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Relevant bibliographies by topics / Hungarian composers

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Journal articles

Academic literature on the topic 'Hungarian composers'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Hungarian composers"

1

Dunnett, Roderic. "Amsterdam: Hungarian State Opera at Het Muziektheater in Szókolay's ‘Blood Wedding’." Tempo 59, no. 232 (2005): 77–78. http://dx.doi.org/10.1017/s0040298205230176.

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Blood Wedding is the first opera by the Hungarian composer Sándor Szókolay, (b.1931), who being three years older than Birtwistle and Maxwell Davies is, with Emil Petróvics (whose Kafka-like one-acter C'est la Guerre coexists with Blood Wedding in the Hungarian State Opera's regular repertoire), arguably the leading modernist among Hungarian opera composers.

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2

Dalos, Anna. "Ungarn lernt Ligeti kennen: persönliche Begegnungen und kompositorische Rezeption." Studia Musicologica 57, no. 1-2 (2016): 239–50. http://dx.doi.org/10.1556/6.2016.57.1-2.15.

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Hungarian composers in the past very rarely reflected on György Ligeti’s oeuvre. Concentrating on their own struggles with musical modernism and avant-garde after 1956, they considered Ligeti one of the most important Hungarian composers of their time, but didn’t really understand his concepts and techniques. My study aims at interpreting this misunderstanding through the analysis of orchestral works by Ligeti’s best Hungarian friend, András Szőllősy (1921–2007). For contemporary Hungarian musicians and critics, Szőllősy’s compositions represented the counterpart of the great émigré’s life wor

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3

Dalos, Anna. "György Kurtág’s Hungarian identity and The Sayings of Péter Bornemisza (1963–1968)." Studia Musicologica 54, no. 3 (2013): 319–30. http://dx.doi.org/10.1556/smus.54.2013.3.5.

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After the political and cultural seclusion of the 1950s young Hungarian composers turned to Western European new music. While learning contemporary compositional techniques they were searching for a new Hungarian identity in music. The musicological discourse about new Hungarian music concentrated on the ‘Hungarianness’ of their music too. Composers used Hungarian literary texts, and referred to Hungarian music culture with musical allusions. They inherited the idea of the combination of the up-to-date Western European compositional techniques with the old Hungarian tradition from Kodály and B

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4

Dalos, Anna. "Ein symphonisches Selbstbildnis: Über Zoltán Kodálys Symphonie in C (1961)." Studia Musicologica 50, no. 3-4 (2009): 203–20. http://dx.doi.org/10.1556/smus.50.2009.3-4.1.

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After the revolution in 1956, the cultural policy in Hungary shifted to allow a new openness toward Western-European movements: consequently 1956–1967 became one of the most important transitional periods of Hungarian music history. Composers turned away from the tradition of the foregoing thirty years, determined by the influence of Bartók and Kodály, imitating rather the works of Schoenberg, Berg, Webern, Boulez, Nono, Lutosławski, Penderecki and Stockhausen. In this context the 78-year-old Zoltán Kodály’s Symphony, written in 1960–1961 for the Swiss Festival Orchestra and dedicated to the m

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5

Bozó, Péter. "Theatrical landscape: Intersections between the reception of Wagner and Offenbach in nineteenth-century Budapest." Studia Musicologica 58, no. 3-4 (2017): 329–39. http://dx.doi.org/10.1556/6.2017.58.3-4.3.

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It is strange to find Wagner and Offenbach mentioned together at the time of their reception in nineteenth-century Budapest, and measured against each other in the Hungarian press. This study seeks to interpret that juxtaposition in terms of the system of theatrical institutions in Budapest at the time. Factors identified that concern directly the way Hungarians received the two stage composers are the multinational, multicultural character of theater life, the want of distinctions between genres, and the ongoing changes in the institutional system of the theater.

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6

Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.

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in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same tim

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7

Herlin, Denis. "Claude Debussy, Géza Vilmos Zágon's Pierrot lunaire, and the Question of Prosodic Accent." Studia Musicologica 59, no. 3-4 (2018): 231–73. http://dx.doi.org/10.1556/6.2018.59.3-4.1.

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Abstract During a tour of Austria-Hungary in December 1910, Debussy met a young Hungarian Francophile composer, Géza Vilmos Zágon (1889–1918). The latter sent him the manuscript of the Pierrot lunaire, a cycle of six melodies from the collection of the Belgian poet Albert Giraud. Debussy reviews the vocal line, emphasizing that the corrections he has made almost all concern “prosodic accents.” This rereading of a work by a young composer is a unique case for Debussy and testifies not only to his openness to young composers, but also to his interest in Giraud's poems, as André Schaeffner had so

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8

Portuges, Catherine. "Hollywood on the Danube: Hungarian Filmmakers in a Transnational Context." Hungarian Cultural Studies 5 (January 1, 2012): 341–47. http://dx.doi.org/10.5195/ahea.2012.83.

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Exile, emigration and displacement have marked the trajectories of Hungarian filmmakers over the past century. Michael Curtiz, the Korda brothers—Alexander, Vincent and Zoltán—André de Toth, Emeric Pressburger, Vilmos Zsigmond, Miklós Rózsa, Peter Lorre, Géza von Radvány and other talented artists have crossed borders, cultures and languages, creating such classics as Casablanca, Somewhere in Europe, The Red Shoes and The Lost One. The legendary sign posted in Hollywood studios read: "It is not enough to be Hungarian, you have to have talent, too!" Accompanied by film extracts, rare footage, p

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9

Logar, Engelbert. "Der slawische Anteil am Bestand des Blasmusikarchives der Universität für Musik und darstellende Kunst in Graz." Musicological Annual 51, no. 2 (2015): 187–202. http://dx.doi.org/10.4312/mz.51.2.187-202.

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The article examines the Slavic share of sheet music for brass instruments in the archive of the University of Music and Performing Arts Graz, located in the research station in Oberschützen in the Austrain state of Burgenland. The archive material is comprised of 4805 numbered maps with works and compositions of 2072 different composers – 10,632 formaly defined works. It is intended for symphonic brass music, salon orchestra, string instruments and chambers ensembles and was collected during the 200 years of the performance practice of the institution. The focal point of the article is the so

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10

Illyés, Boglárka. "L’ambassadeur parisien de la nouvelle musique hongroise, Géza Vilmos Zágon Sa carrière et sa correspondance choisie." Studia Musicologica 58, no. 2 (2017): 255–93. http://dx.doi.org/10.1556/6.2017.58.2.7.

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A forgotten figure of the new Hungarian musical movement of the 1910s, Géza Vilmos Zágon (1889–1918) was a talented composer, pianist and music writer. He belonged among those young composers who turned toward French culture instead of the traditional German orientation and searched for new inspiration in Paris. He was, at the same time, one of the few to be personally acquainted with leading personalities of the city’s musical life: letters by Claude Debussy, Michel-Dimitri Calvocoressi, Louis Laloy, Émile Vuillermoz and Albert Zunz Mathot have survived in his legacy. During his stay in Franc

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