Sleeper, Maxine G., Fulbright Student Conference Papers: and Eastern Europe: Avoiding the Dependency Trap, A Regional Human Back to Basics: The Social Academic Years 2002/2003 and 2003/2004, “Anti-Discrimination Development Report, available at http://roma.undp.sk/reports. and integration of Roma in ”, (2004) (Budapest, Hungarian php?parent_id=1&id=182&scroll=182

– American Commission for Educational Exchange) (1857) (, Dentu and Cultural Implications of Vaillant, J.A., Histoire Vraie des Vrais Bohémiens

Tax and Finance Control Administration (APEH), “Short summary on & Cie.) the taxation of individuals”, July 1, 2009, available at http://en.apeh. Hungarian Modern Classical hu/taxation/summary_individuals.html United Nations Development Program (UNDP), The Roma in Central Composers and Their Music

Randall Scotting

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University of Colorado at Boulder Liszt Ferenc Academy/Independent Research Boulder, Colorado 1061 Budapest, Liszt Ferenc tér 8 www.colorado.edu www.lfze.hu [email protected] Adviser: Eva Marton ......

Introduction

“We don’t see things as they are, we see them as we are.” -Anais Nin

Living in Hungary has allowed me an insight into better understanding Hungarian composers and their world. This, in turn, has given me a more complete comprehension of their music. My original goal was to better grasp what I perceived to be a sense of honesty in Hungarian classical music, an immediacy and direct purpose that classical music from some other areas of origin does not often display. I found that this honesty does indeed exist in the works of many varied Hungarian composers, and I began the interesting process of trying to determine why. Why did these composers search for a direct means of expression and unusual uses of instruments and the voice to display with greater accuracy the exact mood they meant to communicate? Not a simple question to answer and one which I will continue to explore; however, I have learned that the musical exploration of these composers is tied largely to the political and governing history of Hungary. The changing borders and shifting governmental structures led many to look inward for a sense of defined purpose and personal clarity.

