It is difficult to imagine world music without the influence of Hungary. It was this country that gave the world art Liszt, Kalman, Bartok and numerous original compositions.
The musical culture of Hungary is based on the traditions of the Roma. And today gypsy ensembles are very popular in the country, attracting full houses in many cities and villages.
Author's music
The composer Franz Liszt stood at the origins of the country's academic music. Among his compositions dedicated to Hungary, one can highlight such an innovative work for that time as “Hungarian Rhapsodies”.
Many melodies are based on traditional motifs. In some you can catch the sound of Hungarian dances – csardas and palotas.
Franz Liszt was an active promoter of the synthesis of arts and tried to connect music with literature and painting. The play “The Thinker” was inspired by the sculpture of Michelangelo, “The Betrothal” was created based on the painting by Raphael Santi. Having met " Divine Comedy", Liszt wrote the sonata "After Reading Dante".
Other recognized composers in Hungary who worked in the 20th century include the following:
- Imre Kalman. The creator of dozens of operettas, the most “Hungarian” of which is considered “Maritsa”.
- Gyorgy Ligeti is a modern Hungarian composer who developed the avant-garde and absurdist movements. One of his programmatic works is “Requiem,” written in the 1960s.
- Albert Szyklosz is a composer, pianist, cellist, and creator of several operas, the most popular of which is “House of the Moon.”
Hungarian folk music
Along with numerous academic composers, folk music has always been present in Hungary.
In the 17th–18th centuries, Hungarian folk music was associated with gypsy music. Many performers performed in a mixed Hungarian-Gypsy style. The consequence of this confusion was Musical direction- camelcat
The Hungarian Verbunkos is characterized by a smooth transition between different rhythms of performance, from slow to energetic.
Elements of verbunkosh can be found in the works of a number of European composers. For example, the Rákosi March, the most famous melody of this style, appears in the works of Berlioz and Liszt.
Based on the verbunkosh, the Czardash style developed over several decades. In addition to gypsy motifs, it was based on village dances from different parts of the country. However, it was the gypsy groups that introduced this style to all neighboring states.
The peculiarity of the Hungarian Csardas is the variability of tempos and rhythms, from smooth and slow to rapid. Experts distinguish several types: “shaking”, lively and calm.
Many csardas motifs can be found in major composers Europe: Brahms, Kalman, Tchaikovsky. Russian composer organically wove elements of this musical style into his ballet “Swan Lake”.
“Silva,” the most famous of the operettas written by Imre Kalman, is also dedicated to Csardas. Another name for this work is “Queen of Czardas.” The production has gone through several film adaptations and is still popular today.
Among famous compositions written in this genre, we can note “Csardas” - a short piece lasting just under five minutes, created by the Italian musician Vittorio Monti. This is one of the few works by the author that is still actively performed today.
The Austrian Johann Strauss did not ignore the style either. The main character of his operetta “Die Fledermaus” performs the Hungarian Csardas in front of the audience to prove her nationality.
Hungarian opera
Hungary is one of Europe's leading providers of opera music. The first Hungarian opera composer was Ferenc Erkel, who staged the opera Maria Bathory in the mid-19th century. Then many other opera productions based on national themes appeared.
Modern Hungarian opera is a rapid development and numerous experiments. Some performers combine classical opera with modern musical genres(such as techno music), others take up unusual topics. For example, Marton Illes sometimes uses Arabian motifs in his works, Tibor Kocak combines opera and rock music (which resulted, for example, in the production of “Anna Karenina”).
Hungary's leading opera composers of the 20th century include György Ranký and Tibor Polgár. Besides operas, they are also known for their music created for Keleti's films.
The interpenetration of Hungarian and world musical cultures continues today. There are many performers in the genre of rock and metal music in Hungary. Among the main groups experimenting in these styles are Dalriada, Ossian, Omega, who perform throughout Eastern Europe.
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Hungarian composers are classics whose work has reached excellence. All these people strived to reach new limits and push the usual boundaries classical music.
Imre Kalman
Hungarian composers and musicians also turned to the operetta genre. Great success in him reached He belongs to such famous works, like “The Violet of Montmartre”, “The Circus Princess”, “Bayadera”, “Silva”. The composer was born in 1882, October 24. The work of this man ends the heyday of operetta. Kalman was born in Siófok, near the Jewish family of Karl Koppstein, who was engaged in trade. The future composer changed his last name during his school years, so he became Kalman.
Franz Liszt
Hungarian composers, in addition to creating great works, were also involved in teaching. In particular, among other things, he was a teacher, conductor, publicist and virtuoso pianist. He is one of the brightest representatives of musical romanticism. The future composer was born in 1811, on October 22, in Riding. Liszt is the founder of the Weimar music school. Ferenc is one of the greatest pianists of the nineteenth century. His era became the heyday of concert pianism. The composer himself was at the forefront of this process, since he had limitless technical capabilities.
Bela Bartok
The great Hungarian composers were musicologists. In particular, this was Béla Bartok, who was born in 1881, on March 25, in Nagyszentmiklos. It's about about the composer, pianist and musicologist-folklorist. Bartok came from the family of an agricultural school director and a music teacher. His father was an amateur musician and played in an orchestra. Bartók grew up in an atmosphere rich in music. I listened to concerts given by my father’s orchestra, as well as wonderful performances of my mother’s works as a pianist.
Other composers
Other Hungarian composers deserve no less attention. Worth considering outstanding personality Leo Weiner. He was born in 1885, in Budapest. We are talking about a composer and one of the greatest music teachers of his time. Weiner twice won the state Kossuth Prize.
Enyo Zador - musical critic, teacher and composer. He was born in 1894, November 5, in Batasek. In 1921 he was awarded the title of Doctor of Philosophy.
