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Cambridge University Press 978-0-521-82733-1 - Ligeti, Kurtag, and Hungarian Music during the Cold War Rachel Beckles Willson Index More information Index 180 Group (180-as csoport) 196 Dance Suite 13, 33, 55 Divertimento 33 ATett(Action) 134 Duke Bluebeard’s Castle 53, 207–9, 226, 227, acoustic scale 56 228–33 Aczel,´ Gyorgy¨ 78 Four Hungarian Folksongs for mixed choir Ad´ am,´ Jeno16˝ 18 Adorno, Theodor W. 34, 35, 71, 82, 84, 92–6, From Olden Times 18 105 Improvisations on Hungarian Peasant African rhythms 183 Songs, Op. 20 17, 56 Akhmatova, Anna 201, 202, 206 ‘The Marriage of the Cricket’, from For Amadinda percussion ensemble 196, 198, 222 Children 43 Amagatsu, Ushio 231, 233 Mikrokosmos 43, 55, 109, 113, 149, 183 anti-Jewish laws and policies 22–3, 26 The Miraculous Mandarin 17, 33, 52 Apartment Theatre 135, 136, 137, 150 Music for Strings, Percussion and Celeste 57 Appeal see Vor¨ osmarty,¨ Mihaly´ night’s music 53, 56 Auschwitz 105 Out of Doors suite 56 avant-garde 18, 117, 131, 163, 165, 169, 170, Piano Concerto no. 3 183 189–90, 198, 199 Sonata for Two Pianos and Percussion 57 Sonatas for Violin and Piano, nos 1 and 2 57 Bach, Johann Sebastian 37, 56, 210 String Quartet no. 6 108, 110, 185 Baird, Tadeusz string quartets 53 Erotica 209 Szekely´ Folksongs for male choir 18 Balassa, Peter´ 210–11 Three Studies, Op. 18 17 Balassa, Sandor´ 125 Twenty-seven Choruses for women’s and Balazs,´ Bela´ 64, 209–10 children’s choir 18, 72 Balazs,´ Istvan´ 205–7 Village Scenes 73 Balibar, Etienne 22 ‘Bartok´ and Kodaly´ school’ 32 Bardos,´ Lajos 16, 19, 29, 44, 47, 53, 54, 55, 56, Bartok´ Conservatory 138, 234 58, 66, 67, 92, 191, 234 Bartok´ Festival ‘Modal harmonies in Liszt works’ (Mod´alis 1948 28, 34 harm´oni´ak Liszt m˝uveiben)57 1956 88, 90 ‘The Foundations of Modal Harmony’ 54 Bartok´ Seminar (Budapest, 1946–49) 130, 198 The harsh winter has passed (Elm´ultm´ara Bartok´ Seminars in Szombathely 130, 196, 197, vad t´el)48 200 Shepherd’s Pipe (Tilink´o)44 Bayerische Radio 113 ‘Tonic or not?’ (Tonika, vagy nem?)58 Beckett, Samuel 145, 178 Bartha, Denes´ 63 Beethoven, Ludwig van 4, 56, 161, 223 Bartok,´ Bela´ 2–3, 14–18, 20–1, 23, 24, 25, 28, Ninth Symphony 105 30, 32–4, 36, 39, 40, 42, 49, 50, 52–3, Piano Sonata, Op. 81a (‘Lebewohl’) 179 54, 55–9, 64, 67, 71, 72, 82, 84, 89, 92, string quartets 160 106, 107–8, 113–14, 119–20, 125, 130, Bela´ Bartok´ Union (Bart´ok B´elaSz¨ovets´eg)31 138, 140, 152, 165, 166, 167, 169, 177, Berg, Alban 16, 17, 20, 61, 119, 132 179, 183–4, 185–6, 189 Chamber Concerto 80 ‘Bear Dance’ 57 Four Pieces for clarinet and piano, Op. 5 17 Cantata profana 18, 48, 53 Violin Concerto 34 Concerto for Orchestra 33 Bergande, Martin 169, 171–2 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82733-1 - Ligeti, Kurtag, and Hungarian Music during the Cold War Rachel Beckles Willson Index More information 274 Index Berio, Luciano 81, 91 nationalist 15 Berlin 188 Viennese 46 Berlioz, Hector Cluj 120, 130 Symphonie fantastique 51 Cold War 1–2, 3, 30, 193, 226, 228 Bern