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As a singer, my work is focused creative revelation? During my short music to these men; it represented the pretense; there was nothing false or primarily on performing, so the guiding time in Hungary, I’ve come to witness search for the self in both a collective and showy about them, no barriers to their motivation of my research has been to the immense bearing a nation’s history an individual way. Folk music provided a honest approach. In exploring their enhance my ability to communicate with lays on its people; a burden compounded sense of connection and helped to define own lives and dispositions these men an audience. It is difficult to sum-up an by disparate political systems, altering a national identity for a Hungary where became the voice for a greater Hungary entire year’s exploration, however, here I governing rulers, and quick societal shifts. borders and political construct were and its realities. Life in Hungary was These men were all profoundly affected failing, changing, and unreliable. would like to share a bit of what I found to truly difficult, and to this day it remains by the political and social structures in Bartók and Kodály were simple, be of particular interest and relevance and challenging for many, with exceptionally place in Hungary during their lifetimes, unassuming men, who without grand I will touch on a few of the experiences and it is this very affect which led them all intention had started a change in high rates of alcoholism, mental illness, that have shaped my view of the modern back to their roots. They each maintained perspective in composers worldwide. and suicide. Many cite rapid and intensive Hungarian composer. a great need to define themselves and the Their work was born out of an important social changes as having created this deep art form in a way that communicated the need for exploration and understanding. impact on Hungarian society. Béla Balázs, The Men, Their Music, very uniqueness and singularity of their These men were not seeking international early experimental cinematographer perspective as Hungarian musicians1. fame; they looked inward, focusing on and friend of Zoltan Kodály, is quoted and Their Homeland: an I’ll begin where they returned. Béla themselves, their families, and their as saying “art is born at the point when Overview Vikár started to record and collect folk homeland. Unfortunately, their focus on life becomes aware of death; art stems songs in the Hungarian countryside in Hungary (which did, incidentally, bring from the transcendental instinct of man, “Everything of their thoughts and experience 1895, and he introduced these songs them international recognition) and the from a longing to overstep the limits of to Kodály and Bartók which ignited a debt they felt to it was not reciprocated is given to us in their music” everyday reality”. The Hungary of the life-long and important interest in this from a nation in strife, leading to the exile last century has been an especially fertile “music of the people”. It was indeed of Ligeti and Bartók, and many other Béla Bartók, Zoltan Kodály, György folk song that changed the direction of artists including not only composers ground for artistic exploration. Hungary’s Ligeti, György Kurtág. These Hungarian 1 not only Hungarian art music, but also but also performing musicians. It was vivid traditions and art have had influence men helped to define and redirect the played a large role in transforming all not exactly a directly forced exile by the at times from Austria or the Ottoman shape of modern classical music. Bartók th Contemporary classical music. There government, but these men had a need to Empire, but it has retained its own was active in the first half of the 20 were many appealing aspects of folk create, their voices were their music, and vibrant and unique way of life. To these Century as a performer, composer, and when their ability to speak was choked folk song collector. Kodály, friend and composers it was essential that the music with governmental mandates, it was 1 contemporary of Bartok, was also a represent the distinctive experience of 1 Notably the world famous Hungarian ‘cellist Janos Starker, who not only their music but also their lives composer and collector of folk songs, their country. As Hungarian composers was a child prodigy and later in his own journey for personal under- that were suffocated. They concerned as well as an important educator who they sought to redefine musical language standing asked himself the question “What happens to the bird who themselves with the experience of music developed a method of teaching music so that it suited their own experience. sings and doesn’t know how it sings?” leading him to analyze every making; it was something to be felt, currently used worldwide. Ligeti was Even in times of political or social strife, aspect of his performing technique, and as a result he wrote one of the beyond just being heard. This was the a forward thinking, sometimes radical, the essential element of culture would not lens through which they understood the practically unclassifiable, composer of most important treatises on string playing in modern times. He also be allowed to disappear in Hungary. In- greater world and its inevitable truths. classical music living from 1923-2006. said, in regards to the fact that his comments cause occasional con- fact, just the opposite occurred. Interest Bartók was not a religious man. His György Kurtág, also a composer, is still troversy, “I was just stating the truth as I saw it. I went through hell in searching was very much secular; rather in and links to a cultural identity became living and actively changing the modern my youth because of the war… and having lived through it I stopped than being dominated by an ethereal stronger as borders and politics fluctuated. landscape of classical music composition. being afraid. I couldn’t care less what others think if I’m speaking out voice of a distant world, his process was Culture became a form of nationality for Why? Why have these Hungarian men against something that runs contrary to my fundamental beliefs. I don’t personal, in-depth, probing, and firmly a homeland that did not fit neatly within all realized such a profound impact on play political games, and I never have” (Internet Society Interview, planted in reality. externally imposed borders. Within modern music? And what? What moved 2004). I think this sentiment sums up what would have been the view- In all facets these men held little Hungarian folk music there can be found these composers and musicians to such point of not only Starker, but Bartók, Ligeti, and many others as well.

