[5] “Erich Hecke.” The MacTutor History of Mathematics [10] “Srinivasa Ramanujan.” Wikipedia, The Free Archive. 10 Apr 2006, 02:18 UTC. 29 Apr 2006, 10:11 [7] “Henri Poincaré.” Wikipedia, The Free Encyclopedia. 25 Apr %93Shimura_theorem&oldid=48939074>. 2006, 15:52 UTC. 29 Apr 2006, 18:21 [8] Koblitz, Neal, Introduction to Elliptic Curves and Modular Forms, Graduate Texts in Math. No. 97, Springer-Verlag, New [13] “Andrew Wiles.” Wikipedia, The Free Encyclopedia. 3 May York, 1984. Second edition, 1993. 2006, 19:57 UTC. 3 May 2006, 20:29 [9] “Louis Mordell.” Wikipedia, The Free Encyclopedia. 11 Apr 2006, 10:19 UTC. 29 Apr 2006, 18:12 ...... Hungary has produced the greatest number of successful concert pianists per capita in the world in the last century. Those trained inside of Hungary can be immediately identified by their distinctive approach to the piano, the sound created from the piano, and their technical prowess. Several “piano schools” exist in the world today; their individual styles are often affiliated with their national histories and the character of their different peoples. To classify the unique approach to pianism in Hungary, this paper will trace how the country’s history and connection between Western and Eastern Europe has developed its ideals of piano performance, demanding both stylistic accuracy in performance practice, musical sensibility, and technical perfection. Then, it will examine the educational process of training a young pianist and why it is so effective. The last part of this paper will briefly analyze a set of pieces written by Franz Liszt, Deux Legendes. Liszt is credited with founding the music school in Budapest, and his ideas influence the way music is taught today. By examining these compositions, this paper will also show how his musical ideas reflect those still emphasized today in the Hungarian school of pianism. 214 215 AY 2005-2006 Sandra Doan: The Hungarian School of Pianism piano performance. This has resulted also years of existence. The Austrian empire and despite his elegant and otherworldly Introduction in a unique approach to pianism, with a turned into the Hapsburg’s Austro- mannerism, he was a musician first. As a In the past century, Hungary has produced distinctive sound and approach to the Hungarian Empire, and Hungary enjoyed cosmopolitan figure and connected with the greatest number of performing pianists piano repertoire. privileges as equal partner to Austria, with the major composers and musicians of per capita in the world. Pianists such as Budapest as the counterpart capital to his day, Liszt was also knowledgeable András Schiff, Zoltán Kocsis, and Georges Vienna, until 1918 and defeat in World about and respected the musical Cziffra have virtually become household The Hungarian School War I. It was during this time that a movements of his day, paying attention names. The line of prominent musicians of Pianism cultural rebirth began in Budapest. While especially to Chopin, Berlioz, Wagner can be followed along the long tradition of the city underwent major construction and Verdi. Devotion to the intentions of Hungarian musical life, and the superior Zoltán Kocsic once remarked, “One can of buildings and renovations as a second the composer remains a focal point in level of pianism is the result of the highly immediately recognise pianists from the capital of the empire, musical life also Hungarian piano education today. developed and advanced musical education Hungarian school as, before they’ve even flourished. The birth of the Hungarian However, the Vienna-Budapest system which has today become institution- placed their hands on the keyboard, they are alized into the Hungarian school of pianism. musical tradition present today can connection offered other benefits to given away by the way they hold themselves in be traced to this time, marked by the the classical musical life in Budapest. front of the piano”. emergence of Franz Liszt (1811-1886). Freedom of movement into Vienna, the Several distinctive “national” piano The Hungarian piano school can be schools exist today and can generally be Though most of his life was spent outside musical center of the world with claims attributed to its geographical location, the country, in Austria, France, Germany, to the great classicists – Haydn, Mozart, identified when watching or listening which has affected its political history as to any performer. The style of pianism Switzerland, and Italy, Liszt proudly and Beethoven – meant exposure to the well as cultural heritage. Throughout its claimed his Hungarian heritage and split musical finesse and refinement of Western particular to any country can often history, Hungary has served as a buffer be associated with the music being his time among other cities with Budapest Europe. Hungary’s Golden Age