Magyar Zene

Haydn, Shakespeare and the Rules of Originality, Part 2
Magyar Zene (2015) Vol. 53, No. 4, pp. 442-474

This essay explores the discourse around Haydn's famous statement that in his isolation at Eszterháza he "had to become original." Considering the relationship of originality to rules and to genius in 18th-century thought leads to the reception history of the ...

A Gentleman from Budapest: Ferenc Farkas and the Novecento
Magyar Zene (2015) Vol. 53, No. 4, pp. 425-441

Ferenc Farkas, born in 1905, studied composition at the Budapest Music Academy from 1922 to 1927. Although he was not a pupil of Zoltán Kodály, Farkas, like most Hungarian composers of his generation, was strongly influenced by the national folkloristic ...

The Bony Carbine Reloaded: "Csinom Palkó" by Ferenc Farkas in the Light of the Sources of his Estate
Magyar Zene (2015) Vol. 53, No. 4, pp. 403-424

Dating back to the communist period of state socialism, "Csinom Palkó", an operetta in three acts using Hungarian historical songs and 17th- century dance melodies, is by far the most popular work composed by Ferenc Farkas. This is quite interesting, ...

"When You Translated Troubadour Songs in Székesfehérvár...": Ferenc Farkas' s Encounters with Sándor Weöres
Magyar Zene (2015) Vol. 53, No. 4, pp. 388-402

In the musical output of Ferenc Farkas an important role was played by vocal music, of which there are about four hundred works. He drew from one or more poems by each of around a hundred Hungarian poets in his ...

Ferenc Farkas the Manager
Magyar Zene (2015) Vol. 53, No. 4, pp. 373-387

The estate of composer Ferenc Farkas (1905-2000) has recently been donated to the Music Collection of the National Széchényi Library in Budapest. The estate includes a vast collection of letters which invites detailed reconsideration of the strategies that Farkas followed ...

Ferenc Farkas, Music's Polymath
Magyar Zene (2015) Vol. 53, No. 4, pp. 364-372

The career and music of Ferenc Farkas (1905-2000) was characterized by a unique diversity. This showed not just in the more than a hundred genres in which he wrote music, or in their nearly two hundred different kinds of ensemble, ...

Memories of Ferenc Farkas
Magyar Zene (2015) Vol. 53, No. 4, pp. 357-363

From 1961 to 1966 the author was a composition pupil of Ferenc Farkas at the Liszt Academy of Music in Budapest, and herewith presents a brief summary of his experiences with his professor. The essay does not merely provide a ...

Repetitio Mater Studiorum Est: Minimalist Compositions by László Sáry and Hungarian Musical Education
Magyar Zene (2015) Vol. 53, No. 3, pp. 335-345

László Sáry, member of the most important Hungarian association of composers in the seventies and eighties of the last century, the "Új Zenei Stúdió" (New Music Studio), has a big impact on Hungarian musical life even today - not only ...

The Place of Popular Music in János Maróthy's Approach to Aesthetics
Magyar Zene (2015) Vol. 53, No. 3, pp. 323-334

In my paper I demonstrate the changes in János Maróthy's aesthetical and political attitudes towards popular music from the late 1940s up to the early 1970s. Maróthy was (politically) active both in the Stalinist and the post-1956 (Kádár) era. As ...

Contributions to Benjamin Rajeczky's Affiliation to the Folk Music Research Group of the Hungarian Academy of Sciences
Magyar Zene (2015) Vol. 53, No. 3, pp. 305-322

The Hungarian musicologist Benjamin Rajeczky (1901-1989) studied theology and history of music in Innsbruck in the 1920s, and was a visiting student at Zoltán Kodály's courses at the Liszt Academy of Music, Budapest, in the 1930s. His research focused primarily ...