198 199 AY 2008-2009 Randall Scotting: Hungarian Modern Classical Composers a sense of the people, a total experience One incident arose when he saw a mistake, a holiday together in Switzerland that Method of education for music involves of the pain as well as the rejoicing they from his foreign publisher in one of his involved nudist activities.10 It was there movement and the body as a key element felt. Through genuine exploration these compositions. The title that was meant to that Bartók worked six to eight hours a of the musicmaking experience. The quest composers were unafraid to depict the read, “Tót legények tánca” (Dance of the day on the score of his psychologically for balance and the search for simplicity darker aspects of life and represent the Slovak Youths) but had instead been set thrilling Duke Bluebeard’s Castle. were represented in every aspect of Bartók in the first proof as “Tót lepények tánca” whole truth. This portrayal of realism in 55 The work is unafraid to go into a dark, and Kodály’s lives. (Dance of the Slovak Pies). the music guides also the performing, and abstract world where little is known, with For Bartók the act of music making hopefully too the appreciation. It strives its many doors acting as metaphor for was essentially sacred, “he sought to to make the greater world a more truthful hidden secrets and the heart. To think he Bartók’s Journey Back to integrate the physical with the spiritual in place in its simple and humble way, one 6 composed it all-the-while in the solarium Basics a life affirming totality.” Bartók “always song at a time. wearing only a pair of sunglasses!11 While mentioned the miraculous order of nature Bartók was not a devoted nudist like his “penetrating into the real throbbing heart of with great reverence”7 and this attention friend Kodály, he was certainly against the music” - Bartók Béla Bartók (1881-1945) to a natural law and order, a sense of the what he viewed as the artificiality of detailed workings of nature, were also and His Buddy Kodály modern life and its progression away As a young man who was eager to prove evident in his music. On his daily walks in from unspoiled nature. It was not just the himself, Bartók wrote the Kossuth “Create excitement. Don’t get excited.” the outdoors he would pay close attention body, but also the physical dimension of Symphony and as a result, Lajos Kossuth -György Sebo´´k2 to a pile of dung and the many beetles that music-making that was very important (perhaps the greatest man in Hungarian fed on it, noting a connection to all of the to Bartók. He viewed the voice as the history) was defined musically with the Bartók’s demeanor was penetrating and cycles of life. The importance of nature is thoughtful, reserved and considerate. closest means of making music to the vocabulary of Vienna at the time. Bartók’s a key point to understand when looking He rejected the given norms, preferring bodily ideal; having no instrument youthful understanding of style did not to gain insight into Bartók as a composer. instead to analyze, understand, and decide obstructing the musical expression yet afford a firm voice of his own, or of Bartók often wrote his music outdoors. on his own what best suited him. This trait from the audience. Some of Bartók’s his country’s experience. The quest for He preferred to be alone or with family was also apparent his own playing, contemporaries were concerned with his unique voice would later lead to a “nothing was stereotyped, according to and in nature, to being in formal crowds of 8 primitive experiments using technology rejection of the Germanic and Austrian formula, but individually shaped, molded people. The larger and total idea of nature 3 in creating sound.12However, aware of influenced composition models of the in a most convincing manner.” 3 He was also included a comfort with the body and these experimentations Bartók had little time. Within his own compositional quoted as saying “the mind must be free with nudity, “the whole being”. Bártok interest in what he viewed as separating style he soon shed his awkwardness and to devote all its energies to the task of endured a lifetime of ill health beginning 4 the body from music. He wanted instead gained a greater importance, giving all giving life to music.” Some other signs of with his childhood when he encountered a pure and honest representation of the of Hungary a voice. Bartók’s search for Bartók’s inquisitive nature are his atheist a number of diseases; because of this “he human experience and generally steered a real and soulful music, which he felt beliefs at age 22, and living for years as a regarded physical wellbeing essential vegetarian (at a time when neither were 9 clear of the phonograph for hearing music was absent in the music scene of his day, for any other accomplishment.” Kodály quite so in vogue). Outwardly appearing (unless it was for Folk music research) led him to the peasants of Hungary and and Bartók, along with their wives, took to be a private and guarded man, Bartók in favor of live performances with their their folk music – the Magyar népdalok. was not without humor; he did not laugh many nuanced tone colors and full range He regarded “each folk-tune as a model 5 Gillies, Malcolm (1990). Bartók Remembered. often, but when he did it was unforgettable. of expressive capabilities. The Kodály of high artistic perfection.”13 Bartók was 6 Brown, Julie (2007). Bartók and the Grotesque. happiest when collecting songs with the 2 Sebok was an internationally renowned pianist and teacher born in 7 Gillies, Malcolm (1990). Bartók Remembered. 10 Brown, Julie (2007). Bartók and the Grotesque. simple peasant people of the countryside; Szeged, Hungary 8 Bartók was not alone in this, other composers like Hugo Wolf also 11 Zsuffa, Joseph (1987). Béla Balázs: The Man and the Artist. people that were connected to nature 3 Gillies, Malcolm (1990). Bartók Remembered. composed their music outdoors. 12 including Olivier Messiaen (1908-1992) with his use of the Ond 4 Gillies, Malcolm (1990). Bartók Remembered. 9 Bartók, Peter (2002). My Father, Homossa, Fl., p. 48 Martineau, a very basic early electronic instrument. 13 Manga, János (1969). Hungarian Folk Song and Folk Instruments.