Pal Kadosha was born in Leva in 1903, on September 6th. We are talking about a composer, pianist, public figure and teacher. Zoltan Kodaly, who was born in Kecskemet in 1882, on December 16, also achieved success in his business. We are talking about a music theorist and composer. Franz Lehár also occupied a special place. He was born in Komarno in 1870, on April 30. We are talking about the conductor and composer. Refers to the greatest masters Viennese operetta. He has neither successors nor predecessors.
Next, we will tell you in more detail about who Eden Peter Jozsef von Michalowicz was. He was born in Ferichantsi, in 1842, on September 13. This is about music teacher and composer. He studied in Pest. He was a student of Mihai Mosonyi. Later he attended the Leipzig Conservatory, where he studied with Moritz Hauptmann. He continued to improve his skills in Munich. He was a student of Peter Cornelius. He belonged to the followers and admirers of Richard Wagner. He is the author of operas. The composer also wrote 4 symphonies, 7 symphonic poems and songs. From 1887 to 1919 he served as rector of the Budapest National Academy of Music.
These are not all Hungarian composers who are worthy of our attention. After all, they made a significant contribution to the development of the world musical heritage.
August 7, 2016Hungarian composers are classics whose work has reached excellence. All these people sought to reach new limits and push the usual boundaries of classical music.
Imre Kalman
Hungarian composers and musicians also turned to the operetta genre. Imre Kalman achieved great success in it. He owns such famous works as “The Violet of Montmartre”, “The Circus Princess”, “Bayadera”, “Silva”. The composer was born in 1882, October 24. The work of this man ends the heyday of operetta. Kalman was born in Siófok, near Lake Balaton. Comes from the Jewish family of Karl Koppstein, who was engaged in trade. The future composer changed his last name during his school years, so he became Kalman.
Franz Liszt
Hungarian composers, in addition to creating great works, were also involved in teaching. In particular, Franz Liszt was, among other things, a teacher, conductor, publicist and virtuoso pianist. He is one of the brightest representatives of musical romanticism. The future composer was born in 1811, on October 22, in Riding. Liszt is the founder of the Weimar School of Music. Ferenc is one of the greatest pianists of the nineteenth century. His era became the heyday of concert pianism. The composer himself was at the forefront of this process, since he had limitless technical capabilities.
Video on the topic
Bela Bartok
The great Hungarian composers were musicologists. In particular, this was Béla Bartok, who was born in 1881, on March 25, in Nagyszentmiklos. We are talking about a composer, pianist and musicologist-folklorist. Bartok came from the family of an agricultural school director and a music teacher. His father was an amateur musician and played in an orchestra. Bartók grew up in an atmosphere rich in music. I listened to concerts given by my father’s orchestra, as well as wonderful performances of my mother’s works as a pianist.
Other composers
Other Hungarian composers deserve no less attention. It is worth considering the outstanding personality of Leo Weiner. He was born in 1885, in Budapest. We are talking about a composer and one of the greatest music teachers of his time. Weiner twice won the state Kossuth Prize.
Enyo Zador is a music critic, teacher and composer. He was born in 1894, November 5, in Batasek. In 1921 he was awarded the title of Doctor of Philosophy.
Pal Kadosha was born in Leva in 1903, on September 6th. We are talking about a composer, pianist, public figure and teacher. Zoltan Kodaly, who was born in Kecskemet in 1882, on December 16, also achieved success in his business. We are talking about a music theorist and composer. Franz Lehár also occupied a special place. He was born in Komarno in 1870, on April 30. We are talking about the conductor and composer. He is one of the greatest masters of Viennese operetta. He has neither successors nor predecessors.
Next, we will tell you in more detail about who Eden Peter Jozsef von Michalowicz was. He was born in Ferichantsi, in 1842, on September 13. We are talking about a music teacher and composer. He studied in Pest. He was a student of Mihai Mosonyi. Later he attended the Leipzig Conservatory, where he studied with Moritz Hauptmann. He continued to improve his skills in Munich. He was a student of Peter Cornelius. He belonged to the followers and admirers of Richard Wagner. He is the author of operas. The composer also wrote 4 symphonies, 7 symphonic poems and songs. From 1887 to 1919 he served as rector of the Budapest National Academy of Music.
These are not all Hungarian composers who are worthy of our attention. After all, they made a significant contribution to the development of the world musical heritage.
Source: fb.ru
Current
Hungarian music is an integral part of the culture of this country. All kinds of concerts and festivals take place in Hungary throughout the year. Of course, the main “epicenter” of musical events is Budapest. Here you can find musical events for every taste. For example, every summer the famous Sziget festival is held on Obudai Island. More than 400 thousand people from different parts of the world come to see it every year. They live here on the island: they pitch tents and have fun from the heart, waiting for the evening when they go on stage famous bands and performers. Among the guests of the festival in different time there were such world stars as David Bowie, The Prodigy, The Cardigans, Rammstein, Morcheeba, Placebo, HIM, Muse, Sugababes, The Pet Shop Boys, Nick Cave, Natalie Imbruglia, The Rasmus and many others.
Classical music lovers can enjoy superb performances at the Budapest Conservatory, one of the country's oldest concert halls. Opera fans will find the luxurious building of the Hungarian State Opera House. For those who prefer a lighter genre of operetta, we recommend visiting the Budapest Operetta Theater, whose rich repertoire includes such world-famous musicals as “Romeo and Juliet”, “Mozart”, “Beauty and the Beast” and others. In hospitable taverns and restaurants, the sounds of fiery gypsy music can be heard, and dance groups perform the famous csardas. From spring to autumn, music can be heard on a variety of stages and stages, in the open air and among colorful scenery. Classical music concerts and opera performances are performed in imposing palaces that once belonged to wealthy noble families; ancient music is played in medieval fortresses. musical instruments, in towns and villages there are festivals with folk songs and dancing...
