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    Kodaly - Dances of Galanta Full Score

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    Zoltan Kodaly's "Galanta of Galanta" full orchestral score

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    Kodaly - Dances of Galanta Full Score

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    phillip
    5K views69 pages
    Zoltan Kodaly's "Galanta of Galanta" full orchestral score

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    Zoltan Kodaly's "Galanta of Galanta" full orchestral score

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    © All Rights Reserved
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    Download as pdf
    5K views69 pages

    Kodaly - Dances of Galanta Full Score

    Uploaded by

    phillip
    Zoltan Kodaly's "Galanta of Galanta" full orchestral score

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Download as pdf
    of 69
    xl Preface Galanta is a small Hungarian market-town known to the travellers from Vienna to Budapest. The composer has passed there seven years of his childhood. There existed at that time a famous Gipsy-band which has disap- peared in the meantime. Their music was the first ‘orchestral sonority’ which came to the ear of the child. The forbears of these gipsies were known already more than hundred years ago. About 1800 some books of Hungar- ian dances were published in Vienna, one of which contained music ‘after several gipsies from Galantha’. They have preserved the old Hungarian tradi- tion. In order to continue it the composer has taken his principal subjects from these ancient editions. Zoltan Kodaly, 1934 In Haydn and Beethoven's day, at the turn of the nineteenth century, Ga- lanta (now in Slovakia) was one of the estates of the Esterhazy family. The branch of the family that were counts built themselves two seats there which led to the family being granted the full noble appellation ‘Esterhazy von Galantha’. The local gypsy-band was famous well beyond the bounds of Galanta and was mentioned in several works of Hungarian literature of the 18th century. It was further popularized through the engravings made around 1778 by the portraitist Johann Martin Stock of Pressburg (now Brati- slava) depicting a fiddle player, cimbalom player and double bass player Socially speaking, these musicians were Esterhazy serfs. Part of their reper- toire was arranged for piano and published in Vienna in 1803 by ‘Sauers K.K. priv. Kunsthandlung’. A few examples of this edition are still extant, a copy of the first volume forming part of the estate of no less than Joseph Haydn, prince Esterhazy's Kapellmeister. in 1927, this complete edition - and also the series of Hungarian dances Originelle Ungarische Nationaltanze, first published in 1807 by the Viennese music publishers ‘Chemische Druckerey' — came into hands of the musicologist Ervin Major, who first aroused Zoltan Kodaly’s interest in these important sources for the history of Hungarian mu- sic. Some years later, in the autumn of 1933, the Budapest Philharmonic Society celebrated the 80th anniversary of its foundation. At the time, the world- famous pianist Ernst v. Dohnényi was president of the society and conductor of its orchestra. He and two other composers - Béla Bartok and Zoltan Kodaly ~ were invited by the Philharmonic committee to write new works for the anniversary concert. Consequently, the festival concert on 23 Oc- tober saw Dohnanyi conduct the premiére of his own Symphonic Minutes, Bart6k’s Five Hungarian Folksongs for voice and orchestra, and Kodély's Dances from Galanta. Kadély’s score was only completed relatively late in the day. According to the diary of his first wife Emma, he had sketched the work out by 16 September but did not finish the full orchestral score until 10 October, twelve days before the dress rehearsal and only thirteen days before the cancert itself It was with the work Psalmus Hungaricus (1923) that Kodaly discovered the most significant source of inspiration for his later symphonic compositions, namely, the history of his homeland. He later described the importance of this discovery in one of his scholarly studies: ‘One cannot claim that one knows or understands the history of a period if one knows nothing of its music. [...] For there is a level of human feeling and thought that can only express itself in music, and in nothing else.’ While the Dances from Ma- rosszék (1929) present a picture of the ‘fairyland’ of old Transylvania, the variations on the ancient folksong Felszéllott a pava (The Peacock, 1939) were composed under the threatening shadow of the Second World War and reflect the vision of a people's ‘death and transfiguration’, In his Con- certo for orchestra (1940) he conjures up the dream of a Hungarian Baroque that was in fact prevented from developing by 150 years of Turkish occupa- tion. Kodaly's Te Deum (1936) was composed for the 250th anniversary of the liberation of the castle of Buda from the Turks and is @ song of praise for freedom regained. Finally, the symphonic tableau Dances from Galén- a evokes a post-liberation era in which - after centuries of catastrophes — Hungary rediscovered its dignity and sense of identity and began to recon- struct the bridges to European culture that past events had destroyed. It was also in this era that Western Europe became conscious of Hungarian music and began to appreciate its particular idiom, The new Hungarian sound that charmed ears alll over Europe came in a dance form that had developed from military recruiting music, the ‘verbunkos’, traces of which can even be recognized in Haydn and Beethoven, who used it to strike a new and fresh tone in their own works. In the Dances from Ga- Janta, Kodaly created a grand symphonic tableau representing nothing less than the rebirth of a nation, Nevertheless, only the motifs derive from the xt xill time around 1800: Structure, harmony, thematic development and instru- mentation are formed effectivly as a ‘workshop’ of the 20th century. The work combines elements from a variety of forms: the Hungarian rhapsody of the Romantic period, the Baroque concerto, the classical rondo and vari- ation as well as modern improvisation. To take one example, Kodaly used the technique of thematic imitation which was still entirely unknown in the time of the verbunkos. The Baroque influence is evident in his use of coun- terpoint, in the simultaneity of various subjects played by different sections of the orchestra. The work's introductory section is a free fantasia with con- trasting solo and tutti passages. The model for the slow and dignified main theme was a fast verbunkos, the true character of which Kodaly had recog- nized with unfailing certainty. In formal terms, the work can be described as follows: A slow movement (bars 1-412) is followed without a break by a fast movement with reca- pitulations of the principal theme and of other elements from the slow movement (bars 413-607). The slow movement is a rondo featuring three appearances of the principal theme and three interpolated episodes. The theme of the fast movement is also heard three times, with the episodes in this case being variants from the slow movement. The coda quotes the final bars of the Scherzo of Beethoven's Symphony No, 9, most likely as a tribute to one of the first classical composers to have enriched his expressive means through his use of the melodies, rhythms and feelings of the new Hungarian music. Ferenc Bonis, 2008 Préface Galanta est un petit bourg hongrois, connu aus voyageurs Vienne-Budapest. Uauteur y a passé sept années de son enfance. Il existait |a une fameuse bande de tziganes, disparue depuis lors. Leur musique était la premiere «so- norité d’orchestre» qui a frappé les oreilles de V'enfant. Mais les ancétres de ces tziganes étaient connus déja plus de cent années auparavant. On a publié vers 1800 a Vienne quelques cahiers de danses hongroises, dont un ad’aprés divers tziganes de Galantha». lls ont gardé la vieille tradition hon- groise. Pour continuer cette tradition I'auteur a tiré ses motifs principaux des ces anciens cahiers. Zoltan Kodaly, 1934 A 'époque de Haydn et Beethoven, au tournant du 18e au 19e siecle, Galén- ta (bourgade située sur le territoire de I’actuelle Slovaquie) faisait partie des propriétés de la famille Esterhazy, et la branche comtale avait fait construire deux chateaux. Le nom de cette localité conférait @ cette famille le titre de noblesse «Esterhazy de Galantha». La renommeée des tziganes musiciens domiciliés dans ce village dépassait de loin ses frontieres. A la fin du 18e siacle, plusieurs ceuvres de la littérature hongroise