200 201 AY 2008-2009 Randall Scotting: Hungarian Modern Classical Composers and a “natural order” in a way that he tyranny. Dissonance in music was a form – Ligeti, like Bartók and Kodály, studied non-controversial folk song arrangements understood, and to which he could easily of public revolt and in that way, Bartók and arranged folk music early on his in for choruses in Hungary. The heritage relate. One example of Bartók’s poignant was the voice of a united revolution. career. Most of Ligeti’s family, with the of folk music and its connection to the folk song arrangements is Elindultam “His oeuvre and personality signify much exception of his mother, was casualties people and their lives organically infuses Szép Hazámbúl. This song embodies more; they are the symbol of political of the Nazi concentration camps, and he it with a sense of earthly reality. Ligeti the whole of the Hungarian sentiment: radicalism, of a modern, democratic, himself worked as forced labor during learned this reality early on, and it was sadness at the loss of a homeland, the “European” Hungary.”15 WWII. He began his studies at the sustained as paramount with all his later definite sense that it is not possible to It is heartbreaking to know that this Liszt Ferenc Academy in 1945 under compositions. return, looking back with tears in one’s man of such great importance to music Ferenc Farkas (who was also interested One such set of compositions Négy eyes. It is short, powerful, honest, and and to Hungary, in 1942 with much in Hungarian folk song and had set many Lakodalmi Tánc (Four Wedding real. The occasional well placed dissonant personal consternation emigrated to the folk-type tunes in his own compositions). Dances), with their lyrical and sometimes note by Bartók has an amazing amount of United States, where he later died Ligeti’s early compositions, such as, mysterious sound-colors, paint a picture of power, conveying the text of wandering of Adult Leukemia in poverty. Bölcsőtől a sírig (From Cradle to Grave - traditional village life and the trepidations and loss. 1948) are already dealing with the larger and merriment of a young girl’s wedding. question of life and mortality. From 1947- These songs have been important to my Elindultam szép hazámbul, Far behind I left my beautiful homeland 1989 Hungary was under Communist own acquaintance with Hungarian folk Hires kis Magyarországbul. Fair among her valleys sleeping rule which was one key factor prompting music, as they were the first I heard and Visszanéztem fél utambul, On the roadway once I looked back, Ligeti’s quest for his own unique identity; came to love, prompting me to explore this is another example of the link to further. The previously mentioned Öt Szemembül a könny kicsordult. Looked, and found that I was weeping. politics and the artist’s search for the self. Arany Dal are also a good example of this Ligeti left Hungary in December of 1956, style of Ligeti’s composing, originally This unassuming (and by all accounts György Ligeti (1923-2006) fleeing in the brief window of time when banned in Hungary for their open rather unattractive) man was true unto Hungary was not under Soviet occupation questioning of authority (V. Az Ördög himself and as a result became a national “I could try to write music which preserved the after the 1956 Revolution. This was a Elvitte a Fináncot, The Devil Took the hero. There is a street in Budapest named great ideals of liberty and justice”16 significant event in Ligeti’s life and the Tax Man Away) and the sentiment of after him, he was on the 1000 Forint bill sorrow and sense of wandering he felt are loss of a homeland (A bujdosó, is a style until 1983, and there are countless other György Sándor Ligeti is the primary apparent in many of his compositions, of song that originated after the Turkish examples of how he is admired both in reason I came to study in Hungary. His such as A bujdosó from his Öt Arany dal. occupation of Hungary and displays a his homeland and abroad. In the Mid music captures my imagination with Like Ligeti, many have fled Hungary in profound sadness and sorrow for the 1950’s “reformist intellectuals demanded its sense of pure individuality. I believe hopes of a better life, and A bujdosó or loss of a homeland). These pieces show the right to hear Bartók’s music; they also his curiosity and constant pursuit of an Elidultam of Bartók have spoken with a strong Hungarian identity and would reclaimed him as a speaker of difficult innovative voice is truly inspiring. For song their profound loss. have encouraged in the people dissonance truths, and therefore as significant me the fascinating concept is that his I think it was inevitable for Ligeti to be away from the Communist ideal. For symbolic ally in their quest for personal awareness of innovation climbs far beyond on a quest for personal meaning having Ligeti, Bartók, and others, the connection and political freedoms.14 The poet Gyula shocking squeaks and effects, it comes experienced a number of life-defining to folk song became the roots upon which Illyes claimed Bartók’s most modern from a place of meaningful understanding events at such an early age. A quest for the new tree of original composition could music as a site of active resistance to self knowledge and artistic insight was at grow. Their new pieces were distinctive hand; the question in his mind, “What and often experimental, but they were still 15 Frigyesi, Judit. Béla Bartók and Turn-of-the-Century Budapest is my voice? Under Communist cultural grounded in the Hungarian traditional 14 Danielle Fosler-Lussier. Music Divided, Bartók’s Legacy in Cold 16 Kerékfy, Márton (2008). ‘A “new music” from nothing’: György policy folk songs were encouraged, and music, giving it a purpose and a heart. War Culture Ligeti’s ” in his youth Ligeti found income creating

