scholarly journals From ethnomusicologist to composer. Sándor Veress and the Moldavian Collection

2020 ◽  
Vol 22 (1) ◽  
pp. 245-261
Author(s):  
Ioana Baalbaki
Keyword(s):  
Chamber Music ◽  
Hungarian Academy ◽  
Folk Songs ◽  
Bela Bartok ◽  
Carpathian Mountains ◽  
Zoltan Kodaly ◽  
Catholic Faith

AbstractAs a student of Zoltán Kodály and Béla Bartók, but also a close collaborator of László Lajtha at the Hungarian Ethnographic Museum in Budapest, and later of Béla Bartók at Folk Department of the Hungarian Academy of Science, Sándor Veress followed the path of his masters regarding the relation with folklore music. In 1930, he undertook an expedition in Moldavia, Romania, to collect music from the Csángó population, a small Hungarian speaking community, of catholic faith, living in the east of the Carpathian Mountains. In the seven villages he has visited, he collected, with the help of the phonograph, 138 folk songs on 57 wax cylinders, taking in the same time around 60 pictures and documenting the whole expedition in a journal. Following this journey, during the 30’s, Sándor Veress not only transcribed and analyzed the entire material, but also selected some of the melodies and used them as theme for his own choir arrangements and chamber music compositions.

Zur Sammlung der Soldatenlieder von Bartók und Kodály, erstellt 1918 im Auftrag des k. u. k. Kriegsministeriums

2009 ◽  
Vol 50 (1-2) ◽  
pp. 99-134
Author(s):  
Olga Szalay
Keyword(s):  
World War I ◽  
Hungarian Academy ◽  
Music History ◽  
Bela Bartok ◽  
Zoltan Kodaly ◽  
History Of Research ◽  
The Press ◽  
New Development ◽  
History Of ◽  
Academy Of Sciences

In the last years of World War I, Béla Bartók and Zoltán Kodály compiled a folksong selection One Hundred Hungarian Soldiers’ Songs from their own collections, requested by the Centre for Music History of the Monarchy’s War Ministry in Vienna. The collapse after the war interrupted the publication already in press. Parts of the song collection Kodály asked back in 1921 were returned in 1940 through diplomatic intervention. Later the manuscript was lost, but some parts have been found in the Kodály estate recently. However, the tunes are still latent; not even Kodály knew in his last years where they were. The present paper discusses the circumstances of the volume’s genesis and fate, and as a new development, the process of reconstructing the music section on the basis of the segments of the manuscript found in the estate (introduction and list of sources), the folksong collections of the Institute for Musicology of the Hungarian Academy of Sciences (Bartók-and Kodály-Systems) and the earlier researchers of the author concerning Kodály’s collection. The collection is an important document of Hungarian folk music history and the history of research. It is also the only collection of the series initiated by the Centre for Music History that was ready for the press as the next volume after Bernhard Paumgartner’s 100 deutsche Soldatenlieder published in 1918.

scholarly journals The Harmonization of Folk Songs in Kodály’s Workshop

2020 ◽  
Vol 60 (1-4) ◽  
pp. 265-279
Author(s):  
Pál Richter
Keyword(s):  
Folk Music ◽  
Folk Songs ◽  
Folk Song ◽  
Bela Bartok ◽  
Western Music ◽  
Zoltan Kodaly ◽  
Depth Analysis ◽  
Folk Song Arrangements

When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.

From Pure Source Only – Collection of Hungarian Folk Songs Project

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 277-286
Author(s):  
Zoltan SZALAY
Keyword(s):  
Folk Songs ◽  
Folk Song ◽  
Bela Bartok ◽  
Song Repertoire ◽  
Zoltan Kodaly ◽  
Entire Collection ◽  
The Everyday ◽  
Hungarian Population ◽  
Selection Of

The collection contains a selection of folk songs from the Hungarian population living in Romania. Of the four volumes planned, three have been published so far. The entire collection is expected to span 18 regions and 3 micro-regions, as well as a strip of hundreds of kilometers from Transylvania and other areas outside Transylvania. These include some more developed areas which abandoned their traditions in the first half of the last century, and some more traditional regions. The first three volumes comprise folk songs from 174 localities, collected by 126 collectors, including Béla Bartók, Zoltán Kodály, László Lajtha, János Jagamas and Zoltán Kallós. The collections took place between 1899 and 2017. The melodies have been selected from the archives of Transylvanian and Hungarian institutions, as well as from audio materials accompanying various publications. In this selection I have tried to add as many songs as possible which belong to the old strata of folk songs. I have tried to include as many pentatonic melodies as possible because these strata predominantly feature this scale. Also, in the last century the everyday folk-song repertoire shifted toward a fixed-rhythm performance mode. An ancient form, with its speech-like mode of performance, is now in the process of being lost. Therefore, the number in the published volumes is smaller than that of the folk songs performed in a tight rhythm.