Of course, Hungary is one of the most musical countries in Europe, where modern trends live peacefully with classics and folk art.
folk music
Hungary has a rich music and dance tradition. It is extremely diverse and includes features of the musical culture of neighboring countries and regions Romania, Slovakia, northern Poland, Moravia... Until the 19th century, Hungarian folk music was identified with the music performed by gypsy orchestras. It arose at the end of the 18th century and was called verbunkosh. 
By camelcat we mean not only musical style, but also the dance of the same name, which is characterized by a gradual transition from slow to fast tempos. Such a transition had a special semantic meaning - it symbolized the national Hungarian character (it is worth noting that it appeared precisely in the era of the awakening of national self-awareness). Verbunkosh was originally performed during recruitment to encourage young men to join the army. The famous melody in the Verbunkos style, the so-called Rakosi March, was included in the works of composers Franz Liszt and Hector Berlioz. The origins of Verbunkos are not precisely known, but it is established that it includes features of ancient Hungarian dances, as well as elements of Balkan, Slavic, Levantine, Italian and Venetian music. Over time, the verbunkosh gained popularity not only among the peasantry, but also among representatives of the nobility. By the end of the 18th century, the folk musical style was often found in opera productions, works of chamber and piano music. In the 19th century, verbunkos began to be perceived as an integral part of Hungarian musical romanticism. This was largely due to the work of the outstanding violinist of that time, Panna Jinka, composer Antal Csermak and the leader of the gypsy orchestra, Janos Bihari. Among modern musicians performing verbunkosh, the most famous are representatives of the Lakatos musical dynasty Sandor and Robi Lakatos.
For a long time, Hungarian folk music was identified with the music of the Roma. Indeed, Hungary has always been one of those European countries where it has received the greatest development. 
And today the gypsy music of Hungary enjoys well-deserved fame in the world. The most famous performers include Ando Drom, Romani Rota, Kayi Yag, Simea Lakotosi, gypsy musical groups are widely known: Hungarian Gypsies, Project Romani, Kalman Balogh’s Gypsy Cimbalom and others. Gypsy music is constantly evolving, new directions and styles appear in it, among which Gypsy jazz is the most famous.
Unlike gypsy music, genuine folk musical art Hungary for a long time was hidden among the peasantry. Thanks to the work of such outstanding composers as Béla Bartók and Zoltan Kodály, it became known to the general public. Analyzing folk melodies, Kodály and Zoltan found that Hungarian folk music is based on one of the oldest scales - the pentatonic scale, which first appeared among the ancient peoples of Asia, America and Oceania. Pentatonic is a sound system containing 5 sounds per octave. The same system was used by the peoples of the Finno-Ugric group.
In the 1970s, the dance movement appeared in Hungary, whose members oppose average folk music and try to preserve strange song traditions. The name of the movement, translated into Russian as “dancing house,” is associated with a strange Transylvanian custom: the youth of the village rented a house for a fee in order to hold dance parties there. In the 70s, this custom was adopted by young Hungarians visiting Transylvania. Among them were musicians and ethnographers, who were attracted by the folk culture preserved almost in its original form.
The dance houses began with the activities of Béla Halmos and Ferenc Szebo, who collected peasant folk instruments and songs, as well as György Martin and Sándor Thymár, who studied folk dances. The return to the roots was enthusiastically accepted by Hungarian society, which sought to express its protest against the official government. In the 80s, the custom of spending the end of the week in dance houses became one of the most popular alternative ways of collective communication. Here, orchestras on authentic instruments (violin, three-string viol-brac, Hungarian cymbals) performed ancient peasant music, accompanying singers who adopted the traditional style of singing from the peasants. 
And of course, not a single one of these evenings was complete without dancing, not only from Hungarians, but also from neighboring peoples - Slavs, Greeks, Romanians.
Among the dances performed was the famous czardash, without which it is simply impossible to imagine folk culture Hungary. Csardas appeared in the first third of the 19th century. It owes its origin to the camelcat, as well as to peasant pair dances different areas Hungary. The “popularization” of the dance was carried out by gypsy musical groups, who introduced them to the residents of neighboring Vojvodina, Slovakia, Slovenia, Croatia, Transylvania and Moravia. The main feature of csardas is the variation of music tempos - from very slow to very fast. Depending on the musical pattern, there are many types of csardas calm, lively, shaking, etc. Incendiary motifs of csardas were included in the works of many famous European composers Imre Kalman, Franz Liszt, Johannes Brahms, Johann Strauss, Pablo de Sarasate, Pyotr Ilyich Tchaikovsky .
Classical music
Classical music forms an important part of Hungary's cultural heritage. The name of the most outstanding Hungarian composer, Franz Liszt, is known even to those who are far from art. Liszt was born on October 22, 1811 in the village of Doboryan. The composer's father worked as a manager on the estate of Count Esterhazy. An amateur musician himself, he encouraged his son's interest in music and taught him his first piano lessons. Liszt's first concert took place in the neighboring town of Sopron, when the young musician was only 9 years old. Soon he was invited to the Esterhazy Palace. Hearing the talented boy play, several Hungarian nobles, friends of the count, volunteered to pay for his further musical education. Ferenc went to study in Vienna, where his teachers were the outstanding musicians of that era, A. Salieri and K. Czerny. On December 1, 1822, Liszt’s first Viennese concert took place, which largely predetermined his future fate: critics and the public were delighted with the musician’s magnificent playing. 
From then on, Liszt enjoyed full houses. Significant influence on the formation creative style The composer was influenced by the work of G. Berlioz and F. Chopin, whom he met in the late 20s. In the early 30s, Liszt's idol became the Italian virtuoso violinist Nicolo Paganini. The composer set out to develop an equally brilliant piano style, and soon had virtually no equal as a virtuoso pianist.