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every note available to the composer Ricercata, he demonstrates an economy depiction of the “light eternal”; this music Ligeti’s Journey Back to in the scale. “In 1951 Ligeti recognized of means and utilizes only five pitches is completely atmospheric, concentrated, Basics that his task was to leave his former style (C, A flat, D flat, F, and G) and provides and intense. It is specifically felt rather and to create his own expressive means simple movement in the melodic line with than listened to, it is understood as much “What can I do with a single note? With and language from elementary musical the use of smaller notes, known as “grace by one’s racing heart rate and visceral its octave? With an interval? With two material.”18 Ligeti completely redefined his notes,” between pitches. This creates sense as it is by the ear . Perhaps intervals? style by exploring in this way until he had, an understated but absolutely effective the height of Ligeti’s innovation can be With certain rhythmic relationships?”17 for himself a language for communication depiction of the wind shaking a cluster of evidenced in his Poeme Symphonique, that felt personal and “true” instead of fruit that hangs from a tree. a composition that does not even use Ligeti felt dissatisfaction with previous simple regurgitation. Others have also Ligeti was a master of innovation; his traditional instruments or musicians. styles of composition, trying them on and experimented with these small, even opera le Grand Macabre is an excellent Instead, it is written for 100 ticking experimenting but never finding the right “micro-movement”, forms such as Kurtág example with its political themes and metronomes, all triggered at the same time fit. He felt a need to emerge as a distinct in his piece Kafka Fragments, Bartók with cacophonous overture and interludes by a mechanical switch. Ligeti is unafraid entity representing his own thoughts and his six volumes of Mikrokosmos for piano, utilizing nothing but honking car horns to explore and create new boundaries, views. The idea of “back to basics” was and even with his for minutes at a time. One of Ligeti’s main posing the question for the audience, embodied by him and was essential for modern music landmark Pierrot Lunaire, characters, Prince Go-Go, is a petulant “what is music?”, seeking inherent beauty, self discovery; he had to start from scratch but few have limited themselves to such young ruler, concerned only with his own form, and pattern, in what might seem to and evolve in order to find his voice. He basic building blocks as Ligeti. basic needs and satisfaction. He mandates be at first easily discounted as only chaos. rejected everything that was previously An interesting duality occurred in high taxes to pay for his personal luxuries, Ligeti’s new ideas of music certainly given, ready-made, or stereotyped in Communist era Hungary. There were no he has a secret service that periodically paved the way for out-of-the-box thinking order to be free to find himself. This sense public performances of dissonant music, delivers intelligence messages, and he and compositions by other composers was also strong in Bartók and goes hand- yet to maintain pace with the innovative makes tongue-in-cheek reference to “our who followed, like recent Pulitzer Prize in-hand with a questioning of authority. progression of classical music in general, dear nation”, all modeled after Ligeti’s winner with his famous piece The most one could say when trying to composers did still write utilizing own political views and the gross abuse of Clapping Music20 or his rhythmically pinpoint Ligeti’s style of composition is dissonance. These discordant pieces were power he saw in Hungary’s Communist driving and meditative Music for Pieces simply that he has none. His music has also performed, but for small appreciative government. With another small jab to the of Wood.21 represented constant growth and change, and understanding audiences in a private censors, in the original German language looking at each piece as a new endeavor home rather than a public concert hall. version Ligeti named two key figures and using whatever compositional method This encouraged an obvious distinction Clitoria and Spermando19 The opera is was needed to communicate effectively between the public and private lives of full of ironic overtone and ambiguity the idea at hand. His lifelong pursuit was Hungary’s artist citizens. One example of all-the-while dealing with a most serious to continuously seek out what was new Ligeti’s specific compositions written with subject matter, death and mortality, in a and real to him in that moment. his own voice in a modern way but with playful and humorous way. Ligeti’s Musica Ricercata of 1951 is a set of a folk song influence is Gyümölcs fürt, The is a Ligeti eleven short pieces that begin in the first from the Harom Weöres dal. With this composition for unaccompanied chorus, movement with one pitch and add a note simple and mysterious song Ligeti gives entirely different from le Grand Macabre of the chromatic scale in each progressive voice to the breeze. As with the Musica in its displays of innovation. Close movement until the eleventh, which uses knit harmonies and compact pressure 20 As you might guess, this piece is for an of performers are particularly powerful as a musical who clap for minutes on end creating various and subtle permutations 17 Kerékfy, Márton (2008). ‘A “new music” from nothing’: György 18 Kerékfy, Márton (2008). ‘A “new music” from nothing’: György in their rhythmic patterns. Ligeti’s Musica ricercata” Ligeti’s Musica ricercata” 19 for the English language version, these characters’ names were 21 The simplicity of two pieces of clacking wood is a very “Ligetian” subdued to Amando and Amanda. concept.

