Magyar Zene Music Quarterly
Vol. 50 , No. 3 - August 2012
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
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
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.
ZOLTÁN JENEY–TÜNDE SZITHA
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.
FERENC JÁNOS SZABÓ