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Kodály in England - A Documentary Study (I: 1913–28)

Published online by Cambridge University Press:  04 February 2010

János Breuer
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Extract

The significant role which England played in Kodály's international career is so well-known that it virtually borders on a commonplace. His works found outstanding performers, a comprehending public, receptive critics and also publishers in these islands. It is also well known that the Hungarian master drew upon English musical practice. In his music pedagogy he applied John Curwen's Tonic Sol-Fa method. In choral culture he regarded the practice in England as a direct example.

Type
Research Article
Information
Tempo , Issue 143 , December 1982 , pp. 2 - 9
Copyright
Copyright © Cambridge University Press 1982

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References

Notes

1 The Selected Writings of Zoltán Kodály (Corvina Press: Budapest, 1974), p. 157Google Scholar.

2 Young, Percy M.: Zoltán Kodály, a Hungarian Musician. (Ernest Benn Ltd., London 1964)Google Scholar. Foreword, : ‘A letter to the author from Zoltán Kodály’, p. viiiGoogle Scholar.

3 Calvocoressi most likely was unware of the fact that in the programme of the Féstival Hongrois arranged—for a narrow circle—in Paris in 1910, Kodály's Sonata for 'Cello and Piano was included on 12 March. The correct title of the ‘Zongora Musika’ mentioned in the article is Zongoramuzsika [Piano Music], the first, more extensive version of the Nine Piano Pieces (op. 3).

4 The Monthly Musical Record, 2 June 1913, p. 150. Quoted by Young, pp. 55–56.

5 The letter was first published by Denijs Dille. ‘Four letters by Bartok to Philip Heseltine’, Muzsika [Hungarian Music Review], September 1965, pp. 1–8. The French text of our quotation is on p. 2, its Hungarian translation on p. 5.

6 Ed. Somfai, László: Documenta Bartókiana 5 (Akadémia Kiado Budapest, 1977) pp. 105–106Google Scholar.

8 Somfai, , op. cit. pp. 136–137Google Scholar.

9 Young quotes the full text of Calvocorcssi's Kodály study. Appendix 2, pp. 203–207. The place quoted: pp. 205–206.