Conservatorium 60 cultural 1, 34 Bible, the 21, 202 Cologne 86, 87, 90, 91, 132, 190 Bliss, Arthur 59 Communist Party 27, 92 Blok, Alexandr 201–2 Communist Youth Alliance 131–2 Body,´ Gabor´ 197 ‘Chamber Music of Our Time’ (Korunk Bornemisza, Peter´ 125 Kamarazen´eje) 80, 123 Borsodi, Istvan´ 61–2 Crescendo 16, 17, 60 Borsody, Laszl´ o´ 149 Csengery, Adrienne 200, 209, 220 Bosz¨ orm¨ enyi-Nagy,´ Bela´ 61 Cserepfalvi´ publishing house 28, 43 Boulez, Pierre 59, 81, 91, 190, 212 Csicsery-Ronay,´ Istvan´ 61–2 Le marteau sans maˆıtre 81, 91 Csontvary,´ Kosztka Tivadar 125–6 Sonata for Piano no. 3 87 cummings, e. e. 133, 153 Structures Ia 91 Curwen, John 24 Bozay, Attila 125, 128, 149 Czechoslovakia 127, 227 Improvisations for zither 131 Czovek,¨ Erna 42–3, 63, 130 Brandt, Willy 127 Breuer, Janos´ 122, 124, 130, 132, 137, 143–4, Dada 134 161–2, 188, 191, 192, 199, 234 Dallapiccola, Luigi 20 Brezhnev, Leonid 127 Dalos, Rimma 201–2, 206 Britten, Benjamin 90 ‘Writings of the Apostle Paul to Me’ 203–5 Albert Herring 80 Dance House movement (T´anzh´az) 129, 131, Sinfonia da Requiem 80 134 String Quartet no. 2 80 Dann, Otto 2 Budapest Chamber Ensemble 125, 133, 138 Darmstadt 80, 87, 123, 125, 127, 129, 132, 138, Budapest Music Weeks 189 187, 225 Budapest New Music Studio 131–4 David,´ Gyula Budapest Opera 48 Viola Concerto 51 Budapest Wind Quintet 188 Debussy, Claude 16, 162 Busoni, Ferruccio 43 Ondine 55 Decroupet, Pascal 113 Cage, John 132, 198 Demeny,´ Janos´ 91 Calvinist Church of Budapest 20 Denes,´ Vera 41 cantata d´etente 194 Soviet 45, 48–9 diatony 114 Carnegy, Patrick 104 Dibelius, Ulrich 169, 173 Casella, Alfredo 20 die reihe 86, 91, 190 Catholic church, Catholicism 28, 78, 128, 139, divertimento 50 144, 168 Dobszay, Laszl´ o´ 128, 134, 220, 234 Celan, Paul 210 dodecaphony 55, 56, 57, 58, 59, 60, 81, 82–5, Central Committee of the Communist Party of 100, 113, 123 the Soviet Union Dohnanyi,´ Erno˝ 2, 14–17, 20, 23, 25, 226, 233 decree on modern music 35 Der Tenor 227 Central Europe 195–6, 210–15 Festival Overture 13, 15 Chekhov, Anton 229–32 The Vaivode’s Tower (A vajda tornya) 227 children’s literature 64, 66 Donaueschingen 80, 187 Chopin, Frederic 183 Dorati,´ Antal 60 church 77, 128 Dostoevsky, Fyodor 141, 143, 147, 202, 206 modes 55 Dukay, Barnabas´ music 134 ‘O’ 136 classicism 8, 17, 24, 33–4, 151 ‘Quadruplus’ 137 Hungarian 16, 20 Durer,¨ Albrecht 104 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82733-1 - Ligeti, Kurtag, and Hungarian Music during the Cold War Rachel Beckles Willson Index More information Index 275 Durko,´ Zsolt 124, 125, 131, 132, 148, 152, 199, arrangements and transcriptions 40, 46 200, 235 German 46 Fioriture ungherese 124 Hungarian 15, 19, 20, 27, 31, 43, 45–7, 48, Moses 131, 227 173, 189, 220 Una rhapsodia ungherese 124 Romanian 40, 54–5 Violin Concerto Organismi 124 settings 44, 47 Durrenmatt,¨ Friedrich 86 Soviet-Russian 45 Dvorak,ˇ Antonin 196 suites 46–7 ‘formalism’ 34, 36, 52, 54–9, 79, 82, East European Folk Music Institute 27–8, 29 130 Eastern Bloc 127–8, 144, 195 Frankfurt School 96 Editio Musica 