les mentionnaient et les, gravures sur cuivre réalisées en 1778 par le portraitiste Johann Martin Stock de Pressburg (Bratislava), représentant un violoniste, un cymbaliste et un contrebassiste originaires de Galdnta, contribuérent également a accroitre leur popularité. Leur statut social les désignait comme serfs des Esterhazy Une partie de leur répertoire, adapté pour piano, a été publi¢e en 1803 a Vienne dans le magazine d'art «Sauers K.K. priv. Kunsthandlungy. Cette édi- tion est passée 8 la postérité en quelques rares exemplaires, dont un premier cahier qui faisait partie de la succession du maitre de chapelle des princes, Esterhézy, Joseph Haydn. En 1927, historien de la musique Ervin Major en a décowvert par hasard l’édition compléte ainsi que les quatre cahiers de la série Originelle Ungarische Nationaltdnze (Danses traditionnetles originales de Hongrie), publiée par la maison d’édition viennoise «Chemische Drucke- rey» depuis 1807. Grace a lui, Zoltan Kodaly s'est intéressé a ces documents de 'histoire musicale hongroise Quelques années plus tard, en automne 1933, la Société philharmonique de Budapest célébra le 80e anniversaire de sa fondation. Le grand pianiste xiv A Budapesti FilharmOniai Tarsasag alakulasanak 80. évforduldjara BESETZUNG DES ORCHESTERS 2 Flauti 2 Obei 2 Clarinetti in la 2 Fagotti 4Comi in fa 2 Trombe in do Timpani Percussione: Triangolo, Campanelle, Tamburo piccolo Violino | Violino tI Viola Violoncello Contrabbasso Durata: 15min Tanze aus Galanta fiir Orchester (1933) Zoltan Kodaly (1882-1967) Lento 4-54 poco accel. Plauto 1, Flauto II. = Oboe I. Th Clarinetto 1. 11 in A Fagotto IT, Corno in F am. Iv. ‘Tromba, I. IL in Timpani ‘Tambour pice. ‘Triangolo Gtockenspiel Lento _J-54 Violino T Violino Viola Violoncello Contrabasso ‘© Copyright 1934 by Universal Edition A.G., Wien Copyright assigned 1952 to Universal Edition (London) Ltd., London (Copivtight ranawod 1962 Universal Edition UE 34121 Fee Gon A 20 Cont mE Vie chk cor ne Vin vit. Vie. cn, UE 34121 poco string. tae Py mu ase ont = — arr ate he = Fa TE poco string. vit PRS Poe a pe cre of vi 7 Vie ‘af poco a poco ckese. Sf ein, 1, nonenss ae k =~ ey ‘wa p Breas pce a poco Mi Mie. eu, ind ‘poco cree cont in F a vu vt Vis. Me Via. Wie. ce, UR 34121 Fog Lu Li Corin un. vil ven Vie Vie en, FLL On. oun. ia (sostereapr| Fag. Lu. coniuF} mL. vu vat. Vin Vie ch, 50) ov.t4 cu aA Fag. vu via Vie Vie ch, e LLU. eres. poco a paee 0b. : : Cree 5 FOC 8, BO LL z ink Fog Ll Lk corsa mr. poco a. foco rit) vit poe a poe vi = Roee Ye pos joe a Novo. Vie. pack a Fok on. Grese. poco” a poco URI FL, ov. cu. in A Fog Lt Lu. Comin Ft mw Timp, vu vu vs Me PLL et fin Fach Con LL ini vil 5 Vue Vie oe. FL pies ov.n, cin. ak wu ve. on. \ FLL an. ink Fog. vas vin. Vie Vie. ee, UE34121 FLL Fiptes Fag. Cont. nF Tip. Tel. wn vi Mis Ve. Ya nite, # Rend cua: aL Fag. 1. Tes. ine Timp, ‘rel vu ai, ve oe, UE34121 Fi pee ow. 1. cum in A Fag: 1. Cor Ltt nF ‘Tet in ‘Timp. ‘tg. appassionato wr. ai. vin. Ve. We ov Fipiee on, un Fag. conn ‘nF ‘Timp. vi. Vie Vie. cn, ov. Fg 1, Lau. Conta may, vu vat via. ve, cp [a5] poco rall. nam poco rall. — Andante maestoso wa FF appa: Andante maestoso Tappan. SF appass. ak Fa BF eppass. FL piee obs. cut nv Fog 1. ConinF' = Ferese Conta m0 Fonae. Timp, vu wut Ma, We = _ ferese. om, BE = “ferese. rit. (foil) tempo » FL pice, ovat ena. in Fog. cori mL. vn Vu, ve ce. UE 34121 sempre Allegro con moto,grazioso J mx a ee on > china: Pag LL Conia Allegro con moto,grazioso 4-126 rise wh Mle vu. Ws, We FLL FL pie. on 0. chinx u. ‘Test Camp. ve UE 34121 china Pig. Cort ine ‘Tre. Camp. UE 34121 FUL Pipice on, u Con ow rel Camp. Vn. Me oe, newim 980 Finf poco ring FLL FL plee ob, Fag con in) via, MWe. cn, Animato mmis.25, oa Sapy UE 34121 Animato 2 Plgice Fue Via eee Andante maestoso FLL a = ‘appass. ov.Lu oui Fug LI 1a Comin Tee ine Pimp Andante maestoso be: saa cat DF aypans. vi. r =e oF Happs HF appa. on, UB44121 rallent.e dim. FLL Ln Corin mv, ep, ine Tip, rallent.e dim. vin Ve. cn, Allegro 4-140 Allegro J. 140 UEMI2 we. cn, \ FLL FL pice on. 1, Sort LiL Cor in LI Via, Vie a FLL ont. eu Peta Contry mbH oun cuit ink Fug LIL vn. vie, Vie ct, UE 34121 vf reas. [pace «poco o». i Fog ut, Corin 1% Pa ferese, poco a poco Timp, FE = frese.” pace vunlle= ; ee va, @ poco

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