under the zone between Western and Eastern in the final years of his life, helping to dual monarchy and its cultural growth composed there, the nation’s historical Europe, enjoying and retaining the context, and the national character of a establish the Liszt Ferenc Academy of took a Western turn, and a classical music cultural influence of both spheres through Music, then called the Royal Academy of tradition was cemented in Budapest as people The Russian school, for instance, historical changes while maintaining its is characterized by technical brilliance Music. well, especially after the Music Academy own national identity. The Hungarian Liszt can be considered the founder was established. and perfection, moodiness, passion, and style of teaching and performance has also a slight aloofness from the audience, as of the Hungarian piano school, which From 1918, when Austria-Hungary been influenced heavily by both Western among other things, emphasized stylistic was split, and Hungary lost 40% of its typified by its composers and people. Europe and the former Soviet Union. The French school is typically marked by correctness. As a composer himself, Liszt land area, to 1947, when Communism elegance, finesse, and lightness of touch. appreciated the intent of other composers. officially came in the form of a puppet The German piano school is full of weight, Development of the In his own works for piano, every detail is government of the Soviet Union under substance, and warmth. Pianists schooled Hungarian Piano School in denoted in the musical score – phrases are the Hungarian Socialist Workers Party, in the United States are generally creative marked, articulations specified, notes on Hungary was besieged again my shifting and individual in their interpretations, a Historical Context how to play or the sound to create given. unrest, with communists first filling the Such particularity suggests specificity to vacuum, followed by fascists and Nazis. confident, and slightly self-aware. These After years of unrest under Turkish the performer; this habit carried into his After both World Wars I and II, Hungary characteristics are passed down through Ottoman rule and as a province of interpretations of other composers and was devastated by hundreds of thousands generations of private studio lessons and the Austrian Hapsburg Empire, the to his teaching. As a pianist, he also had of military and civilian deaths and near formal university level training. Compromise of 1867 and subsequent an extraordinarily large piano repertoire, total destruction of Budapest. By the 1945 Hungary has also developed its own Dual Monarchy finally brought Hungary spanning from Scarlatti in the Baroque surrender of German and Nazi Hungarian system of teaching and perspectives on into a Golden Age, its only one in 1001 time to his own revolutionary works, troops, 75% of the homes, historical 216 217 AY 2005-2006 Sandra Doan: The Hungarian School of Pianism buildings, and churches had been the Soviet Union, the Russian school of speaking and poetry, with some emphasis execution of difficult pieces. There is a destroyed or severely damaged, including pianism influenced the way music came to placed on Hungarian music. In the strong sensitivity to sound, developed all the Danube bridges linking Buda and be taught. Besides the Music Academy in Hungarian school of pianism, one of through years of ear training and private Pest. Despite these difficulties, though, Budapest, Hungarian musicians had access the most important musical aspects is lessons, and a penchant for a transparent with typical Hungarian perseverance and to the great Russian music conservatories, a knowledge of correct performance clarity and warmth of sound juxtaposed resolve to maintain its national identity, particularly the Moscow Conservatory of practice for not only the different styles together, never with sharpness but elegant world class pianists (as well as composers Music, which was churning out talented (Baroque/Rococo, Classical, Romantic, and light. The emphasis on stylistic and conductors) educated at the Royal pianists like a factory. From the Russian Twentieth century, and Modern) but for correctness goes so far as to differentiate Academy of Music were pouring out school, the technical parts of playing the the major composers within each style. sounds between such close composers of Hungary – György Sébok, Georges piano became very important, though it Apart from reading the score and noting as Haydn and Mozart, Schumann and Cziffra, Géza Anda, György Sándor, would be taught in Hungary differently, specific directions for ornamentation, Brahms, or even different time periods Lili Kraus and Annie Fischer in addition to be discussed later in the paper. The pedaling, and tempi, this requires a of each