Liszt's musical heritage amounts to more than 1,300 works, most of which are for piano. Among this grandiose list, the most popular works are the famous “Dreams of Love”, 19 Hungarian Rhapsodies, a cycle of 12 transcendental etudes, three cycles of small plays called “Years of Wanderings”. Liszt also wrote more than 60 songs and romances for voice and piano and several organ works. A significant part of the composer’s piano heritage consists of transcriptions and paraphrases of music by other authors, including transcriptions of Beethoven’s symphonies and fragments from works by Bach, Bellini, Wagner, Verdi, Glinka, Gounod, Mozart, Paganini, Saint-Saëns, Chopin, Schubert, Schumann and others .
Being an adherent of the idea of synthesis of arts, Liszt became the creator of the genre of symphonic poem, which was designed to express extra-musical ideas or retell works of literature and fine arts through musical means. The unity of the composition was achieved by the introduction of leitmotifs, or leithems, running through the entire poem. The most interesting of Liszt's symphonic poems are “Preludes”, “Orpheus” and “Ideals”.
Until the last days of his life, the composer continued to give concerts. Liszt's innovation was evident not only in his works, but also in the very manner of his playing. Breaking with the old tradition, he turned the piano so that the audience could see the musician's profile. Sometimes Liszt made real shows out of his concerts - he put several instruments on stage and moved from one to another, playing each equally virtuoso. At the same time, like modern rock stars, the composer often broke instruments in an emotional outburst, which brought the audience into indescribable delight.
In early 1886, Liszt, then 75 years old, traveled to England, where he was received by Queen Victoria. From England, tired and not feeling well, the composer went to Bayroth to take part in the Wagner Festival held there annually. 
He died in this city on July 31, 1886. Liszt was one of the most significant figures in musical Olympus of his era, whose work had a strong influence on many musicians of subsequent eras.
The end of the 19th and beginning of the 20th centuries is considered to be the period of greatest flowering of Hungarian classical music. The work of two other outstanding Hungarian composers, Béla Bartók and Zoltán Kodály, dates back to this time. It was they who were the first to discover folk musical art, hidden for centuries among the peasants. With their activities in 1905–1926, they laid the foundation for the collection of rich and beautiful song material, and thereby saved it for world culture. Bartók's most popular works include six Romanian dances for piano, some of the orchestral works (Second Suite, Divertimento for string orchestra, Third Piano Concerto, etc.), as well as piano and vocal compositions. Kodály was glorified by his “Hungarian Psalm” based on the words of the Fourth Psalm, as well as the suite from the opera “Hari Janos”. In addition, Kodály was engaged in music criticism and giving public lectures. He owns a 4-volume collection of folklore materials called “Hungarian Folk Music”.
Hungary is home to many other famous composers, conductors and musicologists such as Ernő Dohnayi (composer and pianist), László Lajty (composer and musical folklorist), Stefan Heller (composer), Antal Doráty (conductor), Jorge Száll (pianist and conductor) and others.
Hungarian opera and operetta
For more than three centuries, Hungary has been considered one of the leading operatic powers in Europe. One of the symbols of Budapest is the magnificent neo-Renaissance building of the Hungarian State Opera House, rising on Andrássy Avenue. At the beginning of each season, a long line for season tickets lines up in front of it. If you come closer, you will notice that among the people standing here there are always a lot of young people. This may be due to the fact that Hungarian opera performers enjoy experimenting with musical genres, introducing elements of modern music into classical productions. 
For example, the famous performer Erika Miklos has made an attempt to combine opera with techno, and the program of the Sighet festival often features opera works in very unexpected productions.
The founder of the Hungarian national opera was the composer and conductor F. Erkel. His first opera, Maria Bathory, was staged at the National Theater in 1840. It was followed by other works by the composer, among which the most famous are the opera “László Hunyadi”, “Bank Ban”, “King Istvan”, etc. Erkel’s most colorful and popular opera is “Bank Ban”. In 2001, a film was made based on it, in which such world-famous actors played famous stars, as Eva Marton and Andrea Roscht.
In the second half of the 19th century, works by other composers appeared in the repertoire of Hungarian opera houses: M. Mossonyi, K. Tern, F. Doppler, D. Csásar, I. Bognar, K. Huber, E. Kubay and others. TO end of the 19th century centuries, the operas of K. Goldmark were especially popular.
Hungarian opera is developing dynamically today, new themes are emerging, the performing style is enriched, and the language of the works is being transformed. To composers younger generation belong to D. Raaki (opera “The Dress of the King of Lipstick”), T. Polgar (opera “Matchmakers”) and others.
Hungarian music
The origins of music Hungarian culture - in its rich music. folklore The formation and development of V. m. was determined by the complex, contradictory relationship of its ancient eastern. basis, expressed in homophonic melodic, pentatonic, rich melismatic and free rhythms, and later Western influences. The struggle of these contradictory principles and the predominance of different. historical periods, then national, then Western-European. traditions are reflected in the history of the development of V. m.
Like the east. music, nar. V. m. is difficult to accurately notate, so for centuries its correct recording could not be carried out. In Hungary music folklore can be distinguished certain types melodies that exist in the form of numerous variants of the oral tradition. Studies of Turkic-Eastern music have shown that the structure and system of presentation of certain folk melodies. V. m. in its most ancient layers are closely related to music. traditions of the Turkic peoples and related ones ethnic groups East Europe. Traces of this ancient muses. cultures are found throughout the entire space from the Danube to the Yellow Sea and correspond to the route of movement of the Turks since the time of migration of peoples (4th century). Throughout this territory one can trace the presence of several. common types of melodies in various options; the songs of the Hungarians, Mari, Chuvash, Khanty and Mansi peoples, Kalmyks and Mongols are characterized by the same rhythmic structure, sometimes the same number of syllables in the text; common is the repetition of the same melody in a lower register, etc. Another type of narration. melodies, more complex in form, are partly associated with the musical folklore of the Finno-Ugric peoples, partly with Old Europeans. musical traditions (they are typical for children's, play folk songs, etc.). This “European” group of melodies differs from the first - pentatonic - in structure (the predominance of the pentachord scale) and in modal relation (major-minor).
