Magyar Zene Music Quarterly





Magyar Zene

Hungarian Language Music Quarterly


Vol. 50 , No. 3 - August 2012





Magyar Zene 50


A forma- fogalom problematikája 245
Egy faun délutánja
Mallarmé és Debussy – vers és zene



Még egyszer az itáliai költészet és zene Lisztre gyakorolt hatásáról
A Benedetto sia ’l giorno Petrarca- szonett
Rethinking the Influence of Italian Poetry
and Music on Liszt (Abstract)
Bartók örökében
Pásztory Ditta, a „Bartók- interpretátor”
Bartók’s Heiress
Ditta Pásztory the “Bartók Interpreter” (Abstract)



Az Új Zenei Stúdió hangverseny- repertoárja 1970–1990 között 303
The New Music Studio Concert Repertoire 1970–1990 (Abstract) 348

Work in Progress


Liszt ujjlenyomata
Liszt Ferenc ujjrendjei az 1830-as években – 2. rész
Liszt’s Fingerprints
Ferenc Liszt’s Fingerings in the 1830s  – Part 2 (Abstract)



Liszt nyomában
Hamburger Klára: Liszt Ferenc zenéje
[In Liszt’s Footsteps
Klára Hamburger: Ferenc Liszt’s Music]

The whole issue (pdf)








Rethinking the Influence of Italian Poetry and Music on Liszt

Petrarch Sonnet Benedetto sia ’l giorno


The article aims to clarify some very muddled intricate points concerning the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ’l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for
granted; then that of the dates – of composition, of revision(s), of publication(s) – which have been covered much more widely in the literature than that of the language, but which still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means of analysis, the author suggests the cooperation of external hands in the setting of the words. The discussion of the form of the piece reveals various commonplaces that the author tries to confute; the difficulties inherent in the meter (the hendecasyllable) and the various ways in which its rhythm is interrupted – through repetitions, pauses and vocalizations etc. – are carefully underlined.
The conclusion is that in Benedetto sia ’l giorno the relationships between music and poetry do not reflect any particular model of the Lied nor of the Operatic aria; the piece instead offers a slight hint of the ancient Italian Madrigal. Benedetto is not an occurrence of a known musical form, but a suffering example of the crisis of form. 


Rossana Dalmonte studied “German Language and Literature” at University, and Piano, Composition, Choir direction at the Conservatory. She was Assistant professor at the University of Bologna (1972- 85) in the Discipline: Forme della poesia per musica, and Full professor in Musicology at the University of Trento (1986- 2008) Her main research areas are: 1) Theory and Analysis. Many articles in Italian and foreign journals and the book Le regole della musica. Indagine sui meccanismi della comunicazione, EdT, Torino 1999, translated into English and enlarged as A computer- aided inquiry on Music Communication, Mellen
Press, Lewiston –New-York 2003, and into French as Les règles de la musique. Etude sur les mécanismes de la communication, Delatour, France 2008. Together with Mario Baroni and Carlo Jacoboni. 2) Contemporary music. The editing and study of the works of Bruno Maderna have led to the stipulation of a convention between the Universities of Trento (Dalmonte) and Bologna (Baroni). and the Milan publishing house Suvini- Zerboni and the RAI (Italian radio and television). This initiative began in the 1980s and it is still alive and fruitful (20 scores and 4 books have been published from 1995 to today). Her interview with Luciano Berio has been published in many languages, and she has published several articles on his works. 3) Franz Liszt and his world. The foundation and direction of the Istituto Liszt in Bologna (1997) was the outcome of research which had begun at the end of the 1970s. In 2011 it became the Fondazione Istituto Liszt onlus. Two collections are regularly published: “Quaderni dell’Istituto Liszt” and “Rarità Lisztiane/Liszt Rarities” together with the Liszt Society in London. From October to April the Fondazione organizes 8 concerts yearly.

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Bartók’s Heiress

Ditta Pásztory the “Bartók Interpreter”


In her book about Bartók’s American years (The Naked Face of Genius, Boston 1958), Agatha Fasset recalls Bartók’s words about Ditta’s pianistic qualities. “Your performance always comes to the nearest of all to my intention. The simplest, the most articulate, the purest. And still I am not saying that you are absolutely the best pianist. Just that you perform my works in the truest style. And always remember, you are the one who will have to preserve this style, keep it alive, keep it going.” Ditta’s discography (containing recordings from the 1960s) and some radio and television broadcastings testify more than anything else that she took her assignment seriously. However, we have only a few documents which help us to understand how Ditta came to her heritage (e.g. documents from her years of study): some allusions in interviews, the recollection of her school- fellows and a pile of her notebooks which, thanks to Krisztina Voit, the former owner of Ditta’s estate, was deposited at the Bartók Archives in 2006. In the first part of the paper I attempt to give a rough description of Ditta’s formative years, her long apprenticeship under Bartók’s guidance. In the second part, analysing a few recordings (including selected pieces from Mikrokosmos and passages from Piano Concerto no. 3) I will attempt to find out what she succeeded in preserving from Bartók’s style.


Virág Büky graduated in musicology from the Ferenc Liszt Academy of Music in Budapest in 2002 with the thesis A vokális moresca. Egy népszerű műfaj a 16. század végi Itáliában. [The moresca vocale: A popular genre in late 16th century Italy]. In 2001–2004 she was a postgraduate at the Budapest Academy. At present she is a research assistant, working on her PhD dissertation on Bartók and the exoticism of the turn of the 20th century. Since 2000 she has been working at the Bartók Archives of the Institute for Musicology of the Hungarian Academy of Sciences.