composer. Pianists well-trained to Sir Georg Solti and Maestro George Russian conservatories had, and still general knowledge of a composer’s whole in this school have a clear and organized Szell – and making known the presence of have, pianists repeatedly practicing scales, repertoire, his intentions in writing, his sense of musical architecture and a Hungarian musicianship. chords, and arpeggios as well as difficult historical and personal perspectives, and sense for the plasticity of melodic and By 1947, Hungary had become a technical passages in the most difficult how he notates. In addition, to perfectly harmonic shape as well as for dealing with satellite of the Soviet Union. In the time works of the piano literature. The trend of perform such piano literature, as became polyphony, every voice singing. Besides between 1947 and 1990, Hungarians flawlessness in performance also appeared necessary in the increasingly competitive the distinct sound, performances are endured (and enjoyed) varying levels of by the 1970s, and only pianists with the world of pianists, technical problems exemplified by a confidence at the piano autocratism, depending on who was in greatest technical skill could create a must be worked out, with emphasis that is yet without unnecessary movement power, though Hungary by the 1970s, performance career. This emphasis on the on finger dexterity, the ability to play or bravura. was already ahead of other Eastern bloc mechanics of playing piano is evident in difficult passages, and create different nations by liberalizing the consumer current Hungarian piano training and has sound worlds with the same 88 keys. market. However, as in most other become part of both private studio lessons The Russians did this with repetitions of Professional satellite states, Hungarians had two and in formal education in the classroom. scales and technical exercises, separating Piano Training primary ways to “escape” – through At the same time, with the typical resolve technique from creating music. Hungarian excellence in either music or in sports. It of the Hungarian character, musicians students are given various difficult works Under Soviet organization, an educational was during this time that Hungary found held onto their musical heritage from to study and find technical solutions to system was instituted that began serious success in the hockey arena, the soccer Liszt, national identity with their folk musical problems. By asking, “How can musical training at a very early age, fields, and in other sports, winning major music and new music coming from I get this particular sound?” – or feeling, resulting in the quality production of tournaments and medals during Olympic Béla Bartók and Zoltán Kodály, and the or to create lyricism out of notoriously world-class musicians, if those identified games. It is also under Communism that poetic musical ideals of a refined Western difficult passages – the student is forced as “musically talented” chose to go that Hungary educated and produced such Europe of which Hungary was once a to come up with a technical way to solve route. With serious specialized musical great musicians today as Zoltán Kocsis, powerful member. the problem. This takes care of both studies beginning in early adolescence, Hungarian music students today far Dezső Ránki, András Schiff, and Jenö technique and musicality. Jándo, all students in the famous class of As a listener, then, what are the exceed their American counterparts the pedagogue Pál Kadosa. A Distinct Sound results of this Hungarian piano school, preparing to enter universities. It was in this time that the modern distinguishing a Hungarian pianist from In primary music schools, students aged This resulted in a distinctive Hungarian Hungarian methods of teaching solidified. the scores of others? Hungarian pianism is six to fourteen, in addition to basic classes method of pianism that uniquely blends With its proximity and connection to characterized by nearly flawless technical like mathematics and reading, are taught technical problem-solving with musical 218 219 AY 2005-2006 Sandra Doan: The Hungarian School of Pianism privately in instrument lessons and begin foreknowledge of stylistic elements. This of piano teaching with methodology, by fine fingerwork passages, which have simple ear training, identifying intervals, work continues through the conservatory which explains technical functions of the to be both clear and blurred in sound to learning solfegge and choral music under years with their private teachers. muscles, hand positions, postures, and create color and effects that evoke the the Kodály method. Zoltán Kodály was The conservatory requires also lessons other physical elements of pianism to subject matter. In St. Francois d’Assise. La a Hungarian ethnomusicologist