The first information about the Hungarians. adv. musicians-storytellers, so-called games, date back to the 10th century. (the name "igrits" indicates ancient Hungarian connections with Slavic culture). They sang epic songs.
With the adoption of Christianity (10th century) and the spread of Gregorian chant in Hungary, the influence of church modes (Phrygian, Aeolian, Mixolydian) on Hungary increased. Gregorian chant penetrated into Hungarian music through monastic schools, in which it was studied along with Latin hymns translated into Hungarian. The most ancient (circa 11th century) musical recordings reproduce the melodies of Roman missals. Then original cult chants began to appear.
Hungarian is also becoming more diverse musical instruments; Among the folk instruments, the most ancient are the horn and the furuya. From the 14th century The female players used the violin, lute and koboz as an accompanying instrument (later, in the 16th and 17th centuries, it became one of the most popular Hungarian instruments).
From the 15th century In connection with the general process of class differentiation, the contradictions between the advents are intensifying. and adv. claim The gamestresses turned into traveling buffoons, who, as elsewhere in Europe, were persecuted by the church. At the same time, lutenists emerged from among the minstrels and became adjutants. musicians. Among them were highly professional. performers.
In the 16th century historical songs of an epic nature appeared, distinguished by a wide variety of forms and melodic richness. Their melody is characterized by two types - recitative-improvisational:
And dancing:
The Ottoman yoke (mid-15th - early 16th centuries) slowed down the development of the national economy for a long time. V. m. and disrupted her connections with others. European countries. However, even under these conditions, the art industry in Hungary continued to enrich itself. In 1536-38 A. Farkas and in 1554 S. Tinodi published their first secular music. prod. - collections of stories and songs in history. stories (“Chronicles”) with texts in Hungarian. language Lute player Tinodi, who was also a performer of his songs, while traveling, collected material for the “Chronicles” and composed melodies for his poems; other singers sang their own. poems to existing melodies. Regardless of whether the melody was original or borrowed, the lyrics were always subordinate to the music, and the popularity of the song depended on the quality of the melody.
In the 16th century Western-European intensifies. influence. The rise of Prof. is coming. music lawsuit Weng. musicians who studied in Italy, France, Poland and other humanistic countries. culture, got acquainted with new music, with its rich melodicism and developed metrics. On the other hand, the influence of the Protestant chorale, established by the leaders of the Reformation, was significant. At the first stage of development of Hungarian. prof. art there were no strict boundaries between the “spiritual” and the “secular”, religion. and adv. styles. The Reformation and later the Counter-Reformation sanctioned vernacular singing in church. Published by Hung. graduals that preserved the old liturgical. melodies, and reworked from Catholic collections. choirs Protestant songbooks, so-called. "praise". Spiritual folklore is becoming popular. a song closely related to the historical one and formed under the influence of Western. religious song culture: in the middle. 16th century Czech hymns penetrate into V. m. Hussites, German Protestant spiritual songs, French. Huguenot psalter. The new songs were more popular than the psalms, and Catholics, realizing their propaganda power, published a collection of songs. Hungarian spiritual songs "Cantus Catholici", the final period of the Hungarian. music counter-reformation.
The further stage in the development of V. m. (late 16th - early 17th centuries) was determined by the appearance of love lyricism. songs, so-called floral. “Flower” songs, which had more refined melody and more flexible rhythms (preserved in the oral tradition in the Hungarian village and were recorded by Z. Kodaly), required more advanced accompaniment and contributed to the development of instrumental music. The appearance of virginel in Hungary is associated with them. In this era, hearths cultural life aristocratic residences become, usually located in mountainous areas and less damaged by the Ottoman conquerors (the region of Upper Hungary and Transylvania). Various types were created in the houses of the nobility. orchestral ensembles (invariably with a large number of trumpeters) participating in the home, as well as the advent. and military festivities. "Flower" songs were often performed to the accompaniment of similar ensembles or with instruments. transcriptions. In aristocratic In the environment, along with the virginal, the trumpet was popular, and in the city - the lute. From the mountains Among the musicians were outstanding lutenists - the Neusiedler brothers from Pozsony and the virtuoso lutenist and composer B. Backfark, who worked in many. European countries and published 2 collections of pieces for lute (1553 and 1565). Transcriptions of songs, dance music (with a large number of melismas) and small plays, sometimes combined into dance-playing suites, were performed on virginel. By the 17th century so-called genres were formed. Hungarian dances. Influenced by the Hungarians. foreign musicians composers of the late 16th century - early. 17th centuries wrote a dance. plays "in the Hungarian spirit". Collections of production 17th century verge-ginel music indicate that the Hungarian The musicians also knew Italian. monody, and mute. polyphony. By the 70s. 17th century belong to the collection of J. Kayoni (organist and organ builder), who recorded the adv. dance melodies with organ tablature, as well as an anonymous collection containing 17 “flower” songs in primitive transcription for virginal.
At the end of the 17th century. The first samples of the original Hungarian style appeared. music in the form of litanies and parts of the mass. Sat. is of great value. "Heavenly Harmony" ("Harmonia Caelestis") by Duke P. Esterházy (ed. 1711, Vienna), containing 55 one-movement spiritual concertos written in Latin. texts for voice and other instruments, as well as for choir and orchestra. P. Esterhazy combined Western-European. influences with Hungarian traditions. chorale and folk V. m. (melodic, thematic), which was characteristic of V. m. at the turn of the 17th and 18th centuries. At this time, intensive mountain development began in Hungary. concert life. Mn. Hungarian tycoons maintained home appliances. and choir chapels (one of these chapels, which belonged to the heirs of P. Esterhazy, was directed by J. Haydn for about 30 years). Hungary is born. opera. The first musical stage prod. in Hungarian text - music comedy by J. Tschudi "Prince Pikko and Jutka Perzsi" ("Pikkу hertzeg йs Jutka Perzsi", Buda, 1793).
