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Davidangoljouj0408.Qxd 2018.05.07. 21:57 Page D davidangoljouj0408.qxd 2018.05.07. 21:57 Page d Portrait from the 1950s davidangoljouj0408.qxd 2018.05.07. 21:57 Page e A later-day portrait davidangoljouj0408.qxd 2018.05.07. 21:57 Page f davidangoljouj0408.qxd 2018.05.07. 21:57 Page 1 HUNGARIAN COMPOSERS 39 Anna Laskai Gyula Dávid Editor: Melinda Berlász BUDAPEST, 2016 davidangoljouj0408.qxd 2018.05.07. 21:57 Page 2 HUNGARIAN COMPOSERS 39 Gyula Dávid by Anna Laskai Translated by © Judit Pokoly English language editor: István Csaba Németh © Anna Laskai © Budapest Music Center Editor: Melinda Berlász Series editor: Melinda Berlász (Hungarian Academy of Sciences Institute for Musicology) All rights reserved. No part of this work may be produced or utilised in any form or by any means, electronic, on-line or mechanical including photocopying, recording or by any information storage and retrieval system, without the prior written permission of the Publishers. Published by Budapest Music Center H1093 Budapest, Mátyás u. 8. (+36-1) 216 7894 info.bmc.hu/[email protected] László Gõz, the director of Budapest Music Center is responsible for this publication. Contributing editor of BMC: András Kégl Compositor: Enikõ Zágoni Szakács Printed by HTSART Nyomda és Kiadó Director: Iván Halász (36-1) 403 4437 ISSN 1418-09-60 ISBN 978 615 80 6012 7 davidangoljouj0408.qxd 2018.05.07. 21:57 Page 3 Gyula Dávid (19131977) Childhood. Breaking with the Family Tradition Gyula Dávid was born in Budapest on 6 May 1913.1 His father Károly Dávid Sr. (18771964) was an architect, his mother Anna Mészáros (18811922) fell victim to the Spanish flu pandemic after World War I. They had three children: architect Károly Dávid Jr. (19031973), company manager János Dávid (19061966), and the composer Gyula Dávid (19131977). Several generations of the Dávid family had been involved in building. The first to learn the skills of bricklaying was János Dávid (18201865), who originally was a miller on a floating mill and baker.2 His son, builder János Dávid (18501934) trained his own son Károly Dávid (Sr.) (18771964) in the trade himself. They founded the building firm Dávid János és Fia [János Dávid and Son], specialized mainly in industrial buildings.3 From among Károly Dávids children, his son named Károly (19031973) went on with the family tradition and became one of the most significant figures of 20th-century Hungarian architecture. He is credited with designing, among others, the building of Ferihegy Airport (todays Budapest Airport terminal 1) and Népstadion [Peoples Stadium, today: Ferenc Puskás Stadium].4 1 In several biographies, the place of birth is erroneously given as Kecskemét: in the article of the Brockhaus-Riemann Zenei Lexikon [Musical Encyclopedia], in the biography on the homepage of the Liszt Music Academy (Budapest): http://zeneakademia.hu/nagy-elodok/-/asset_publisher/29I4W6p9tHfE/content/ david-gyula/10192, and in the Hungarian Biographical Dictionary, too http:// mek. oszk.hu/00300/00355/html/. (Last accessed on 19.02.2018). 2 Information from the paper read by Dr. Anna Dávid at the opening of an exhibition in memory of her father Károly Dávid Jr. on 11 September 2012. 3 E.g. the Sugar Factory of Szerencs and the Postal Palace in Buda. The firm went bankrupt during the 1930s. (Information from Ferenc Dávid.) 4 In a memorial volume in honour of the 73rd birthday of art historian Ferenc Dávid, there is a study on the work of architect Károly Dávid Jr. in the section on the Dávid family. Zoltán FehérváriEndre PrakfalviPál Ritoók: Ifj. Dávid Károly építész (19031973) [Architect Károly Dávid Jr.]. In: Edit Szentesi Klára MentényiAnna Simon (eds.): Kõ kövön Dávid Ferenc 73. születésnapjára. I. [Stone on Stone. On the 73rd birthday of Ferenc Dávid] (Budapest: Vince kiadó, 2013), 1332. 3 davidangoljouj0408.qxd 2018.05.07. 21:57 Page 4 HUNGARIAN COMPOSERS 39 Gyula Dávid was the first to deviate from the family tradition by choosing the musical profession.5 Interestingly enough, there are a few musicians among the descendants of his brother Károly. Gyula Dávid started his musical studies at the age of 78, by learning the violin from Jenõ Plán. He began composing at the age of 15; he mentions his setting of Károly Kisfaludys poem Mohács in Hungarian 19th-century popular art song-style among his first works.6 He soon realized that composing without theoretical knowledge was not possible, so he started music theoretical studies with Antal Molnár.7 He composed the sonata movement for viola solo he was to present for the entrance examination to the Music Academy around that time and about which he stated later: Today, I cant understand myself how I dared to compose a sonata in my ignorance, but I think this piece, which does not hit the mark for presentation even with Kodálys corrections, contained everything I was to find out later, for I do believe that one is most talented