“Bartók always called me Latin”: The Influence of Béla Bartók on László Lajtha's life and art

2007 ◽  
Vol 48 (1-2) ◽  
pp. 215-223 ◽  
Author(s):  
Emőke Tari Solymosi
Keyword(s):  
Folk Music ◽  
Film Music ◽  
Hungarian Academy ◽  
Compositional Style ◽  
Bela Bartok ◽  
Mutual Respect ◽  
French Academy ◽  
Latin Culture

Abstract Bartók's influence on his outstanding Hungarian contemporary, László Lajtha (1892–1963) remains as yet largely unresearched. Lajtha studied with Bartók at the Royal Hungarian Academy of Music and went on to become a composer, folk music researcher, versatile teacher, international cultural ambassador, and member of the French Academy. The two men's friendship and mutual respect lasted throughout Bartók's life. Among the leading musicians of the time, it was Bartók who first expressed his high opinion of the younger composer's talent. Bartók's influence can be observed in almost every field of Lajtha's work. For example, it was Bartók who recommended that Lajtha choose Paris as the place to complete his studies, which fostered in turn Lajtha's orientation toward Latin culture. Following in Bartók's footsteps, Lajtha became one of the greatest folk music collectors and researchers in Hungary, and this music also exerted a significant effect on his compositional style. Bartók recommended that the director Georg Hoellering commission Lajtha to write film music, which became an important new genre for the latter. A large number of documents — especially the unpublished letters from László Lajtha to John S. Weissmann, one of his former students — offer proof that Bartók's inspiration and practical assistance were of paramount importance to the development of Lajtha's career, oeuvre, and aesthetics.

Was ist "echte" ungarische Volksmusik?

2021 ◽  
Vol 61 (1) ◽  
pp. 16-25
Author(s):  
Bálint Sárosi
Keyword(s):  
Bela Bartok ◽  
Zoltan Kodaly

Schon Béla Bartók und Zoltán Kodály haben versucht, das ungarische Volk musikalisch zu "erziehen", indem sie dem Volk nur besonders ausgewählte Lieder darboten. Doch dieser Versuch blieb, wie auch spätere, erfolglos, da das Volk die Volkslieder nur zur Entspannung und Unterhaltung gebraucht. Dies findet es insbesondere in der Zigeunermusik, die auch echte ungarische Volksmusik ist. Ungarische Volksmusik kennt man seit langer Zeit überall auf der Welt durch die Zigeunermusik, die ihre Ursprünge in Ungarn im 15. Jahrhundert hat. bms online (Mano Eßwein)  

Bartók as Man of Letters

Tempo ◽  
1972 ◽  
pp. 10-16
Author(s):  
Benjamin Suchoff
Keyword(s):  
Folk Music ◽  
Art Music ◽  
Musical Instruments ◽  
Bela Bartok ◽  
Educational Institutions ◽  
Zoltan Kodaly

Bartok's literary efforts range from books and monographs to shorter essays. According to recent findings, there were no less than 119 extant works. Some of them were written in collaboration with Zoltán Kodály or Sandor Reschofsky; others were originally drafted as lectures which were for the most part given on the radio or at educational institutions.Bartók's first essay apparently appeared in print in Budapest in 1904. It is interesting to note that except in 1907 and 1915, at least one of his writings was published each year of his life, in a considerable number of languages, and frequently in widely-known journals. His essays may be divided, according to their topics, into eight basic categories (although there is some overlapping): I. The Investigation of Musical Folklore; II, National Folk Music; III, Comparative Musical Folklore; IV, Book Reviews and Polemics; V, Musical Instruments; VI, The Relation Between Folk Music and Art Music; VII, The Life and Music of Béla Bartók; and VIII, Bartok On Music and Musicians.

Béla Balázs: The Face of Cinema

October ◽  
2014 ◽  
Vol 148 ◽  
pp. 53-62 ◽  
Author(s):  
Noël Carroll
Keyword(s):  
Walter Benjamin ◽  
Max Weber ◽  
Bela Bartok ◽  
Georg Simmel ◽  
Zoltan Kodaly ◽  
Karl Mannheim ◽  
Sergei Eisenstein ◽  
Michael Curtiz ◽  
The Face ◽  
Gyorgy Lukacs

Herbert Bauer, known to the world as Béla Balázs (1894–1949), led the sort of life about which contemporary intellectuals might fantasize. He knew everyone and he did everything. Born in Hungary, he included György Lukács, Karl Mannheim, Arnold Hauser, Béla Bartók, and Zoltán Kodály in his circle, among others. He knew the filmmakers Alexander Korda and Michael Curtiz before their names were Anglicized. He studied with Georg Simmel and met Max Weber. As time went on, he came, so it seems, to know virtually every major European intellectual—Stefan Zweig, Robert Musil, Walter Benjamin, Sergei Eisenstein, Erwin Piscator, and on and on. He lived in the midst of a universe of conversation that dazzles us as we look back enviously upon it.

Berthierite from Kisbánya, Carpathians

1934 ◽  
Vol 23 (145) ◽  
pp. 566-568
Author(s):  
Victor Zsivny ◽  
László Zombory
Keyword(s):  
Hungarian Academy ◽  
Carpathian Mountains ◽  
Academy Of Sciences

The mineral berthierite has hitherto been known from two localities in the region of the Carpathian Mountains. It was first recorded by A. Löwe in 1847 from Aranyidka in the Hungarian comitat Abauj-Torna, where it occurred' massive and disseminated, columnar and fibrous, with jamesonite and stibnite'. Much later, about 1908, J. Krenner recognized it from Felsőbánya in the Hungarian comitat Szatmár but his paper describing it, which was read before the Hungarian Academy of Sciences on October 19, 1908, was not published until after his death.

Rhapsody (On Folk Songs harmonized by Bela Bartok) for Viola and Orchestra. Viola and Piano Reduction

Notes ◽  
1951 ◽  
Vol 8 (4) ◽  
pp. 754
Author(s):  
Abram Loft ◽  
Tibor Serly
Keyword(s):  
Folk Songs ◽  
Bela Bartok
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