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György Kurtág (1926- ) Look at My Heart and connection. While searching for Though melancholy, this work has examples of Hungarian folk songs I captured the imagination of countless and the Gang came across something interesting, the artists and has been recorded dozens of Great art concerns itself with the larger Hungarian Suicide Song. The actual title times since the 1930’s by such notables as: György Kurtág is another Hungarian human emotions and experiences: love, of the song in Hungarian is Szomorú , the Kronos String Quartet, composer who uses the power of hardship, our own mortality. Hungarian vasárnap (Gloomy Sunday) and the Branford Marsalis, Sarah Brightman, simplicity to make his statement. “Short music plants its focus in this realm. The lyrics talk of the untimely death of a Björk, Sarah McLachlan, Sinéad but meaningful” would easily describe a uniting power of misery or the sadder side loved one and the singer’s contemplation O’Connor, Elvis Costello, , movement of his work Kafka Fragments. of life is an emotion we as humans can all of suicide. Composed in 1933 by the Mel Tormé, and the famous African- His music is like a short meditation relate to and understand on many levels. Hungarian Jew Rezso´´ Seress, this song American operatic . encouraging heightened awareness in Oppression is experienced by people the has become incredibly famous, or rather It has also inspired several movies and the listener with the use of small but world over. This truth in song is tangible infamous. I feel that Szomorú vasárnap is novels, and is mentioned in the poetry of poignant musical gesture. Kurtág is also in Hungary because of its long and a contemporary folk music of sorts, it tells Charles Bukowski. In addition, it has been unafraid to explore microtonal scales riddled history with external occupation of hard times and the modern experience, performed in many languages including and new uses for creating sound with and warfare, as well as internal political of the sad truth and the reality of what Vietnamese. Why so much interest in the voice and instruments. There are strife and corruption that continues to Rezso´´ő Seress was feeling. this old song? The urban myth, partly many other important composers of segregate Hungary from the rest of the propagated by an intentional marketing Hungarian decent or with ties to Hungary world and isolate its resources and wealth that unfortunately I have space only to from Hungary’s own people. This leads to Szomorú vasárnap Gloomy Sunday, mention. Haydn (lived and worked in the a specific and unique Hungarian identity in art song, which is not necessarily the száz fehér virággal With a hundred white flowers, employ of Hungaro-Austrian Royalty), vártalak kedvesem Beloved one, case with the song of other countries such Beethoven (who famously gave concerts in templomi imával. In the chapel I waited, Budapest), Schubert (who was influenced as France or Germany where it can tend Álmokat kergetõ In prayer, by the uniquely Hungarian style of music to be much more metaphorical, mythical vasárnap délelõtt, That Sunday morning known as Verbunkos22), Liszt (who is one and romanticized and less connected to bánatom hintaja I was chasing my dreams, of Hungary’s most famous composers and a prominent reality experienced by the nélküled visszajött. Yet the chariot of my sorrow returned without you, Azóta szomorú Forever since then so sad who was himself interested in collecting people. Though Cabaret music from mindig a vasárnap, are all my Sundays, songs of the peasant people, though it World War II Germany does deal with political topics, making bold statements könny csak az italom, Tears are my drink, never came to fruition). Many others kenyerem a bánat. And the bread I eat is sorrow. visited Hungary to perform or conduct against the reigning regime, it does so in including: Mahler, Wagner, Berlioz, a popular, rather than a classical musical Szomorú vasárnap Gloomy Sunday Brahms (whose Hungarian Rhapsodies realm, and lacks the connection to history Utolsó vasárnap On my last Sunday are well known worldwide), Delibes, and to the people that is felt in Hungarian kedvesem gyere el, Beloved, oh come to me, Massenet, Saint-Saëns, and Richard folk music. Hungarian music is different pap is lesz, koporsó, There’ll be a priest too, a coffin, ravatal, gyászlepel. on a platform, a shroud. Strauss.23 in that it is not about being voyeuristic or ostentatious with the shout of “look at Akkor is virág vár, Also then flowers will await you, me”, rather, it calmly states “look at my virág és - koporsó. Flowers and – a coffin. Virágos fák alatt Beneath flowering trees heart.” The prevailing mood imparts, 22 Verbunkos was an 18th Century Hungarian dance music that was utam az utolsó. I will take my last ride. often used specifically during military “this is how I am feeling, you can look Nyitva lesz szemem, hogy And my eyes open wide recruitment events, which were quite frequent at the time. in at my life for a minute if you want to még egyszer lássalak. For a last glance upon you. 23 Benjamin Rajeczky, et al (2001). The New Grove Dictionary of feel it too”. It is very internal, and as such, Ne féj a szememtõl, Don’t be scared of my eyes, holtan is áldalak... Still in death I will bless you… Music, Hungary: