Bartha Dénes-Konferencia
Bartha Dénes 1908-1993 : egy magyar zenetudós Amerikában 349. - 352. o
Somfai László abstract
Dénes Bartha 1908-1993
A Hungarian Musicologist in Amerika

The opening address of the conference focuses on Dénes Bartha's legendary appearance at the 1961 New York congress of the International Musicological Society, and his last active teaching period between 1964 and 1981 in the USA, the least known chapter of his scholarly activity in Hungary.
A variáció mint formai reflexió : a Goldberg-variációk és a zenei forma 353. - 366. o
Fazekas Gergely abstract
Variation as a Reflection on Form
Question of form in the Goldberg Variations
Gergely Fazekas

"Musical form" is applied in the literature of music theory to two fundamentally different concepts: form as a totality of features that individual works have in common, and form as a constituent that makes a single work unique. Since this differentiation is a theoretical construction of the early 19th century, it can only be applied to the music of Johann Sebastian Bach with reservations. The present essay, however, argues that this dichotomy was already present in the musical thought of the first half of the 18th century and it can be used as an effective tool in the analysis of the Goldberg Variations. The analysis focuses on the formal design of the individual variations and the way they reflect the inherent formal relations of the fundamental bass, the so-called "theme" of the work. It is shown that contrary to the 18th century tradition of the "aria+variations" genre, where the theme appears through the variations in different guises but fundamentally unchanged, the Goldberg Variations - as examined from the viewpoint of musical form - seem to demonstrate the old Aristotelian distinction of actuality and potentiality: the different formal designs that appear as actual in the individual variations were potentially already there in the theme.
Miért Miracle Haydn 96., D-dúr szimfóniája? 367. - 373. o
Kárpáti János abstract
Why Haydn's D Major Symphony No. 96 is a "Miracle"?
János Kárpáti

One of the most important issue of Dénes Bartha's scholarly output is the fact that he consequently fighted against a petrified, up to now living theory of Adolf Bernhard Marx. Summing up Bartha's statement, those structures defined by Marx "dreiteilige Liedform" are, as a matter of fact, either "dreiteilig", nor "Liedform". The second movement of the Symphony in D major - although it does not figure among Bartha's examples - a brilliant model of the actual four-part structure, opposed to the three-part dogma. Further examples are provided how well the term enjambement introduced by Bartha serve the orientation in musical structures. And finally - presenting some analitical remarks about splendid economy, harmonic audacity and rich use of solo instruments of the symphony - , I try to prove that the erroneously attributed nickname "Miracle" can be really justified from musical side.
A posztbarokk Mozart, hangszerszólós áriái tükrében 375. - 382. o
László Ferenc abstract
The Post-Baroque Mozart
as reflected in his arias with instrumental solos
Ferenc László

The aria with instrumental solo (in Mozart's mother-tongue: "Arie mit obligatem Instrument") is a type characteristic of the baroque era. There are hundreds of such arias in Bach's cantatas. However, there are just a few works of Mozart where he succeeded in integrating it into his own style - labelled as classic by posterity - in a way where the equilibrium of vocal and instrumental solos lives up to the great baroque paragons (K 490, 505). Sometimes the instrumental solos encompasses part of the aria only (K 74a[87]/13, K 418), is a mere decorative accessory (K 74a [87]/13, 621/9, 621/23), or even an ostentatious showpiece at the cost of the vocal solo (K 612). The choice of the instrument (trombone, oboe, horn, violin, piano, double-bass, clarinet, basset-horn) might have been suggested by the lyrics on one occasion only (K 35/5), in the majority of cases it was incidental and personalised. The formal typology of these pieces progresses from the baroque Da Capo (K 35/5) and the slow-fast-slow-fast four-section sonata layout known from the works of Corelli, Teleman and others (K 46a[51]/9) through the ABACA rondo (K 208/10) to the slow-fast two-movement layout which was also referred to as a rondo (and mainly spelt Rondò) in Mozart's mature era.
Strófaszerkezetû témák, quatrain, Liedform : Bartha Dénes elméletérõl 383. - 393. o
Somfai László abstract
Stanza Structure, Quatrain, Liedform
Dénes Bartha's Concept
László Somfai

In the last decade of his active years, teaching in the United States, between 1967 and 1976 Dénes Bartha published six studies in German and English (listed on p. 386) on a special formation of themes primarily in the instrumental music of Haydn and Beethoven, but also of Mozart. As a criticism of Riemann's "period" (Periode) theory, he demonstrated that the structure of several opening themes of the finale in symphonies and string quartets - but also the contours of subsequent themes, in other genres and other movements too - were closely related to the four-line structure of a stanza (quatrain in French). This phenomenon, familiar from folk song and popular dance music already in the 18th century, often combined with the rhythmic pattern of the contredanse, was the focus of Bartha's interest. He used refined analytical methods borrowed from the vocabulary of Hungarian ethnomusicology; he marked the "lines" of a "stanza" with numbers 1. 2. 3. 4., or according to the content as AABA form, etc. (see examples 1 and 2-3). Critics of his concept pointed out that for the sake of a perfect stanza Bartha often focused on a truncated short form of the actual theme (the first phrase, the first half of a period). Another criticized aspect of his theory is that Bartha extended the classical German Liedform (a // b+a), viewed as a large-sized version of the AABA stanza, to apply also to complete movements, and suggested that a characteristic feature of the classical style was not so much the sonata-form principle as the stanza principle.
Szabad és "szabad" variációk Dohnányi Ernõ mûveiben 395. - 410. o
Kusz Veronika abstract
Free and "Free" Variations in Dohnányi's Works
Veronika Kusz