during ones adolescence.8 Formative Years. From the Cistercian Secondary School to Kodálys Composition Class via Collecting Folk Music From 1924 to 1931 he visited the Cistercian Secondary School of Budapest where through highly erudite Benjámin Rajeczky he received lifelong guidance, as he later confessed. Rajeczky acquainted him with the Gregorian choral, the Renaissance choir literature, and Kodálys choruses for childrens voices written in that period.9 According to a later report of his, he had learnt the viola for Rajeczkys sake, to round out the school orchestra also 5 The composers son, Ferenc Dávid, also began studying music: first he learnt to play the piano and then for three years he was instructed by Zoltán Jeney how to play the flute. See the interview with Ferenc Dávid on the centenary of his fathers birth, aired on 7 May 2013 by Bartók Rádió in the Összhang [Harmony] programme series. Editor and moderator: Aranka Ménes. Henceforth: Dávid Ferenc/2013. 6 János Breuer: Dávid Gyula. Mai magyar zeneszerzõk. [Contemporary Hungarian composers] (Budapest: Zenemûkiadó, 1966), 3. Henceforth: Breuer/1966. 7 Op. cit., 3. 8 Ibid. 9 Ibid. 4 davidangoljouj0408.qxd 2018.05.07. 21:57 Page 5 Gyula Dávid led by Rajeczky.10 As a viola player he joined a string quartet in these years and continued doing so during his years at the Academy. After leaving the secondary school he attended Albert Siklós preparatory course in composition at Budapests Liszt Ferenc Academy of Music from 1932. Though none of his biographies mention it and possibly he did not attribute importance to it either, Dávid also pursued, or at least began, legal studies at the same time.11 He began collecting folk songs in Heves County with György Kerényi12 in the same year. Later he showed the registered folksongs transcriptions teeming with mistakes as he recalled13 to Kodály, who encouraged him to go on with the collecting work. What is more, Kodály offered to take him on in his class provided that Albert Siklós allowed him to leave.14 Dávid continued field work in Karád,15 Somogy County, where recorded some 300 songs.16 In 1933, during his first year at the Academy he was already in Kodálys class and he continued field research in Karád. In 1934, Karád school principal József Happ asked Kodály to compose a chorus from the folksongs collected in the settlement for the great festivities he was organizing for the 800th anniversary of the town.17 That was how Kodálys Karádi nóták [Songs of 10 Ibid. 11 As indicated by the entry No. 78 in the first volume of the register of 1932/33 in the Archives of the Liszt Music Academy. 12 The correspondence between Kodály and Kerényi reveals that in 1933 Kerényi collected folksongs with Rajeczky and Gyula Dávid. In a letter Kerényi downright called the young composer folksong champion. Dezsõ Legánÿ (ed.): Kodály Zoltán levelei. [Zoltán Kodálys letters], (Budapest: Zenemûkiadó, 1982), 380. 13 Breuer/1966, 4. 14 Ibid. 15 According to the recollections of school principal and teacher József Happ, Gyula Dávid chose Karád for collecting folksongs through Egon Turchányi, a close acquaintance of the Dávid family who was running for a parliamentary mandate at that time. See: Happ József. In: Ferenc Bónis (ed.): Így láttuk Kodályt. Ötvennégy emlékezés. [This is how we saw Kodály. 54 recollections] (Budapest: Zenemûkiadó, 1982), 247251, here: 247. Henceforth: Happ/1982. 16 173 of them are included in the Kodály System, none in the composers handwriting, though. They must be copied transcriptions. Gyula Dávids collections can be found from KR 28.979 to 29.195, of which some 46 folksong are transcribed by Kodály. (Photocopy of Olga Szalays manuscript about the folk music collections in the Kodály System at the Archives and Department for Folk Music and Folk Dance Research of the IfM, RCH, HAS.) 17 Happ/1982, 250. 5 davidangoljouj0408.qxd 2018.05.07. 21:57 Page 6 HUNGARIAN COMPOSERS 39 Karád] for male voices were born in 1934 that survive in Gyula Dávids handwriting in József Happs possession.18 Dávid visited Karád on further two occasions with Kodály to check the so-far transcribed tunes with the phonograph.19 Dávid also composed arrangements of Karád folksongs. There are three such compositions in the composers estate: Karádi dalok [Songs from Karád], Karádi menyecskék [Young wives of Karád], and Karádi népdalcsokor [Bunch of Karád folksongs]. The score in the Hungarian Radios Music Collection with the title variant Három karádi játékdal [Three game songs from Karád] contains the musical material of the first part of Karádi dalok (I. Játéknóták) [I. Game songs]. Although neither Dávid nor Breuer mentioned it, the composer also collected folksongs in the Palócföld Region and the village of Báta.20 Possibly the latter fieldwork provided the raw material for the arrangements of Bátaszéki népdalok (Bátai népdalok) [Folksongs from Bátaszék (Folksongs from Báta)].
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