The country liberated from the Ottoman yoke found itself in the beginning. 18th century under Habsburg rule. The consequence of this was the strengthening of the influences in V. m. In Hungarian palaces. the nobility performed Viennese and Italian. music, Italian rhythms penetrate into V. m. galliards and melodious decorations typical of Western Europe. music of the 18th century, elements of the major-minor mode developed. In the cities of Pozsony (now Bratislava, Slovakia) and Kismarton (now Eisenstadt, Austria) theaters were opened, which were installed in chapter. arr. operas by W. Mozart, L. Beethoven, and later by K. M. Weber in Spanish. German artists. Centers of national music culture became Protestant colleges in the cities of Sárospatak, Debrecen, Papa, Szekelyudvarhely and others, cultivating the people. V. m., especially vocal. This is where the polygoal developed. chorus singing. Four goals appear. and eight goals. Hungarian processing adv. student and other popular songs. The teacher of the Debrecen Collegium D. Maroti published in Hungarian. four-voice French Gudimel's psalter. Subsequently, Hung. chorus music approaches such forms of Western European. polyphonies, like organum and faubourdon, but at the same time the song melody becomes more complex and acquires greater rhythmicity. flexibility. At the same time, new types of peasant work are becoming widespread among students, ch. arr. lyrical, single-headed songs developed in Hungarian village at the end of the 18th century. These songs are characterized by the predominance of natural modes (Dorian, Mixolydian, etc.) and clarity of rhythm. As a student songbooks, so-called "melodariums" of the 18th-19th centuries, containing primitive musical notations, along with polygons. arr. samples of single heads have also been preserved. songs. They meet, for example, on Sat. "450 Songs" by A. Paloczy-Horvat (1813) - the first collector of folklore. Hungarian songs. From the 2nd half. 18th century there was a process of displacement of the ancient Hungarian. melodics with new folklore, etc. song in folk style prof. composers. New people the songs included elements of the songs of the Kurucs (participants of the peasant uprisings and liberation movement against the Habsburgs, led by Rakoczi, 1703-11). Ancient melodies, basic. on pentatonic or church scales, were replaced by melodies of major and minor modes. This process was evidenced by songs (anonymous) created among the petty nobility. Another direction of V. m. is represented in the works of Western composers. orientations that have completely departed from the national ones. origins. The "Western School", created by I. Meszaros and F. Verszegi, had many. supporters. Reflecting the tastes of the wide mountains. population, they popularized new Viennese songs, subtexting them into Veng. words or created the original. songs in the spirit of German and Italian melodies of gallant style. Songs in German style. Lied were popular until the 2nd half. 19th century Verszegi's attempts to adapt Hungarian. poems for zap. melodies turned out to be untenable due to the inconsistency with the mutes. and Italian prosody and stress laws in Hungarian. language The desire of the Hungarians turned out to be equally fruitless. followers of J. Haydn and other representatives of the Viennese classical school combine iambic. rhythm of melodies from Hungarian. texts.
Formation of people Hungarian music style is associated with the appearance at the end of the 18th century. camelcat Verbunkosh originated as the art of traveling gypsy musicians. Associated with the verbunkos is the “Hungarian scale” with two extended seconds. Spread by gypsy orchestras, verbunkosh in their performance, distinguished by the freedom of tempo and rhythm, the brilliance of improvisational decorations, soon became the property of both aristocratic and urban culture. The creators of Hungarian dance music are the violinist and composer J. Bihari, who gained European fame, and Verbunkos Ch. arr. owes its popularity to the violinist-composer J. Lavotta, author of the program-cyclic. works, and A. Chermak, the author of dances for a chamber ensemble and the founder of chamber V. m. The verbunkosh style became in the 19th century. recognized music Hungarian language romanticism. By sep. 19th century the influence of the verbunkosh manifested itself in all genres of V. m. - in the national. romantic opera, symphony, chamber-vok. and song choir. music. Based on the development of the characteristic elements of the verbunkos, the Hungarian opera was created - “Béla futbsa” (1822) by J. Ruzicka, then by his “Kemény Simon” (c. 1822). “Aurelia” (“Aurelia oder das Weib am Konradstein”, 1837) and “Cunning” (“Cse1”, 1839) by A. Bartai and “The Treasure Seeker from Visegrad” (“Visegrbdi Kincskeresсk”) by M. Rozsavöldi also gained popularity. These operas were a mixture of different. music styles: lyrical The episodes are written in Italian style. and Viennese opera music, heroic ones - in the character of the camel.
Transylvanian camelcat.
Further development of the verbuncat led to the emergence of the so-called. a fast verbunkosh, which later turned into a czardash. In the 1840s. The czardas was used by M. Rozsavöldi in his dance. suites, etc. got into the instr. music. In the national romantic The opera verbunkosh was introduced by its creator F. Erkel into the symphony. and fp. prod. - F. Liszt and M. Mossonyi, in song-choir. folk music warehouse - B. Egreshi. In romantic F. Erkel's operas "László Hunyadi" ("Hunyadi Laszlу", 1844), "Bank ban" ("Bank ban", 1861) and "György Dozsa" ("Dуzsa Gyцrgy", 1867), written in heroic. Stories from the history of national liberation. movements, reflected the ideas of the struggle for the national. independence.
Verbunkosh played an important role in Western Europe. music: it was used in the works of J. Haydn, W. A. Mozart, L. Beethoven, K. M. Weber, and later - J. Brahms.