The variation form played a central role in Ernst von Dohnányi's musical ouvre: the composer utilized it very often from his earliest years until his last opus. In one of his most popular pieces, the Variations on a Nursery Song (op. 25), Dohnányi wrote free character variations on an internationally known children's song. It is important to note, however, that in contrast to the reputation and popularity of the work, he rarely employed this type of variation strategy. Though one can find many Dohnányi variations that are apparently liberated from their themes, the freedom of these examples derives from a basically different musical conception. The first type of these "free" variations follows the strategies of Beethoven's developmental variations (also called "formal outline' , "fantasy" or "free" variations) by excerpting a musical motive (a "variation seed") out of the theme, developing it, and creating a texture so different from the starting point that it actually seems to be a "free" variation. A second type appears in multi-movement instrumental cycles, in which Dohnányi recalls a motive or a theme of another movement, and uses the strategy of free variations as a device to organize the cycle. This study examines these types of "free" variations in Dohnányi's Variations and Fugue on E. G.'s Theme (op. 4) and Symphonic Minutes (op. 36).
Az Erasmus-Kollégium konferenciája
Mit hallott Esdras Edzardi? 411. - 423. o
Pintér Tibor abstract
What Did Hear Esdras Edzardi?
Tibor Pintér

The main aim of the article is to reconstruct a musical performance of a sacred concerto "Wer is der, so von Edom kömmt" by the Collegium Musicum, Hamburg, which took place between 1660 and 1674. It's source is to be found in Johann Mattheson's Der Vollkommene Capellmeister. The basic question is the authorship of the performed sacred concerto. Mattheson relates it to Matthias Weckmann, but according to several other researches this piece is written by Sebastian Knüpfer. The author of the article investigates all the sources and references of the work and the possibilities of the authorship. As there is no final answer to the questions the author looks into a manuscript which is definitely a work by Sebastian Knüpfer. The entire manuscript is worth publishing. Paradoxically the main result of these philological analyses is not proving the authorship but rather the finding of the manuscript itself.
Hogyan gyõzzük le a Napot? : egy futurista operáról 425. - 440. o
Ignácz Ádám abstract
How to Beat the Sun?
Reflections on a futurist opera
Ádám Ignácz

My paper focuses on an composition of the Russian avantgarde of the early 20th century. The work - a futurist opera titled "Victory Over the Sun", first performed it 1913 - was co-composed by Alexei Kruchenykh, Kasimir Malevich and Mikhai Matyushin. I present information about the genesis and reception of this composition. I attempt to reconstruct the intentions of the composers and discuss the difficulties of classifying the piece as belonging to the genre of opera. In connection with this I also discuss the ambiguity of the genre itself and argue that thi: futurist work - a representative piece of various avantgarde aspirations - is in fact an heir to the Romantic idea of the Gesamtkunstwerk.
Zene és szemlélet 441. - 450. o
Csobó Péter György abstract
Music and Intuition
Péter György Csobó

The paper discusses an essential problem of musical reception: what are the cognitive and perceptual conditions of musical interpretation. The reflection of this problem in the history of musical aesthetics was linked with the adaptation of the intuition concept, and with the epistemological rethinking of a perceptional hierarchy. The problem moved in the 19th century from the antinomian concept to dialectical immediacy: the disagreement of the plastically - musically, beauty - sublime, and interpretation as survey or as feeling overshadowed the dynamic concept of acoustical intuition (E. Hanslick) and the intentional concept of acoustical intuition (H. Riemann). As a result of this, transfiguration indicates intuition as cognitio sensitive acusticae, a special forma of musical reception and the object of this reception forma coexists before and after music.
Vázlatok-fogalmazványok Dohnányi Ernõ kézirataiban 451. - 470. o
Kovács Ilona abstract
Sketches and Their Characteristics in Ernő Dohnányi's Manuscripts
Ilona Kovács

In many cases sketch-studies are like deciphering a difficult puzzle. To solve these riddles by reconstructing the compositional process one needs a big amount of patience and practise. No doubt, however, it is worth devoting time to sketch research, because as Nietzsche put it in his Untimely Meditations: "To understand the picture one must divine the painter."
The first half of the study focuses on general description of Dohnányi's sketches that can be found on single sketch leaves or in bundles of bifolios, and more rarely in sketchbooks. It also provides with a detailed list of musical symbols and other signs in these manuscripts that were frequently used by the composer.
Since nobody researched Dohnányi's sketches so far, the second half of present study attempts to sort out the main types of them. Not only distinguishes the major types of sketch items, but gives clear illustrations, as well. The aim of this study is to provide a basis for further research that would contribute to a better understanding of Dohnányi's compositional process.
Vadászat jelentésre : (Jelentés egy zeneszemiotikai magaslesbõl) : Raymond Monelle: The Musical Topic. Hunt, Military and Pastoral 471. - 476. o
Veres Bálint
A Magyar Zene 2008. évi tartalomjegyzéke 477. - 480. o