Több színpad - egy zongora : eltérő eredetű témák egyazon műbe való integrálási kísérletei Liszt műhelyében 121. - 138. o
Gyarmati Eszter abstract
Several Stages - One Piano:
Liszt's attempts at integranting themes of different origins into a single work
Eszter Gyarmati

The following study explores an aesthetic problem that haunted Franz Liszt for decades, and remained unresolved in many instances: the integration of themes of different origins in a single work. I propose that the "Maometto-Mosè Fantasy", the Valse à capriccio sur deux motifs de Lucia et Parisina, the Variations de bravoure pour piano sur des themes de Paganini, the Fantasie über Motive aus Figaro und Don Juan and the God Save the Queen. Paraphrase de concert all reflect the composer's intense concern with this idea. Analyses of these works suggest that Liszt was able to satisfactorily solve the problem of integration only if he could rely on some kind of "outside" musical help, like the common genre of the waltz in the Valse à capriccio; or if he succeeded in "sublimating" one of the themes, as in the case of God Save the Queen. For want of such extraordinary solutions, all other compositions that experimented with the integration of themes of different origins in the late 1830s and early 1840s were eventually buried in oblivion by Liszt himself.
Beteges és csúnya muzsika vagy magasabb rendű művészet felé mutató iránytű? : Debussy fogadtatása Magyarországon (1900-1918) 139. - 154. o
Fazekas Gergely abstract
Ailing and Ugly Music or a Compass Pointing Towards a Purer Art of Superior Quality?
The early reception of Debussy in Hungary (1900-1918)
Gergely Fazekas

It is sufficiently documented how Kodály and Bartók discovered the music of Claude Debussy in 1907, albeit Debussy's music had not been unknown in Hungary at least since the first performance of his String Quartet in the autumn of 1905. The present essay gives a survey of Debussy's early critical reception in the Hungarian press from the first Budapest performances of his works until the obituaries of 1918; Debussy's visit to Budapest at the beginning of December 1910 is discussed in detail. Though the majority of the press was not really open to Debussy's new music, there were some supporters and knowledgeable enthusiasts of his art right from the beginning; moreover, the Royal Hungarian Opera. House was to premiere Pelléas et Mélisande as early as the 1908-1909 season but for unknown reasons this was postponed until 1926. By the end of the first decade of the 20th century, Debussy was acclaimed in Hungary as one of the most important composers of the new music, though the lasting value of his art was then open to doubt. But his aesthetics was considered a model by the representatives of new Hungarian music and their devotees; as Kodály put it in 1918, "his compass points towards a purer art of superior quality".

"СЛЫШАТСЯ ДУМЫ" : Muszorgszkij hangzó gondolatai 155. - 165. o
Papp Márta abstract
The sounding thoughts of Musorgsky
Márta Papp

János Kárpáti said during a bygone Opera history class that for him the most clear and most powerful musical expression of a verbally unarticulated thought appeared in Boris Godunov: the sudden thought occurring to Grigori regarding the opportunity of seizing the Tsar's power when Pimen says in the Cell Scene: "He would have been the same age as you and have ruled". The theme of this thought expressed in music will become the Leitmotiv of the opera. The Leitmotiv-like reoccurrence of the theme of the Prelude in Khovanshchina near the end of Act II., when Marfa says "Thank God, Peter's soldiers had arrived in time and captured [the assassin]" sounds like a similarly powerful musical allusion. But what does it mean? What interpretations and misinterpretations has it evoked during the career of the opera so far?
Bartók 2. vonósnégyese és Kodály "útbaigazítása" 167. - 182. o
Somfai László abstract
Bartók's 2nd String Quartet and Kodály's "Critical Faculty"
László Somfai