190 Frescobaldi, Girolamo 161 electronic music 190 Frid, Geza´ 16, 23 Elet´ ´es Irodalom (Life and Literature) 135 Enekl˝´ o Magyarok (Singing Hungarians) 31 Gadamer, Hans-Georg 7 Enekl˝oMunk´as´ (Singing Worker) 27 Gallus, Joannes 54 Enekl˝´ oN´ep (Singing People) 29, 31 Garton Ash, Timothy 195 Eneksz´´ o (Chorusing) 19 Gat,´ Jozsef´ 43 Englbrecht, Bernd 171, 172, 173, 182 genius 2, 3–4, 14, 15, 126, 221 Eotv¨ os,¨ Peter´ 132, 197, 200, 222, 235 Germanic music 32 Cricket Music 197 Germany 13, 18, 19, 20, 23, 24, 91, 127, 164, Elektrochronik 136 188, 226 Insetti galanti 197 Gilgames 119 Nonsense Madrigals 172 Gill, Dominic 147 Tale 197 glasnost 194, 197, 202 Three Sisters 228–33 Golden Section 56, 58, 72 Wind Sequences 197 Goldmark Music School 23 Eotv¨ os¨ College of the Budapest University 22 Gombosi, Otto´ 16, 20, 23, 60, 61, 235 Eotv¨ os¨ Lor´ and´ University in Budapest 128 Gorbachev, Mikhail 194 Erkel, Ferenc 15, 51, 226, 227 Gottwald, Clytus 171 Esenin, Sergei 201, 202 Gregorian chant 149, 197 Esterhaza´ 190 Grieg, Edvard 196 European Chamber Orchestra 192 Grosz,˝ Archbishop Jozsef´ 29 European Cultural Forum 195 Grotowski, Jerzy 134 expressionism 14 Gumbrecht, Hans Ulrich 5 Gyor˝ Philharmonic Orchestra 190 Farkas, Ferenc 32, 82, 83, 86, 123, 124, 167, 189, 191, 235 Habsburgs 1, 195, 197 Fruit Basket (Gy¨um¨olcskos´ar)66 Hajdu, Andras´ 53, 72 Musica pentatonica 32 Gypsy Cantata (Cig´any kant´ata)48 Praeludium und Fuga 81 ‘The rhythmic pattern of Bobita’´ (B´obita fascism 1, 22, 82, 226 ritmik´aja)72 Ferencsik, Janos´ 40 Halasz,´ Kalm´ an´ 8, 38, 46, 50, 53, 54, 87, 88, 89, Fischer, Annie 23 92, 100 Fodor Music School 23 Hamburg 163, 168 folk instrument 131 Hamvas, Bela´ 71 folk laments 146, 181, 182 Haraszti, Miklos´ 128 folk music 17, 30, 33, 35, 37, 53, 54–5, 63, 84, Hausmusik 120, 152 92, 165, 169, 197, 220, 229 Havel, Vaclav´ 195, 212, 214 Hungarian 16, 46, 50, 61, 130, 165, 189 Haydn, Joseph 190 Romanian 24, 187, 189 Helms, Hans G. 96 Russian 47 Helsinki folklore 24, 39, 46, 61, 79, 129, 165, 187, 206 Accords 127, 128, 136, 195 folksong 19, 20, 24, 31, 32, 39, 42, 43, 44, 45–8, Federation for Human Rights 195 50, 53, 55, 56, 66, 167, 178, 218–20 Hermann, Lula 55 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82733-1 - Ligeti, Kurtag, and Hungarian Music during the Cold War Rachel Beckles Willson Index More information 276 Index Hindemith, Paul 17, 20, 57 Independent New Artists 16 Des Todes Tod 80 International Monetary Fund 195 Septet 80 International Society for Contemporary Music Histoire d’O 136 198 Hitler, Adolph 13, 168 IRCAM 212 Hoffmann, Peter 106, 223 Iron Curtain 225 Holderlin,¨ Friedrich 141, 170, 178, 210, 221 Ives, Charles 20 Holliger, Heinz 61 Homer 125 Jard´ anyi,´ Pal´ 29, 32, 34, 39, 40, 41, 47, 50, 52, HommageaGy¨ ` orgy Kurt´ag 137 54, 58, 167, 235 Honegger, Arthur 20 Divertimento concertante 50 Jeanne d’Arc 80 V¨or¨osmarty Symphony 51 Le roi David 80 Jemnitz, Sandor´ 14, 16, 17, 20, 34, 81, 82, 236 Symphonyno.2(Symphonie pour cordes)80 Jeney, Zoltan´ 128, 131, 133, 135, 137, 187, 236 Symphony no.