who in chamber music and classes in music help with proper relaxation and improve predications aux oiseaux, the effect is the worked with Béla Bartók to collect and history, theory, solfegge, and to emphasize technique, music history, piano literature, sound of chirping birds; in St. Francois de systemize Hungarian folk songs. He national music, folk music and Hungarian pedagogy, and other courses. The most Paule merchant sur les flots, it is to create also developed a highly regarded music music history. A great focus is placed important work in all these levels of music water and waves. Both are structured education method used widely in both on developing the musical ear, to aid in education, though, is in the one-on-one around thematic transformations that lay Hungary and throughout the United theoretical as well as musical analysis. private lessons with piano professors. out the programs. States using solfegge, hand symbols, and In the solfegge class at the Bartók Béla At the end of their studies at the Liszt After brief analyses of thematic folk music. Conservaotry, students each week must Academy, pianists are well-qualified to development and technical demands of the At the age of fourteen, these students accompany themselves on a song, sing teach and perform at very high levels in the piece, I will emphasize the characteristics may elect to enter a conservatory, or music one voice while playing the other parts in Hungarian tradition of music-making. detailed that help to show how Liszt’s high school, if they are accepted after motets by Orlando Lasso, Bach chorales, musical ideas have influenced the way the auditions. The prominent high school in and examples from A Thousand Years of piano is still approached in Hungary. Budapest, the Bartók Béla Conservatory, Choir, and write down dicttion, playing The Influence of Liszt feeds into the Liszt Ferenc Academy of and memorizing almost immediately the In this section of the paper, I will attempt St. Francois d’Assise. La Music and is generally acknowledged to be selections from four-part Bach chorales to show how an example from the Liszt predications aux oiseaux the most vigorous program in the country. and examples from twentieth century repertoire, the Deux Legendes, exemplify St. Francois d’Assise. La predications aux At the conservatory, musical training is music. Thus, by the end of these four to some parts of the Hungarian piano school. oiseaux uses the development of two main intensified with the intent of preparing six years in conservatory, music students, As a founder of the Royal Academy of themes, one representing the high-pitched, students for a professional career. Many and pianists in particular, have not only Music and the most influential musical chirping birds and the other, in a lower schools also offer programs for younger amassed an enormous repertoire but also figure of the Hungarian musical tradition, register of the keyboard, representing students who may audition and enter formed a solid foundation for university it is easy to trace his musical ideals to the the words of St. Francis of Assisi. The into a pre-class for extra training through work, a professional career, and true Hungarian school that exists today. piece opens with the chatter of the birds. private teaching. musicianship. The Deux Legendes are comprised of The bird motives are characterized by a The pre-class begins immediately to There are music faculties at the two programmatic pieces: St. Francois perpetual leggiero trill, grace notes, and improve and perfect technique and to gain universities in Pécs, Debrecen and d’Assise. La predications aux oiseaux (St. short, simple, phrases centered around the familiarity with all major styles and their Szeged, among others, though perhaps Francis of Assisi. Sermon to the Birds) interval of a third. The voice of St. Francis major composers and works, carrying on the most famous and prestigious music and St. Francois de Paule merchant sur les tentatively steps in during a moment of the traditions of Liszt. Students quickly program is the Liszt Ferenc Academy of flots (St. Francis of Paul walking on the silence from the birds in measure (m.) and meticulously work through the Bach Music, formerly the Royal Academy of waves). They were written between 1860 52 with a single melodic line, played in two and three part Inventions, Sinfonias, Music. The Academy offers a five-year and 1863 in Rome, Italy and are parts of the left hand. This melody is marked by and Preludes and Fugues, Haydn and program that leads to a Master’s degree in the large religious repertoire composed a rhythmic motive of dotted notes and is Mozart Sonatas, Chopin Etudes, Mazurkas performance and pedagogy, a three-year by Liszt. As in many of his late works, centered on the interval of a fourth. These