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RICE UNIVERSITY GYORGY SANDOR AND THE KODALY LEGACY: AN ORAL HISTORY by JACQUES SAGOT A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF MUSICAL ARTS APPROVED, THESIS COMMITTEE Anne Schnoebelen, Director, Joseph and Ida Kirkland Mullen Professw of Musicdlogy Robert Roux, Associate Professor of Piano and Chair of Keyboard — —e—. ^ ___ Graham P. Glass, Professor of Chemistry Walter B. Bailey, Associated Professor of Musicology, Director of Graduate Studies da/Associate Professor of Composition and Theory Dean Teacher of Secondary Piano and Piano Technology Houston, Texas May, 1999 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1461384 Copyright 2009 by Sagot, Jacques All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1461384 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Gyorgy Sandor and the Kodaly Legacy: An Oral History by Jacques Sagot This document is organized in three chapters preceded by a general introduction. The multifarious figure of Zoltan Kodaly is evoked by one of his most distinguished students, piano virtuoso Gyorgy Sandor, in the manner of a conversation with the author of this thesis. The format of the dissertation is, thus, that of an oral history in which Kodaly the man, the teacher, and the composer is brought alive through the reminiscences of his pupil. The first chapter examines the human profile of Kodaly, his personality, idiosyncracies, and above all, his patriotism and unwavering commitment to the musical enlightenment of the Hungarian people. Special attention is given to his solidarity and loyalty to a country ravaged by totalitarian regimes of Nazi and communist affiliation. Kodaly's pedagogical philosophy is considered in the second chapter. Maestro Sandor takes us back to his years at the Liszt Academy in Budapest, where he studied composition under the guidance of Kodaly, and piano with Bartok. The third chapter explores Kodaly the composer, and demonstrates how the ethnomusicologist, the pedagogue, the creator, and the man constitute in his case a perfectly Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. harmonic and indivisible unity. The appendix includes pictures, documents, and a concise biography of maestro Sandor, complemented by his discography, some representative recital programs, and a list of his publications. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I wish to express my most sincere gratitude to maestro Sandor, for he is in no less degree than Kodaly the raison d'etre of this document, and to my thesis advisor, Dr. Anne Schnoebelen, who through me has learned the true meaning of the word patience. I am also profoundly indebted to my dear friend Guido Saenz, Costa Rica's former Minister of Culture, whose providential intervention made this project possible. Finally, a word of appreciation to Dr. Robert Roux, my piano instructor, who as a teacher and as a human being has done for me more than I could ever acknowledge. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT.................................................................................................................... ii ACKNOWLEDGEMENTS.......................................................................................... iv LIST OF MUSICAL EXAMPLES.............................................................................. vi INTRODUCTION............................................................................................................ 1 C h ap ter 1. KODALY THE MAN.................................................................................. 4 2. KODALY THE TEACHER....................................................................... 51 3. KODALY THE COMPOSER.................................................................. 100 CONCLUSION.............................................................................................................180 MUSICAL EXAMPLES.............................................................................................182 GENERAL BIBLIOGRAPHY................................................................................. 232 MUSIC BIBLIOGRAPHY........................................................................................ 235 A ppendix 1. GYORGY SANDOR: A CONCISE BIOGRAPHY............................ 238 2. REPRESENTATIVE PROGRAMS....................................................... 243 3. DISCOGRAPHY.........................................................................................247 4. LIST OF PUBLICATIONS.....................................................................257 5. ARTICLE FROM LA NACION...........................................................258 6. DOCUMENTS...........................................................................................259 7. PICTURES .................................................................................................266 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF MUSICAL EXAMPLES 1. Kodaly: Piano Piece Op. 11 No. 1, mm. 12-23 ......................................183 2. Kodaly: Piano Piece Op. 11 No. 2, mm. 1 -1 3 ....................................184 3. Chopin: Prelude in F major Op. 28 No. 23, mm. 20-22. .185 4. Kodaly: Piano Piece Op. 11 No. 2, mm. 22-30 ............................... 186 5. Bartok: Piano Concerto No. 1, first movement, mm. 38-49 ....................................................................................................... 187 6. Bartok: Petite Suite Sz. 105, Lassu , mm. 1 -1 5 ......................................188 7. Bartok: Piano Concerto No. 3, third movement, mm. 344-351 ................................................................................................. 189 8A. Liszt: Apres une lecture de Dante, mm. 1 -1 0 ..................................190 8B. Kodaly: Piano Piece Op. 3 No. 3, mm. 48-51 .......................................191 9. Liszt: Apres une lecture de Dante, mm. 362-366 ....................... 192 10. Kodaly: Valsette, mm. 1-1 7 ...................................................................... 193 11. Chopin: Waltz in A-flat major Op. 42, mm. 9-18 ...............................194 12. Chopin: Etude in F minor Op. 25 No. 2, mm. 1 - 4 ............................. 195 13A. Kodaly: Valsette, mm. 15-23.................................................................. 196 13B. Liszt: Valse Oubliee No. 1, mm. 23-32 ..............................................197 14A. Kodaly: Valsette, mm. 3 7 -5 1 .....................................................198 14B. Liszt: Valse Oubliee No. 1, mm. 90-101 ............................................ 199 15A. Kodaly: Valsette, mm. 82-92 .....................................................200 15B. Liszt: Valse Oubliee No. 1, mm. 194-210 ...................................... 201 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 16A. Bartok: Concerto for Orchestra, Giuoco delle Coppie, mm. 25- 28 ................................................................................................ 202 16B. Kodaly: Concerto for Orchestra, first movement, mm. 192-303............................................................................................. 204 17A. Sibelius: Symphony No. 1, Scherzo, mm. 149-158 ..................... 206 17B. Kodaly: Concerto for Orchestra, first movement, mm. 1-4 . 207 18A. Kodaly: Piano Piece Op. 11 No. 4, mm. 47-55 ................................. 208 18B. Debussy: La Cathedrale engloutie, mm. 42-54 ........................... 209 19A. Kodaly: Marosszek Dances, mm. 100-115........................................210 19B. Kodaly: Marosszek Dances, mm. 7 3 -8 1 .............................................211 20. Bartok: Etude Sz. 72 No. 3, mm. 1 -7 .................................................... 212 21. Bartok: Sonata for Two Pianos and Percussion, first movement, mm. 91-99 .................................................................213 22. Liszt: Mephisto Waltz No. 1, mm. 807 .......................................... 214 23. Kodaly: Marosszek Dances, mm. 73-88 ...............................................215 24. Kodaly: Marosszek Dances, mm. 240-247 ......................................... 216 25. Bartok: Concerto for Orchestra, Intermezzo Interrotto, mm. 42- 50 .................................................................................................... 217 26A. Liszt: Hungarian Rhapsody No. 6, mm. 102-109 ........................
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