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    Passacaglia and Lament in Ligeti's Recent Music

    tijdschrift 2004 #9/1/2 22-01-2004 09:16 Pagina 1 stephen taylor Passacaglia and lament in Ligeti’s recent music1 György Ligeti’s music since his opera Le Grand Macabre (1974-77, revised 1996) could be described as a collage of different compositional techniques. Two of the most prominent are passacaglia, and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Passacaglia and chromatic scales have appeared in Ligeti’s music since his student days, but they have become especially prominent in his recent music. This essay examines the development of these two techniques, focusing on their combination in the Horn Trio and Violin Concerto. These works not only show us how Ligeti uses the same ideas in different contexts; they also provide an overview of his recent compositional technique. Of the various compositional devices that appear in Ligeti’s music since his opera Le Grand Macabre (1974-77), two of the most prominent are the passacaglia and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Table 1 shows a list of works from the opera to the late 1990s in which these techniques appear. This essay examines the two slow movements that combine them: the fourth movement of the Horn Trio, ‘Lamento’, from 1982, and the fourth move- ment of the Violin Concerto, ‘Passacaglia: Lento intenso’, written a decade later. While both movements have much in common, their differences also highlight how Ligeti’s music has developed since he embarked on his new style in the early 1980s.
  • Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference

    Bassoon Pedagogy: a Panel Discussion at the 2003 IDRS Conference

    Bassoon Pedagogy: A Panel Discussion at the 2003 IDRS Conference By: Michael Burns Burns, Michael. “Bassoon Pedagogy: Report on the Pedagogy Round Table.” The Double Reed, vol. 27-2, 2004. Made available courtesy of International Double Reed Society: http://www.idrs.org/publications/ ***Note: This version of the document is not the copy of record. ***Note: Figures may be missing from this format of the document The IDRS 2003 Conference in Greensboro North Carolina had a theme of "pedagogy revisited" and one of the events consisted of a Bassoon Pedagogy Round Table in which several distinguished international panellists were asked to discuss aspects of bassoon pedagogy in front of an audience. Prior to the conference. each panellist was sent a list of questions to answer by the moderator and co-host of IDRS 2003. Michael Burns, The following are the answers to those questions sent in advance and dispersed at the round-table as a handout. Burns then asked each of the panelists to illuminate their answers more in person which led to some wonderful additional inter- :haw amongst these bassoonists as well as question and answer sessions with the audience. I would like to once again thank my colleagues for their expertise and willingness to share their ideas. The panel consisted of: Meyrick Alexander, principal Philharmonia Orchestra, bassoon professor. Guildhall School of Music and Drama. London Judith Farmer, principal Santa Barbara Chamber Orchestra. bassoon professor. University of Southern California. Kiyoshi Koyama. principal Japan Philharmonic Symphony Orchestra Kim Walker, bassoon professor. Indiana University. International soloist Liu Zhaolu, principal Shanghai Symphony, bassoon professor, Shanghai Conservatory of Music MYRICK ALEXANDER'S ANSWERS How do you leach technique on the bassoon? I provide students with a quick and simple daity routine of scales and exercises which produces a retiable.