Polonaises, and Preludes, Liszt, Bartók doctoral program, and part-time studies. these are both largely impressionistic – it phrases are also short but show greater Mikrokosmos, and etc. These pieces Apart from private studio lessons and has been said that Liszt was the first fluidity than those of the birds. From m.52 are often revisited at the university level chamber coachings, classes continue impressionist, many decades before to m.71, the short phrases of St. Francis with greater maturity but also with the in the tradition of the Hungarian style Debussy emerged. They are characterized alternate persuasively with the grace 220 221 AY 2005-2006 Sandra Doan: The Hungarian School of Pianism notes and trills of the birds. In m.72 to reminiscence in its final appearance from Hungarian pianism. Moreover, because m.82, almost exactly halfway through, the St. Francois de Paule m.129 to m.155 as it builds into the last the thematic changes may be small, motivic rhythm of St. Francis is used in a merchant sur les flots heavenward reach that ends the legend. performers must have sensitivity to the maestoso assai chorale, when his message As in the first Legend, St. Francois significance of such small variations. For can be delivered. Measure 82 transitions The majority of the second legend de Paule merchant sur les flots presents instance, a single theme in St. Francois de into the last half of the piece, which is a chorale with a tremolo or scale several technical difficulties, though Paule merchant sur les flots is repeated over intergrates both the St. Francis thematic passages underneath in imitation of the more obvious. The tremolos, scalar and for eight minutes, with each repetition elements and the motivic elements of the movement of the water, calm at times and chromatic passages, chromatic thirds, leading to another statement but with birds. Returning to a higher register of the increasingly stormy as the piece continues octave runs and passages, arpeggios, greater intensity. In St. Francois d’Assise. La keyboard, the leggiero perpetual motion on. It uses only one theme, presented and leaps on the keyboard are all major predications aux oiseaux, it may be difficult accompaniment returns with a melody simply in the first two measures of the pianistic challenges. One of the greatest to keep the attention of the audience, as derived from the St. Francis theme. From piece. This theme is then transformed difficulties in this piece is to restrain the majority is played in a high range of m.105, the trill returns to accompany a through several major sections through from building the intensity too quickly; the keyboard, marked piano or softer, and repetition of the melodies, and the piece very chromatic harmonic changes. it is easy to become too loud too quickly, based on only a few motivic elements, such begins to build to the final climax. It is After its initial statement in the leaving no room for growth. as rhythm, intervallic restrictions, and followed by an immediate drop in intensity introduction, the theme is transformed fluidity of the melodic lines. A sensitivity with a return to the chorale, closing with into a chorale with a calm tremolo to sound allows pianists to differentiate the separate themes alternating again beneath, moving in intensity to the next Connections between Liszt between sections. Though these changes before the birds fly off, and the different section, beginning at m.33, with chromatic and the may be small, in an overall performance, components of the bird theme fade away. scales in the bass clef cresting in waves. Hungarian Piano School they can make a performance outstanding. In this first Legend, the programmatic The wave element continues to change An additional note on thematic changes elements are clearly presented through into scalar and arpeggiated passages, Several aspects of the Hungarian school of – one reason that the architecture of both the transformation of thematic materials. passing through several keys, changing teaching can be derived from the musical pieces is clear is that every intention of The technical demands, as in most works registers, and increasing gradually in elements that Liszt presented in his works Liszt is written in. Beyond directions for by Liszt, are great, though somewhat dynamic level to m.65. From this point, for piano. This paper will now attempt to creating mood, such as maestoso assai (very more subtle here. The 32nd notes in the theme disappears and is overcome by show how the musical ideals derived from majestic), every phrase is clearly marked; trills, arpeggios, and twisting chromatic an overall chromatic upwards movement, the brief thematic and technical analysis often, the way to play an individual note, passages, though leggiero and labeled changing from thirds to chords to