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Dances of Marosszék

Zoltán Kodály (b. 1882 - d. 1967)

Ewa Kupiec

Ewa Kupiec

Composer
Zoltán Kodály (b. 1882 - d. 1967)
Composition Year
1930
Artists
Ewa Kupiec [piano]

Programme Note Writer:
© Ian Fox

The Hungarian composer Zoltán Kodály studied at the Royal Academy  in Budapest from 1900 to 1905.  There he became friendly with fellow student Béla Bartók and the two pursued their mutual interest in folk music, travelling widely throughout Eastern Europe to note down the traditional tunes and harmonies of the many cultures and  sub-groups in that wide and varied area, realising these melodies would soon vanish with the advance of modern living. Hungarian themes play a large part in Kodály's output and he arranged many of them for various vocal and instrumental groupings. Marosszék is a town in the Hungarian province of  Szekely where he discovered a valuable storehouse of traditional songs and dances.  He took six of these melodies and wove them into an integrated work for piano, premièred by former pupil Louis Kentner in Budapest on March 17th 1927. Toscanini suggested that the piece would make a good orchestral work and Kodály’s transcription had its first performance in Dresden on November 28th 1930 under the baton of Fritz Busch, with Toscanini following in the USA later..

Highly aware that the traditional melodies were quickly disappearing Kodály, like Bartók, was anxious to save them and described these dances as having their roots in a remote past and represent a fairyland that has disappeared. The music starts with a slow, impressive tune which acts as a rondo-style link between the other dances. Kodály had published this melody in a study earlier that year, stating it came from Gyergyoremete; the other tunes originating in Bukovina and Gyergyo. There are three interludes each demonstrating a different folk-style and the suite ends with a brilliant coda.

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Dances of Marosszék

Composer: Zoltán Kodály (b. 1882 - d. 1967)
Performance date: Saturday 7th July 2012
Venue: Bantry House Library, Bantry, Co. Cork, Ireland,

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Composer Zoltán Kodály (b. 1882 - d. 1967)
Work Title Dances of Marosszék
Composition Year 1930
Artist(s) Ewa Kupiec [piano]
Performance Date Saturday 7th July 2012
Performance Venue Bantry House Library, Bantry, Co. Cork, Ireland,
Event Finale
Duration 00:12:58
Recording Engineer Anton Timoney, RTÉ lyric fm
Instrumentation Category Solo
Instrumentation pf
Programme Note Writer © Ian Fox

The Hungarian composer Zoltán Kodály studied at the Royal Academy  in Budapest from 1900 to 1905.  There he became friendly with fellow student Béla Bartók and the two pursued their mutual interest in folk music, travelling widely throughout Eastern Europe to note down the traditional tunes and harmonies of the many cultures and  sub-groups in that wide and varied area, realising these melodies would soon vanish with the advance of modern living. Hungarian themes play a large part in Kodály's output and he arranged many of them for various vocal and instrumental groupings. Marosszék is a town in the Hungarian province of  Szekely where he discovered a valuable storehouse of traditional songs and dances.  He took six of these melodies and wove them into an integrated work for piano, premièred by former pupil Louis Kentner in Budapest on March 17th 1927. Toscanini suggested that the piece would make a good orchestral work and Kodály’s transcription had its first performance in Dresden on November 28th 1930 under the baton of Fritz Busch, with Toscanini following in the USA later..

Highly aware that the traditional melodies were quickly disappearing Kodály, like Bartók, was anxious to save them and described these dances as having their roots in a remote past and represent a fairyland that has disappeared. The music starts with a slow, impressive tune which acts as a rondo-style link between the other dances. Kodály had published this melody in a study earlier that year, stating it came from Gyergyoremete; the other tunes originating in Bukovina and Gyergyo. There are three interludes each demonstrating a different folk-style and the suite ends with a brilliant coda.