Important for the development of national V. m. had the activity of F. Liszt. Although Liszt spent b. h. life outside Hungary, in his work he constantly returned to the embodiment of the Hungarian. themes and national music material, never losing touch with the homeland. National The theme was reflected in his 19th Hungary. rhapsodies (1847-85), created on the basis of verbunkosh and song themes in folklore. style, in the "Heroic March in the Hungarian Style" ("Heroischer Marsch im ungarischen Stil", 1840) for fp., in symphony. the poem "Hungary" (1854), in the "Hungarian Coronation Mass" ("Koronbzbsi mise", 1867) for soloists, choir and orchestra, and especially in later works. for fp. - “Hungarian Portraits” (“Historische ungarische Bildnisse”; in Hungarian - “Magyar tоrtеnelmi arckеpek”, 1885), where Liszt gives music. psychological characteristics of outstanding Hungarian figures. culture - S. Petőfi, M. Vörösmarty, Mosonyi and others, in the play “Memories Bring Tears” (“Sunt lacrimae rerum”) from the cycle “Years of Wandering” (“Années de pélerinage”, 1836-77), “Stubborn Czardas "("Csрдбs obstinй", 1884) and "Gloomy Chardash" ("Csрдбs macabre", 1882). For a peasant song society, Liszt wrote the chorus “Song of Inspiration” (“A lelkesedеs dala”, 1871), in which elements of folk music were used. V. m.
In Hungarian The material is also based on production. Mossonyi, created during the heyday of the late Verbunkosh - "Mourning melodies for the death of Széchenyi" ("Gybszhangok Szеchйnyi Istvbn halblbra", 1860), "Solemn overture" ("Бnnepi zenй", 1860), "Festival of the purification of the Hungarians on the Ung River" ( "A magyarok tisztulбsi ьnnepйlye az Ung vizйnйl", 1860), etc.
If the romantics Erkel, List and Mossonyi sought to merge Western-European. and national Hungarian music cultures, then many composers of the new generation, cultivating the genres of “Hungarian fantasies” and “Gypsy transcriptions,” adhered entirely to Western. orientation and wrote chap. arr. salon music. Inherent in Hungary. music culture, the duality became even more pronounced. In the capital and other large cities of Hungary, only Western ones were recognized. music, in the provinces - only people. songs and csardas. At the same time, D. Mayor and M. Vavrinec (author of theater and symphonic music), Liszt’s students G. Zichy and X. Gobbi, Mossonyi’s student J. Wegh sought to continue the traditions of the Hungarians. romantics. For Hungarian music con culture 19th century The activities of K. Abranya, the founder of the first Hungarian language, were important. music magazine "Zenйszeti Lapok" (edited until 1876).
Among the Hungarian composers at the end. 19th century gained fame: K. Goldmark, who introduced the traditions of late romanticism into V. m. German operas ("The Queen of Sheba" ("Die Königin von Saba", Vienna, 1875) and "Merlin" (1886)); E. Mihalovich, whose operas “Eliana” (1885-1887) and “Toldi” (1888-90) were written under the strong influence of R. Wagner; Y. Hubai, violinist and composer, author of the Petőfi Symphony (1925), the opera Anna Karenina (1923) and a number of violin pieces. plays; The traditions of the French and Belgian are palpable in his work. and German instr. music (chief sample by J. Massenet and A. Vietun). All these composers eclectically followed Western European influences. traditions of his time, developing mainly popular genres.
The organization of major muses in the capital was important. institutions. In 1875, the Academy of Music opened in Budapest (president F. Liszt, director F. Erkel). Along with the National Conservatory (founded 1840), Philharmonic. about-vom (founded 1853) and National Theater(founded 1837) The Academy of Music became the center of Hungarian musical culture. The Hungarian performing arts were formed here. There were many teachers. foreign musicians - the Germans W. Herzfeld (from 1888) and J. Kösler (from 1882), as well as the Czech D. Popper (from 1886); at the same time, composers and teachers, natives of Hungary - J. Joachim, G. Richter, A. Nikisch and L. Auer - carried the achievements of the Hungarian performer. schools in other countries. Among the Hungarians early composers 20th century E. Dokhnany stood closest to the national music. lawsuit. In his works he tried to revive the romantic. traditions (symphony, orchestral suite "Ruralia Hungarica" 1924, stage, choral, chamber and piano works).
Among the broad democrats. circles, people enjoyed great success during this period. performances such as music. Comedy is a special kind of Hungarian. music t-ra. Their music consisted of popular songs by J. Serdahelyi and K. Shimonny. Hungarian style has gained worldwide fame. operetta. Its creators were F. Lehar, who combined sentiment. melodrama with slapstick and cascading dancing, and I. Kalman, who introduced Hungarian elements into the operetta. song and dance melodica. Awakening interest in people. creativity reflected the growth of national-democratic trends in progressive circles in Hungary. societies, which were greatly influenced by the revolutionaries. events of 1905 in Russia. New generation of Hungarian. musicians belonged to the people. lawsuit as the basis of the national music style. Essential for the formation of a new V. m. they had folklore and ethnographic. research by composers B. Bartok and Z. Kodaly, who published collections of Hungarian recordings. adv. songs (1905). Turning to peasant songs that preserved ancient melodies, Bartok organically combined the originality of the East in his work. music (except for Hungarian, he studied Turkish and Arabic folklore) using modern. Western-European composer technique; on this basis he created a production. innovative character, enriching world music. will express culture with new content. means. Bartok had a strong influence on modern life. Hungarian music and composition schools of other countries. Z. Kodály, like Bartók, sought to renew the muses. wok tongue genres of large forms, dramatic. disclosure of people songs in opera ("Hari Janos", 1926). Reviving the Hungarian adv. song, Bartók and Kodály made it national property. and world music. culture.
After the liberation of Hungary from fascist occupation in 1945, before the music. A number of organizations became activists. tasks related to the general rise of national democratic lawsuit The Hungarian Union was created. music figures (1949), established national. and international music competitions. In a number of cities, secondary musings are organized. uch. establishments, music schools, opera houses, symphonies. orchestras and choirs. In the repertoire of the Hungarian Opera Theater (founded 1837, Pest, from 1840 - National Theater, until 1884 drama and opera performances) along with the operas of F. Erkel, Z. Kodaly and other Hungarians. composers - production European classics, modern Hungarian and owls composers.