Art Music, & Hungary. no obstructions exist for the audience to sense the truth of a deeper understanding Utolsó vasárnap. Last Sunday. (Jávor László, text) (Translation by A.W. Tüting) 206 207 AY 2008-2009 Randall Scotting: Hungarian Modern Classical Composers campaign, says that anyone who listens to Hazám (My country, My country), is of pre-meal pálinka, Hungarian wine, my own personal museum’s current it all the way through will commit suicide. something that every Hungarian knows; and palacsintas has helped me to feel exhibition more interesting, has involved The legend came about in part because there is a collective understanding and and understand the music I am learning attending concerts as much as going to Seress, who was taken for forced labor shared sentiment of the Hungarian people and performing. It may sound simple, libraries. Seeing displays of dance, music, during WWII but survived the Holocaust, represented. The opera itself is really but when my only previous experience opera, and art has added to my store of committed suicide by jumping out of his something special, and it can only be with goulash was a jeer within a German understanding. Knowing Hungarians and apartment window in Budapest at age 68. seen in Hungary. The orchestra plays folk operetta mentioning “goulash juice,” it something of their experience has been, It is not particularly surprising that there music inspired tunes, including an entire was an experience of truth to enjoy real and will continue to be invaluable. Being would be a Hungarian suicide song. The interlude in Csárdás form.24 The staging goulash and to come to know something aware of people whose grandfather’s were depth of emotion and the complicated includes folk dance and the orchestra has a other than the stereotype. Astonishingly, heroes from the Hungarian Revolution experience of the people in this country unique addition, a very typical Hungarian the research and performing I have done of 1956, and hearing their stories, makes are multifaceted, and it is palpable in every folk instrument called the Cimbalom has led to many more questions than singing these songs more real. Knowing aspect of society. There is something (similar to a hammer dulcimer) which is answers. A constant path of discovery something of the complicated past and incredibly poignant about this song - it featured prominently for an entire act. which started with the folk gems of present that makes Hungary what it is, is a real testament to the power of music The financially ailing arts community Bartók and Kodály has now led me to a understanding and sharing that with to make us feel, in this case, perhaps too in the United States could take a lesson further web of curiosities so that I might others, as Bartók and so many others did, deeply and addressing what we may want from Hungary. Every concert to which better understand their work: Ottoman through song – that is my real purpose. to avoid. The simple heartfelt beauty of I have been has been sold-out months influenced folk song, Romanian and Gloomy Sunday is admirable, along with in advance and the eager audience has Slovakian Folk Song, knowledge of folk its ability to capture in music the honest rewarded the performers with numerous dance, etc. Doors to new exploration are experience of enduring hard times. clapping ovations. Hungarians certainly now open in many different directions. value the arts! This time in Hungary has also been The Cultured Nation one of self exploration and deeper Conclusion: My Own inward personal understanding. I am always working to make my creative In Hungary there is a true and real pride Journey Back to Basics of the people in their culture, significantly communication as honest as possible, and their unique music and dance. Dance I think that is why I was initially drawn “In order to feel the vitality of this music, one to Hungary and to these composers. I saw Halls and their emphasis on reconnecting must… have lived it” – Bartók once again with folk music emerged in the in them a kindred sense of artistry. My personal mission is to connect to a broader 1970’s and they hold a visible place in the Experiencing Hungarian life has helped world and to better understanding it cultural scene of Budapest. This movement me to better understand Hungarian through shared experience, and all my owes its roots to Bartók, who popularized music: a Christmas season with all its research and work has been to enhance folk music for all Hungarians and brought nuance and depth, other rich and uniquely the practice of performing, hopefully not it in to a collective conscience. Going to Hungarian occasions like Luca’s Nap or only for myself, but also for an audience. a dance hall in Hungary is something All Saints’ Day and their accompanying The greatest success for me comes when that is for all ages, including many of the folk tales and traditions (the fodder of I know I have given an audience a gesture Hungarian youth, who participate in this song texts), even sharing in the traditions aspect of their culture. of simple truth and deep reality. Performing is a living museum of The opera by Ferenc Erkel, Bánk Bán 24 The Csárdás is a typical Hungarian dance named after the old sorts and my research, in order to make and its rousing and patriotic aria Hazám Hungarian word for pub, “Csárdá”.

