The ballad of Mason Clement is known since the end of the 16th century. Csaba Szabó composed his work based on the version collected from Vlăhița, Odorhei county. He composed the adaptation of the ...ballad in 1967 for a mixed choir in four voices, for a children’s choir and for a solo instrument. It was published in the booklet entitled Egyszerű énekek I. (Simple songs I.) in 1968. The tune is repeated twenty-one times by various parts of the mixed choir or by the instrument. Various tempo signs show the limits of the musical parts of uneven length, which are adapted to the lyrics of the ballad.
András Kovács is a music teacher and chorus master. He published in 2015 at Impress Publishers of Târgu Mureş his work entitled Gyakorlati tanácsok karvezetőknek (Practical Advice for Chorus ...Masters), a book which reflects his experience of several decades as a chorus master.
György Maróthi (1715-1744) was a broad viewed, well-learned and versatile teacher of his time. During his short, but very prolific period of work he had noteworthy contributions to the field of music ...teaching. He introduced singing in four voices in musical education in the Hungarian boarding schools, he published two psalmodies in which he also included works on various aspects of music theory. The specialized literature considers these writings the earliest Hungarian music theory treatises.
In the 16th century verses were written only to be sung, to be presented in the form of a hymn or song. This was not only the general custom of the age, but it also fit the ancient Hungarian ...tradition. Hungarian preachers of the age who studied abroad got acquainted with Luther’s and Calvin’s perception on ecclesiastical singing and music. They realized that the Word of the Lord could be spread more effectively using songs for this purpose. Since translation of the Geneva Psalms was published in printing only in 1607, the Hungarian preachers wrote hymns themselves. Hymns represent texts of prayers, confessions of faith or confessions of sins. The works of the Hungarian hymn writers were a valuable musical material not only for the Hungarian Reformed congregations, but they were also an inspiration for the great masters of choir literature. The most famous Hungarian composers, Kodály Zoltán, Bárdos Lajos, Gárdonyi Zoltán, thought it relevant to popularize the most beautiful ecclesiastic hymns by creating choir works based upon these.
Johann Baptist Joseph Maximilian Reger is best known for his organ compositions. He favored the genres of the Baroque. He treated and developed the genres of chorale prelude, fugue and fantasia in ...his own individual way. He was inspired by his friend and performer Karl Straube (1873-1950), organist of the St. Thomas Church in Leipzig, who provided him with inspiration and ideas for his compositions. The present study focuses on the chorale fantasias pertaining to the composer’s group of works for organ. These compositions by Reger are considered to be seminal works of organ literature. They were composed in a short period between 1898 and 1900. Reger designed the registration of the organ works for the disposition of German late Romantic organs, which are characterized by a faithful imitation of an orchestral sound. Formally, they follow the structure of the Baroque chorale variation and chorale partita. The titles of the chorale fantasias echo the opening lines of the sacred hymns they are based on. The melodies date from the 16th and 17th centuries and belong to the hymn repertoire of German Lutheran congregations. Some of them can also be found in the Hungarian Reformed congregational hymnal. Keywords: chorale fantasia, baroque genres, Lutheran congregational singing, formal structure, disposition of late Romantic organs.
OSVÁTH VIKTOR EGYHÁZI ÉNEKFELDOLGOZÁSAI Péter, Éva
Studia Universitatis Babeș-Bolyai. Theologia reformata transylvaniensis,
11/2019, Letnik:
64, Številka:
2
Journal Article
Recenzirano
Odprti dostop
The aim of this paper is to present the choral pieces composed by Viktor Osváth, who was a pastor and church musician. The compositions had at their basis tunes of psalms and tunes of praise from the ...official hymn book of the Hungarian Reformed Church. These choral pieces can be found in the three volumes with the title Meghódol lelkem tenéked, nagy Felség (My soul is worshiping You, great Majesty). The volumes contain 105 pieces. Following practical considerations, the three volumes presents the choral pieces at different difficulty levels and in different groups according to genre: choral pieces for single gender choir, choral pieces for mixed choir and choral pieces with instrumental accompaniment.
The purpose of this study is to introduce the oeuvre of composer László Halmos, born 110 years ago, in Oradea, and to present his choral works that are related to the poetry of Endre Ady. Halmos' ...oeuvre of musical compositions is quite rich. A list of his works includes more than seven hundred opuses. The majority of his composition is dedicated to church music, but he also wrote folk song arrangements and put poems to music. The present study provides a detailed analysis of the choral work Három tricinium Ady Endre versére (Three Triciniums Based on Endre Ady’s poems) composed for equal voices.
The ballad of Mason Clement is known since the end of the 16th century. Csaba Szabó composed his work based on the version collected from Vlăhița, Odorhei county. He composed the adaptation of the ...ballad in 1967 for a mixed choir in four voices, for a children’s choir and for a solo instrument. It was published in the booklet entitled Egyszerű énekek I. (Simple songs I.) in 1968. The tune is repeated twenty-one times by various parts of the mixed choir or by the instrument. Various tempo signs show the limits of the musical parts of uneven length, which are adapted to the lyrics of the ballad.
András Kovács is a music teacher and chorus master. He published in 2015 at Impress Publishers of Târgu Mureş his work entitled Gyakorlati tanácsok karvezetőknek (Practical Advice for Chorus ...Masters), a book which reflects his experience of several decades as a chorus master.
The present study focuses on the native Hungarian music education in Transylvania, tracing the principles and practical elements of the Kodály concept from kindergarten to higher education. It ...highlights the work of Transylvanian folk music researchers, composers and teachers who helped the Kodály concept to take root in Transylvanian Hungarian music culture through their compositions, theoretical writings, or practical activities. Evidence of this can be found in theoretical writings, compositions, curricula, textbooks, and song anthologies.
