KODALY DANCES OF GALANTA SCORE PDF

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. The forbears of these gipsies were known already more than hundred years ago. They have preserved the old Hungarian tradi- tion. In order to continue it the composer has taken his principal subjects from these ancient editions. 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.

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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. The forbears of these gipsies were known already more than hundred years ago. They have preserved the old Hungarian tradi- tion. In order to continue it the composer has taken his principal subjects from these ancient editions. 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 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. Some years later, in the autumn of , the Budapest Philharmonic Society celebrated the 80th anniversary of its foundation.

At the time, the world- famous pianist Ernst v. 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 that Kodaly discovered the most significant source of inspiration for his later symphonic compositions, namely, the history of his homeland.

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 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 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 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. Il existait a une fameuse bande de tziganes, disparue depuis lors. Plauto 1, Flauto II. Th Clarinetto 1. Me Via. Vin Vie ch, 50 ov. FL pies ov. Vie Vie. Ya nite, Rend cua: aL Fag. We ov Fipiee on, un Fag. Fg 1, Lau. Conta may, vu vat via. SF appass. FL piee obs.

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