208 209 A Selected Bibliography of Selected Recordings Italian Influence on the Source Materials Hungarian Renaissance Brown, Julie (2007). Bartók and the Grotesque, Studies in Tiszta forrás (Pure Springs): Hungarian Folk Tunes and their

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2, Akadémia Kiadó, Budapest. Kurtág: András Mihaly, Erika Sziklay, István Antal, et al,

Frigyesi, Judit (1998). Béla Bartók and Turn-of-the-Century Hungaroton Classic, HCD 31290, Hungary.

Budapest, University of California Press, Berkeley. Bánk Bán, (2000), opera movie, Ferenc Erkel: Tamás Pál conductor,

Benjamin Rajeczky, Desző Legány, János Kárpati, & Bálint Sárosi Hungarian State Opera, Éva Marton, Andras Molnar et al, Hungary. (2001). The New Grove Dictionary of Music, Hungary: Art Music, Hungarian Folksongs for voice and piano (2007), song, Béla Bartók: Sarah W. Lynch & Hungary: Folk Music. Vargyas, Lajos (2005). Folk Music of the Herczku Ágnes, Djerdj Timea, Kincses Margit, Hungarian Heritage

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Demény et al (1971) Béla Bartók Letters, Faber and Faber, London. Blue Beard’s Castle (2002), opera, Béla Bartók: Ivan Fischer conductor, Manga, János (1969). Hungarian Folk Song and Folk Instruments, Budapest Festival Orchestra, Laszló Polgár, Ildikó Komlósi, Phillips ...... Kossuth Printing House, Budapest. Kerékfy, Márton (2008). ‘A “new Classic, 470 633-2. music” from nothing’: György Ligeti’s Musica ricercata”, Studia Gyorgy Ligeti Edition Vol 8 - Le Grand Macabre (1999), opera, The Frick Collection Kiscelli Museum Musicologica, Volume 49, Numbers 3-4/September 2008, Akadémiai György Ligeti: Esa-Pekka Salonen conductor, , 1 East 70th Street 1037 Budapest Kiadó, Budapest. Philharmonia Orchestra and Chorus, Charlotte Hellekant, Jard Van New York, NY 10021 Kiscelli utca 108 Bartók, Béla (1976). “The Influence of Peasant Music on Modern Music”. Nes, , , et al, Sony, B00000ICMU. [email protected] Adviser: Dr. Péter Farbaky Béla Bartók Essays. ed. Benjamin Suchoff. Faber & Faber, London. Le Grand Macabre (2004), opera, György Ligeti, Elgar Howard Bartók, Peter (2002). My Father, Bartók Records, Homosassa, conductor, Gumpoldskirchner Spatzen, ORF-Symphony Orchestra, ...... Florida. Danielle Fosler-Lussier (2007). Music Divided: Bartók’s Dieter Weller, Ernst Salzer, Johann Leutgeb, Laszlo Modos, et al,

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20th-Century Music), University of California Press, Berkeley. György Ligeti Edition Vol. 4 - Vocal Works (Madrigals, Mysteries, In researching the Hungarian Renaissance and its relationship to artistic and intellectual Tim Janof (2004). Internet Cello Society Interview with Janos Starker: Adventures, Songs)(1997), song & chorus, György Ligeti: Esa-Pekka developments in Italy, I have observed the developments in visual styles from the court-centered http://www.cello.org/Newsletter/Articles/starker2/starker2. Salonen conductor, The King’s Singers, Philharmonia Orchestra, et works in the Matthian period (1458-1490) through the sixteenth century with a particular htm Zsuffa, Joseph (1987). Béla Balázs: The Man and the Artist. al, Sony, B0000029P3. emphasis on the period from 1490-1526 when Hungary was ruled by the Jagiellonian dynasty. University of California Press, Berkeley. Gillies, Malcolm (1990). A mixture of Hungarian traditions and Italian innovations allowed the Renaissance to flourish Bartók Remembered, Faber and Faber, London. in a manner unique to Hungary. This paper gives a brief overview of Renaissance art in Hungary from Matthias’s reign until the mid 16th century, using three prominent examples to illustrate different styles and stages of development: the Bakócz chapel in Esztergom, the town hall in Bártfa (Bardejov, Slovakia), and the castle at Sárospatak. I conclude with a short description of my research and time spent in Hungary.

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