipe tune.
Bartk obviously had the same type of genre piece recalling the popular bear dance when he composed his closing piece for the Ten Easy Piano Pieces (1908), an early realization of his „ostinato” movements (see especially the „Ostinato” in Mikrokosmos) thereby turning the amusing topic to something more serious, even wild and eerie. „Bear Dance” is of course closely related to the compositions (such as Bagatelles nos. 13 and 14) coming out of the composer’s personal crisis due to his unrequited love to the violinist Stefi Geyer, and it also uses a version (D-F#-A#-C#) of the leitmotiv (D-F#-A-C# or D-F-A-C#), generally named after Geyer by theorists, as a central harmony to the piece. The employment of characteristics derived from folk music (kansztnc [swinherd’s dance] or kolomeika rhythm, strophic structure, etc.) is analyzed as well as the composer’s modernist preference for harmonies integrating minor second/major seventh clash and large-scale tritonal tensions (e.g. D organ point in the first section and Ab pedal in the first trio).
The composition and publication history of the piece is reinvestigated on the basis of documents, letters and compositional manuscripts, partly unpublished so far. The piece, performed often at the composer’s recitals together with „Evening in Transylvania” from the same set, also proved to be a central point of reference for the most important Hungarian poet of the interwar period, Attila Jzsef, who not only wrote a significant poem in 1932 inspired by Bartk’s composition and entitled a volume of poetry after it but also collected his initial thoughts for a planned aesthetic discussion of Bartk’s music under the same title.
Bartk’s encounter with a distinctly different type of music for a ritual solo dance for peasant lads in Romanian villages of Transylvania is further touched upon, since he also called one of his arrangements of a violin piece, the second, middle, movement of the Sonatina (1915) a „Bear Dance”.
An English version of the article is due to be published in Studia Musicologica later this year.
Erdly tallkozsai Schnberggel s iskoljval 51. - 60. o
Lszl Ferenc abstract
Siebenbrgens Begegnungen mit Schnberg und seiner Schule
Ferenc Lszl

Die erste siebenbrgische Auffhrung eines Schnberg-Werkes fand in Kronstadt (rum.: Braşov, ung.: Brass) am 18. September 1913 statt, als Helene und Emil Honigberger einen Modernen Liederabend gaben, dessen Programm mit einem Brahms-Lied begann. Aus der Zwischenkriegszeit konnte bis dato auch nur eine einzige Schnberg-Auffhrung dokumentarisch belegt werden: Am 14. November 1932 fhrte der Kronstdter Immanuel Bernfeld zwei Stcke aus dem op. 19 auf. In den Jahrzenten der Totalitarizmen wurde Schnberg als Jude und Vertreter der entarteten Kunst, nachher als dekadenter Formalist, gleichzeitig aber auch wegen dem Konservativismus der (1920 von Rumnien einverleibten) historischen Provinz nicht aufgefhrt. Bemerkenswert ist, dass ist fortschrittlich gesinnten Komponisten Siebenbrgens emigriert sind: Zeno Vancea und Marţian Negrea haben sich in Bukarest niedergelassen, Heinrich Neugeboren ist nach Paris, Alexander Boskovits nach Israel, Rudolf Wagner-Rgeny und Norbert von Hannenheim sind nach Berlin ausgewandert, wo Letzterer zu einem reprsentativen Vertreter der Schnberg-Schule wurde. Erst infolge des ideologischen Tauwetters konnte im Frhjahr 1964 ein Schnberg-Essay des Verfassers verffentlicht werden, das vorwiegend auf Jnos Krptis 1963 in Budapest erschienenen Monographie basierte. Ab 1964 waren auch Auffhrungen symphonischer Werke der Wiener Schule mglich. Schnberg, Berg und Webern sind seitdem in Siebenbrgen neben den kanonisierten Bartk und Enescu angenommene wann auch bis heute keine beliebte Komponisten.
„Was die Wahrheit ist…” : Richard Strauss Elektrjnak magyar sajtvisszhangja 61. - 70. o
Mesterhzi Mt
Kodly s a zenetrtnet 71. - 92. o
Dalos Anna abstract
Kodly and Music History
Anna Dalos

The 20th century witnessed many composers turning to music of earlier ages, and some seeking the possibility of drawing afresh on their own musical past in their compositions too. One of the first writers on Zoltn Kodly, Bence Szabolcsi, argued that Kodlys recourse to history was an attempt to compensate for missing links in Hungarian music history. The study here is based on analysis of Kodlys compositions (Hry Jnos, Dances of Galanta, Peacock Variations, Te Deum of Budavr, Huszt) and writings in order to illuminate the way that the citing of historical styles served as a device for evaluating the nations history, and for critiquing its present and future. The study marks out two turning points in Kodlys oeuvre in this context. First, after 1920 when Kodly used music history to redefine Hungarianess, and second, after his neoromantic turn in 1936 when he looked at romanticism as a way out of the cul-de-sac he perceived in the contemporary situation.
Kurtg: 8 krus Tandori Dezs verseire, op.23 (1981-84) (kzr. Varga Blint Andrs) 93. - 95. o
Kalmr Lszl
Commedia dellarte s bbjtk : az irrealits-lmny Lajtha Capriccio cm balettjben 97. - 108. o
Solymosi Tari Emke abstract
Commedia dellarte and Puppet Theatre
The Experience of Irreality in the Ballet Capriccio by Lajtha
Emke Tari Solymosi

The ballet Capriccio (Farce danse - Puppet theatre, op. 39, 1944) by the Hungarian composer Lszl Lajtha (1892-1963) has not yet been the subject of research. The ballet was written with the purpose of providing an inner escape in an almost unbearable historical period. Its plot is a typical commedia dellarte, placed in the 18th century and presented by puppets, and it is one of the most mysterious pieces of his oeuvre. There are only a few data about its formation, it has never been choreographed, nor premiered on stage, and its score has not been published. There are several versions of the libretto but it is not perfectly clear who wrote them. This is one of the two pieces by Lajtha which were originally composed for piano four hands. Is it possible that Lajtha intended this composition for a puppet theatre? If so, which one? In attempting to answer these questions, the study provides several new data on the Hungarian puppet theatre in the first half of the 20th century, mainly on the National Puppet Theatre directed by Istvn rpd Rv, and especially on its musical connections.
Taln mgsem marad torz : megjelent Bartk Bla npzenei rendjnek msodik ktete 109. - 112. o
Richter Pl
Egy vndor cseprg vidki fellpsei Franciaorszgban : Franz Liszt un saltimbanque en province 113. - 117. o
Hamburger Klra