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The New Music Studio Concert Repertoire 1970–1990


Although the New Music Studio operated on the periphery of official musical life, it was perhaps the most active representative in Hungary of Hungarian and foreign contemporary music in concert life in the 1970s and 1980s. The composers working in the Studio and the musicians grouped around them built up a repertoire in which in addition to their own works they introduced to the Hungarian public the most progressive stylistic trends and compositions of the contemporary music of that period. They gave most of their concerts in Budapest, but when they were given the opportunity they also performed in the provinces. They did several foreign tours, but there were fewer opportunities for these, because the music performed by the ensemble belonged to the tolerated rather than the encouraged category. The ensemble’s presence on the international scene was not in the interest of the Hungarian cultural policy of that time, therefore in the heavily centralised system of representation of the arts abroad administrative means were easily found to restrict the ensemble’s travels. The table shown here is based on Zoltán Jeney’s notes, into which we have incorporated all the information to be found in the notes to László Vidovszky’s own compositions, together with that gained from the memories of the Studio members and the instrumentalists who performed in their circle.


Zoltán Jeney (1943) studied composition at the Ferenc Liszt Academy of Music, Budapest, with Ferenc Farkas, and at the Accademia Nazionale di Santa Cecilia, Rome, with Goffredo Petrassi. He founded the New Music Studio with Péter Eötvös, Zoltán Kocsis, László Sáry and László Vidovszky in 1970. In 1972 he visited the lectures of György Ligeti, Mauricio Kagel, Karlheinz Stockhausen, Christian Wolff and Iannis Xenakis in Darmstadt. From 1973 he’s started to get involved in diverse non- music materials (texts, chess games, meteorological data, telexes and from 1979 even fractal lines) to rewrite them into music processes. In 1982 he studied computer music at the IRCAM in Paris. In 1985 he was research professor at the Columbia University, New York. From 1986 he’s been teaching at the Ferenc Liszt University of Music; since 2002 he’s been head of the doctoral school as well. In 1999 he taught as guest professor at music department of the Northwestern University, Chicago (School of Music). He was chairman of the Association of Hungarian Composers (1993–1996), board member of the International Society of Contemporary Music (1993–1999), and in frames of the latter organization he was also vice president between 1996 and 1999. Among his works we can find orchestral compositions, chamber works, songs, choir works, electronic and computer music works, co- operations with other composers and incidental music (theater, movie). In 2005 he finished his monumental oratorio Funeral Rite, which he had permanently worked on since 1987.


Tünde Szitha (1961) graduated as a musicologist from the Ferenc Liszt Academy of Music, Budapest; in 1996–1999 she attended the Doctoral Programme in Musicology at the same institution. She has been active as a music critic and journalist from 1985; her articles (mainly on contemporary music), reviews and interviews have been published in several periodicals. Her research is focused on Hungarian music after 1945: her short monographs on the Hungarian composers Zoltán Jeney and László Vidovszky were published in 2003 and 2007. Her PhD thesis in preparation is about experimental music in Hungary from 1970 to 1990. From 2002 to 2010 she taught music history at the University of Debrecen Faculty of Music. She is currently working as Promotion Manager for Universal Music Publishing Editio Musica Budapest Ltd.

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Liszt’s Fingerprints
Ferenc Liszt’s Fingerings in the 1830s – Part 2


In the first half of the nineteenth century virtuoso piano playing developed to a greater extent than ever before. The traces of these changes are preserved in the piano treatises of that time and in a new genre, the highly artistic piano study. After studying with Carl Czerny, the young Ferenc Liszt became – because of his extraordinary technical abilities – one of the most important innovators. The peak of that process was his Grandes Etudes (1838). The new piano technique required new ways of playing; these ways are most easily seen in the fingering. There are overall studies about the fingering of Liszt, but these deal with the whole of his output and concentrate on his new methods (Milstein, 1956 and Walker, 1983). In my study I present the twenty year old Liszt, who adapted his piano technique to suit his new artistic message, primarily through the Grandes Etudes. I investigate not only the improvements but also the changes that took place in features found in the fingering of the preceding period. I use as a comparison the chapters on fingering in the two most important piano treatises of the period (Hummel, 1828 and Czerny, 1839).


Ferenc János Szabó was born in Hungary in 1985. He studied piano, choir conducting and composition at colleges in Pécs and Budapest. In 2008 he graduated with honours in piano from the Ferenc Liszt Academy of Music in Budapest. He has given recitals in several countries of Europe and in China (piano solo and chamber music) and he especially enjoys working with singers. He has studied at the Doctoral School of the Ferenc Liszt Academy of Music in Budapest as a pianist (DLA) and a musicologist (PhD). He worked in the first half of 2011 at the Ferenc Liszt Memorial Museum and Research Centre. Since September 2011 he has worked as a research assistant at the Institute for Musicology (Research Centre for the Humanities, Hungarian Academy of Sciences). His research area is the early Hungarian recording history and the analysis of interpretation. He completed his DLA studies Summa cum laude in 2012; his DLA thesis was about Karel Burian’s Hungarian activity. He is currently working on his PhD thesis on the singing style of the singers of the Royal Hungarian Opera House between 1899 and 1926. He has given talks at several Hungarian and international musicological conferences.

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