Between 1906 and the end of the 1910s Bartók often discussed his new works with Kodály. Scattered penciled notes in manuscripts and proofs, or comments in Kodály's letters document some of the suggestions. The most important and extensive part, however, took place in their private discussions. In a deleted section in the draft of his article on Kodály, in 1921 Bartók intended to mention three scores in which his friend's "critical faculty" helped him finding a form that was more perfect than the original, as his manuscripts prove it, he added. Bartók referred to the insertion of mm. 38-84 in "Bear Dance", the revision of an unspecified section in the second movement of String Quartet no. 1, and in the second movement of String Quartet no. 2. The present study for the first time identifies these improvements in the quartets: the insertion of 17 new measures (instead of 27) after 17 in Mov. II of the First Quartet, and the recomposed last 197 mm. of Mov. II of the Second Quartet, a ¾ (in the coda 6/4) version of the original 2/4 music. In addition I demonstrate some of Kodály's critical comments in the autograph manuscripts of Mov. I of the First, and Mov. III of the Second Quartet.
Bartók és Kodály: A 2. szonáta és a Triószerenád kapcsolatáról 183. - 196. o
Szabó Balázs abstract
Bartók and Kodály: On the Connection between Sonata No. 2. and Trio-Serenade
Balázs Szabó

During the past decade quite a few papers have been published on the two sonatas for violin and piano of Bartók that illustrate the composer's attempt to rethink the fundamental principles of the genre and his innovative approach to classic form models. Apart from formal aspects, analysts reviewed the works from many angles, from the thematic independence of the two instruments and the compound issue of monothematic compilation to the various methods of using the folk music material and the aspects of harmony and performance technique.
The question remains whether Bartók, well known for his habit of preparing for the process of composing his new works by thoroughly assessing the repertoire, had had any role models that could consciously or unconsciously have influenced him in the way he prepared the concept of the two sonatas, especially that of the second. Based on a report on the events of the Hungarian music scene sent by Bartók to New York in 1920 it seems that Kodály's Trio-Serenade op. 12., whose first performance was in April the same year, had excited him also in this respect. The present paper is an attempt to demonstrate the possible formal and dramaturgic correlation of Serenade and Bartók's Sonata No. 2.
Hangzó síremlékek : Gyászkompozíciók a kora újkori délnyugat-német temetési nyomtatványokban (ford. Schmidt Zsuzsa) 197. - 207. o
Kremer, Joachim
Joachim József és Goldmark Károly : két zsidó muzsikus párhuzamos életrajza a történelmi Nyugat-Magyarországról (ford. Mesterházi Máté) 209. - 222. o
Winkler, Gerhard J. abstract
Joseph Joachim and Carl Goldmark: Two "Parallel" Curricula of Jewish Musicians from the Region of Historical Western Hungary
Gerhard Winkler

The composer Carl Goldmark (1830-1915) and the violin virtuoso, pedagogue and composer Joseph Joachim (1831-1907) are born nearly within one year's space and spent a part of their childhood in the region of former western Hungary (within the borders of today "Burgenland"). Both were German-speaking western Hungarians with Jewish origins, related to the famous "Seven holy Jewish communities" on the princely Esterházy territories. Their names are used to be mentioned when "Jewish" biographies coming out of the region are concerned. The study wants to trace out the parallels between both biographies; it points out the different contexts in which this topic has to be handled with: The "national" problem of German speaking Hungarians in Austrian monarchy, the interferences between the histories of "Austrian" and "German" music, the problems of Jewish acculturation in Vienna and Berlin, the tension between "multicultural" origin and the "monoculture" of German music culture etc.
Linzenpoltz Simon (1752-1797) egy 18. századi veszprémi egyházzenész 223. - 226. o
M. Tóth Antal abstract
Simon Linzenpoltz (1752-1797) a Church Musician of the 18th Century
Antal M. Tóth

Simon Linzenpoltz (1752-1797) was in service by the bishop of Zagreb before he moved to Veszprém in the early 1790s where he became composer and succentor. He played a significant role in development of the music scene of the cathedral. In his own collection of notes one can find pieces of the most important composers of the century, like Carl Philipp Emmanuel Bach, Joseph and Michael Haydn, Mozart, Pleyel, Wanhall, Benedek Istvánffy among many others. Following his death, all these notes got to the inventory of the cathedral. Based on his eight own compositions available as manuscripts at present, Simon Linzenpoltz could be regarded as an internationally prepared composer of the rococo, early classical style. Until the 1870s his works were played regularly in Veszprém.
Liszt Ferenc utolsó napjai : növendéke, Lina Schmalhausen kiadatlan naplója alapján bevezette, jegyzetekkel ellátta és szerkesztette Alan Walker 227. - 231. o
Hamburger Klára
A Kodály-emlékév tanulmánykötete : Berlász Melinda (szerk.): Kodály Zoltán és tanítványai 233. - 235. o
Paksa Katalin