Magyar Zene : zenetudományi folyóirat

Cím	Abstract	Folyóirat	Oldalszám
„...múljék el e pohár én tõlem...” : Cantata profana és Máté evangélium	-	1999., 37. évf. 2. szám	153. - 159.o
„Orfeo” és „Euridice” : változatok egy témára	-	1971., 12. évf. 4. szám	383. - 395.o
„Orfeo” és „Euridice” II. Prológus Firenzében és Mantovában : az énekbeszéd születése	-	1972., 13. évf. 1. szám	16. - 23.o
„Termékeny közszellemet, szabad polifóniát, felszabadult tavaszi légkört...” : Szabolcsi, a zenepolitikus	-	1980., 21. évf. 4. szám	402. - 410.o
A hangversenyrendezés államosítása Magyarországon	-	1988., 29. évf. 4. szám	430. - 444.o
Bartók levélváltása R. St. Hoffmann-nal	-	1974., 15. évf. 2. szám	134. - 185.o
Forma-modell és személyiségstruktúra Mozart áriáiban	-	1974., 15. évf. 1. szám	51. - 58.o
Kodály és a zenés színpad : elõzmények és következmények	-	1978., 19. évf. 4. szám	378. - 384.o
Kodály Zoltán kalandozásai Ithakátul a Székelyföldig	abs. The Adventures of Zoltán Kodály from Ithaka to the Székely Land Tibor Tallián Zoltán Kodály has been bound by an intense spiritual relationship to the Homeric epics, in particular to the Odyssey which he had thoroughly studied already as a student at the grammar school (Gymnasium) in Nagyszombat, when he also planned to compose an orchestral work with the title Nausikaa. 1906 he noted in his diary that “the plan for a symphonic poem on the same subject began do down again”. 1907 he composed the song Nausikaa published 1925 as No 2 of Four songs. From 1926 on he seriously considered the composition of an opera on the libretto of Zsigmond Móricz’s play Odysseus bolyongásai (The Wandering of Odysseus) which in its two first acts describes the amours of the hero with Nausikaa and Kyrke, and his return to Penelope in the third. Perhaps in connection with the planning of the opera Kodály sketched some musical ideas for both Nausikaa and Kyrke. The wife of Odysseus waiting faithfully for his husband may have inspired the figure of the Houswife in the second version of Székely fonó (Spinnery) whose pantomimic action was written by the composer. The early version staged 1925 dealt with the ambiguities of matrimony through the allegoric quotation of folk songs like El kéne indulni and the Ballad about the Evil Wife. The 1932 version systematically broadened the discussion on the chances of marriage by triplicating the figures of both man and woman. In working out the sujet Kodály may have been influenced by Móricz’s way of posing the problem of the relation of male and female in the Odysseus-drama.	2008., 46. évf. 3. szám	239. - 250.o
Bayreuth – Interregnum	-	1973., 14. évf. 1. szám	93. - 100.o
Salzburgi tanulságok – Mozart három stílusa	-	1973., 14. évf. 1. szám	85. - 93.o
Salzburgi Ünnepi Játékok, 1973	-	1973., 14. évf. 4. szám	434. - 435.o

The Adventures of Zoltán Kodály from Ithaka to the Székely Land
Tibor Tallián

Zoltán Kodály has been bound by an intense spiritual relationship to the Homeric epics, in particular to the Odyssey which he had thoroughly studied already as a student at the grammar school (Gymnasium) in Nagyszombat, when he also planned to compose an orchestral work with the title Nausikaa. 1906 he noted in his diary that “the plan for a symphonic poem on the same subject began do down again”. 1907 he composed the song Nausikaa published 1925 as No 2 of Four songs. From 1926 on he seriously considered the composition of an opera on the libretto of Zsigmond Móricz’s play Odysseus bolyongásai (The Wandering of Odysseus) which in its two first acts describes the amours of the hero with Nausikaa and Kyrke, and his return to Penelope in the third. Perhaps in connection with the planning of the opera Kodály sketched some musical ideas for both Nausikaa and Kyrke. The wife of Odysseus waiting faithfully for his husband may have inspired the figure of the Houswife in the second version of Székely fonó (Spinnery) whose pantomimic action was written by the composer. The early version staged 1925 dealt with the ambiguities of matrimony through the allegoric quotation of folk songs like El kéne indulni and the Ballad about the Evil Wife. The 1932 version systematically broadened the discussion on the chances of marriage by triplicating the figures of both man and woman. In working out the sujet Kodály may have been influenced by Móricz’s way of posing the problem of the relation of male and female in the Odysseus-drama.

Tallián Tibor

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