New, democratic. The era is reflected in the work of composers, whose activities fully developed in the 30s and 40s, as well as in the generation of musicians who emerged in the 1950s and 60s. Among modern Hungarian composers: F. Szabó (d. 1969; historical triptych “Ludas Mati”, “Reminder”, “The Sea Rises” - “Ludas Matyi”, “Emékeztetç”, “Föltbmadott a tenger”, 1950-55, etc. .), P. Kadosh (opera "Adventure in Khust" - "Huszti kaland", 1950, production for piano, orchestra, etc.), I. Selenyi (oratorio "Spartacus", 1960, and "10 days, which shocked the world" - "Tiz naр, amely megrengette a vilagot", 1962, chamber ensembles, etc.), D. Ranki (operettas, ballet, cantata "1945", 1966, music for drama and cinema, etc. .), B. Tardosh (choral suite "Bitter Years" - "Keserь esztendсk", 1959, symphony "In Memory of the Victims of Fascism" - "A fascismus bldozbtai emlнkere", 1960, quartets, etc.), F. Farkas (cantata " Cantus Pannonicus", 1959, etc.), E. Serwanski (oratorio, dedicated to Auschwitz, instrumental concerts, orchestral works, choirs, etc.), R. Maros (serenade for wind trio, 5 etudes for orchestra, 1960, 3 “Euphonies” - “Eufonia”, 1963-65, etc.), A. Mihai (opera “Together or Alone” - “Együtt еgyedьl”, 1965, symphonies, chamber ensembles, etc.), And . Charközy (music) comedy "Women of the village of Selishte", 1951, cantata "Songs of Julia" - "Julia-Enekek", 1957, symphony. music, etc.), T. Sharai (ballet “Vityaz Janos” - “Jbnos vitez”, 1957, oratorio “Variations on a Theme about the World”), D. Kurtag (chamber ensembles, works for piano, etc.), K. Lendvai ("4 calls for orchestra", 1966, chamber ensembles, choirs, mass songs, etc.), E. Petrovich (operas "C" est la guerre", 1962, "Lysistrata", 1962, symphonic and chamber production, etc.), S. Sokolay (opera based on G. Lorca's drama "Bloody Wedding" - "Vеrnasz", 1964, oratorios, etc.), J. Durko ("Hungarian Rhapsody", 1964, violin concert, 1964 , "Hungarian Jewelry", 1966, etc.) and many others.
Among modern Hungarian musicians are conductors E. Aranyi, J. Ferencsik, J. Somogyi, A. Korodi; pianist A. Fischer; violinists J. Szigeti (d. 1973), D. Kovacs, V. Tatrai, E. Aranyi, Z. Szekely; opera and operetta artists A. Farago, R. Ilosfalvi, D. Melisch, J. Reti, E. Hazi, M. Laszlo, Y. Oros, O. Seni, R. Ratonyi, A. Bakshai, P. Kertész, X. Honti, E. Galambos et al.; musicologists and musicians critics B. Szabolcsi (d. 1973), A. Molnar, I. Ujfalussi, J. Maroti, J. Breuer.
Music is published in Hungary. magazines "Muzsika" (since 1958), "A Magyar Zene" (since 1960). Music Center The culture of the country is Budapest, where the highest muses work. school named after F. Liszt, Conservatory named after. Bela Bartok (school), Hungarian Opera House, Capital Operetta Theater. There are opera houses in the cities of Pecs, Szeged, Debrecen, Miskolc, symphony. orchestras, including leading ones - Weng. state symphony orchestra, orchestra Weng. Philharmonic, symphony orchestra MBV (railroad workers). Symph. there are orchestras in Gyor, Szombathely, Veszprem Szeged, Debrecen, Miskolc. People's ensembles work in regional centers. dance and music. They perform successfully in Hungary and abroad. folk ensemble dance, dance ensemble "Budapest" and other professional and amateurs. teams. Great importance has a choir. amateur performance. Choirs at enterprises and schools are led by the National. Choir Council and the Hungarian Union. music figures; in 1953 a department of folk music was created under Weng. Academy of Sciences (under its jurisdiction is the collection and publication of folklore), in 1961 the Bartok Archive society was organized (since 1969 - the Institute of Musicology). Among the scientific publications are “Treasury of Hungarian Folk Music”, “Documenta Bartokiana”, “Studia Musicologica”.
Literature: Tsytovich T. E., Oratorios and cantatas of Hungarian composers, in the book: Questions of musicology. Yearbook, vol. 2 (1955), M., 1956; Kodály Z., Hungarian folk music, Budapest, 1961; Szabolcsi B., History of Hungarian Music, trans. from Hungarian, Budapest, 1964; Music of Hungary, Sat. Art., trans. from Hungary, M., 1968; Bartуk V., A magyar nеpdal, Bdpst, 1924 (Das ungarische Volkslied, 1925, Hungarian Folk Music, 1931); Molnar A., Az uj magyar zene, Bdpst, 1926; Szabo1csi V., A XIX szбzad magyar romantikus zenйje Hangjegyfгgelеkkel, Bdpst, 1951; Bartуk B. йs Kodaly Z., A magyar nйpzene tбra (kцt.) 1-2, 3А, 3В, Bdpst, 1951-56; Marothy J., Az eurуpai nеpdal szеletеyse, Bdpst, I960; his, Zene йs polgbr, zene йs proletbr, Bdpst, 1966; Szatmbri-Pblinkbs, Hej kenyyr, barna, kenyyr, Bdpst, 1964; Bbrdos L., Harminc Irbs 1929-69, Bdpst, 1969; Folk music research in Hungary, ed. by L. Vardyas, Bdpst, 1964; Sbndog F., Musical education in Hungary, Bdpst, 1966; Krow G., A magyar zeneszerrеs, 25 еve, Bdpst, 1971. See also bib. to articles