octaves of the Deux Legendes helped to shape the or its articulation, is noted. The written pianissimo most of the time, must be clear, and finally settling in m.92, where a Hungarian piano school. instructions are clear, and keeping to the transparent, and light, requiring fine and triumphant theme returns, reiterated score will help the performer communicate very even fingerwork. The St. Francis and grounded by a strong bass. In m.106, While all music has some structure what Liszt intended to be told with this theme and chorales require a warmer another strong upward movement begins or framework to it, the architecture religious set. This may reflect of his and firm sound. Throughout the piece, with the theme again absent, cresting at to these programmatic pieces, though respect for the intentions and wishes of voicing in chords and phrases requires times and beginning again. This continues not necessarily simple, is more easily composers, which is an important part special attention. Perhaps, though, the to m.129, when the upward movement, observed than in others. By briefly of learning stylistic correctness in the greatest difficulty in this work is to create dynamic intensity, and harmonic tension outlining structure through exploration Hungarian musical training. With all subtle changes in sounds and colors as abruptly end. In the lento coda, Liszt uses a of thematic development, a clear idea of details written in, though, it also becomes the same, quiet motives move through Schumann-esque technique, with a poetic musical direction can be formed. This more obvious that the responsibility different keys with only subtle differences and thoughtful recitative that closes the understanding and clear organization of of musical sensitivity still lies with the for much of the ten minutes. narrative, bringing back the theme in musical structure is one essential part of performer, who is concerned with what 222 223 AY 2005-2006 goes on between the notes, how to create held onto the national identity with fervor, the sounds he wishes to convey. and perseverance. Likewise, the piano The technique required in both school and musical ideals that Franz Liszt works of this set also reflects aspects of established at the end of his life in Budapest the Hungarian piano school. Both are remained influential through two World virtuosic in some manner, requiring some Wars and decades of Communist rule. technical brilliance, though in completely Yet the strict codes of communism in different ways. Inherent in the filigree such competitive professions as music and work is the expectation of finger dexterity sports also infiltrated into the Hungarian and lightness of touch. Neither piece calls piano school, and this resulted in brilliant for a hard or heavy sound; there should technique as well as a demanding training always be a clear, transparent touch, even schedule starting at a very young age. in the louder, climactic sections. It is this intense training and strive for technical perfection combined with the refinement and musical sensibility of Conclusions that elegant Golden Age and Franz Liszt that distinguishes the Hungarian-trained The Hungarian school of pianism can pianist from all the other musicians of the simply be viewed as another result of world. It is also this combination that has the Hungarian national character. The produced so many of the world’s greatest twentieth century was one of extreme and most respected musicians. hardship for the nation, and yet its people 224 225 Fulbright Grantees 2006-2007 Atomic force microscopy and spectroscopy of synthetic myosin thick filaments Brennan Decker ...... St. Olaf College University of Pécs Northfield, MN Faculty of Medicine www.stolaf.edu 7624 Pécs Hungary [email protected] biofizika.aok.pte.hu/en Adviser: Dr. Miklós Kellermayer ...... New technologies allow scientists to observe biological molecules at an ever smaller and more detailed level. For example, the atomic force microscope, or AFM, can be used to visualize and manipulate single proteins. The protein myosin II changes its shape to cause muscle contraction. Myosin molecules have two ball-like heads attached to a long tail. In muscle, many myosin tails bind together to form a bipolar filament. We used the AFM to image, for the first time in aqueous conditions, synthetic myosin thick filaments, which revealed fine structural elements of the filaments. We measured the effect of polymerization conditions on the length, height and width of filaments. Force spectroscopy experiments yielded several notable conclusions concerning the internal forces that hold the thick filament together. Future work will focus on examining smaller units of the thick filament and the myosin molecule itself. 228 229
The Hungarian School of Pianism: the Makings of a Pianist
