Bartók & Saygun Meetings - “Melodic Responses”
Bartók & Saygun Meetings - “Melodic Responses” Chamber Concert / Budapest 2015
Tulu İçözü - Mezzo Soprano
Csaba Király - Piano
Honorary Guest: Dr János Sipos
Concert Venue: Béla Bartók Memorial House / May 2015
Film Crew:
Cameraman: Bence Mladin
Sound Engineer: Bence Bonár
Editing: Krisztian Jankai
Opening Speeches:
Mr. Csaba Király
Dr. János Sipos
“Melodic Responses” Chamber Concert
Programme
Béla Bartók: Eight Hungarian Folk Songs - Excerpts:
- No 1. Adagio
- No 2. Andante
- No 3. Allegretto
Ahmet Adnan Saygun: Ten Turkish Folk Songs op. 41 - Excerpts:
- Nazlı Osman
- Güvercin
- Mavilim
Béla Bartók: Six Dances in Bulgarian Rhythm ( Piano )
Cemal Reşit Rey: Köroğlu
Ahmet Adnan Saygun: Yunus Emre Oratorio - Alto Aria
Csaba Király: Piano improvisation in the style Bartók
Aydın Karlıbel: Serenler, Serenler
Béla Bartók: An Evening at the Village
Tulu İçözü - Csaba Király: Improvisation on a Turkish theme
Boros Misi zongorakoncert a Bartók Emlékházban, 2017. okt. 26.
JUNIOR PRÍMA DÍJASOK HANGVERSENYSOROZATA - Boros Misi zongoraestje
2017. október 26. Bartók Emlékház
Műsor:
D. Scarlatti, C-dúr szonáta, K 159, L 104 (3 perc)
D. Scarlatti, D-dúr szonáta, K 430, L 463 (2 perc)
D. Scarlatti, e-moll szonáta, K 98, L 325 (3 perc)
L. v. Beethoven, C-dúr szonáta Op. 2. No. 3. (28 perc)
Szünet
F. Schubert, B-dúr szonáta, D 980. (40 perc)
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An extract from Hungarian piano prodigy's solo recital in Bartók Memorial House, Budapest, 2017.
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Four Dirges Sz.45, op 9a | Béla Bartók
Four Dirges Sz.45, op 9a | Béla Bartók
1. Adagio
2. Andante
3. Poco Lento
4. Assai Andante
These four short piano pieces owe their existence to Bartók's discovery of Romanian mourning songs in 1909. Since 1905, Bartók had been collecting folk songs from Eastern Europe, and their exotic scales had soon made their way into the composer's work. The Dirges are in some ways reminiscent of the Fourteen Bagatelles for piano, composed in 1908: both are strongly folk-influenced, and both reflect the same austere, spare aesthetic. The principal difference between the two works is harmonic, as the Bagatelles are decidedly experimental in this respect, at times bordering on atonality; the Dirges, on the other hand, are harmonically quite simple, with melodies often accompanied by open fifths or basic triadic chords. Bartók's melodies and harmonies are constructed largely from lydian and phyrgian modes, octatonic scales (scales consisting of alternating half and whole steps) as well as the usual Hungarian pentatonic (five note) scales. Melodies are simple and unadorned, often presented in bare, parallel octaves. The first of the four Dirges, an adagio, reflects Bartók's interest in Romanian octatonicism, with melodies comprised of octatonic pentachords (the use of octatonic scales would also become an important feature of Igor Stravinsky's music: Stravinsky composed a number of works in the first two decades of the century based on Russian folk music idioms). The second Dirge is perhaps the most harmonically adventurous of the four, as it progresses from relatively simple pentatonic structures to octatonic fragments and arpeggiated ninth chords. The third Dirge is similar in texture and character to the first, while the fourth employs more octatonicism and modal structures.
Live performance by pianist Tricia Dawn Williams. Recital held on Friday 14 June 2013 at The Béla Bartók Memorial House in Hungary, Budapest.
Supported by the Malta Arts Fund
Wallenberg emlékkoncert - Wallenberg Memorial Concert - June 21 2014 in Budapest
Wallenberg emlékkoncert - Wallenberg Memorial Concert 1.
June 21 2014 in Budapest, at the courtyard of the Tatra utca 6. Wallenberg had one of his offices in this house in1944. - a Tátra utca 6. sz. lakóház udvarán, melyben 1944-ben Wallenberg egyik irodája volt.
csillagoshazak.hu
Judit Rajk - voice
András Németh - piano
Handel: Oh Lord who may abide... (Joad's aria from the Athalea)
video: János Mácsai
The Franz Liszt Academy of Music-famous buildings in Budapest part.no.2.
The Franz Liszt Academy of Music (Hungarian: Liszt Ferenc Zeneművészeti Egyetem, often abbreviated as Zeneakadémia, Music Academy) is a concert hall and music conservatory in Budapest, Hungary, founded on November 14, 1875
The Academy was named after its founder only in 1925. Initially christened the Royal National Hungarian Academy of Music, it was also called College of Music from 1919-1925.
Replacing the old Music Academy, the Academy moved into a building erected in 1907 at the corenr of Király Street and Ferenc Liszt Square. It serves as a centre for higher education, music training[1], and concert hall. The Art Nouveau style building is one of the most well-known in Budapest. It was designed by Flóris Korb and Kálmán Giergl at the request of Baron Gyula Wlassics, who was the Minister of Culture at that time. The façade is dominated by a statue of Liszt (sculpted by Alajos Stróbl). The inside of the building is decorated with frescoes, Zsolnay ceramics, and several statues (among them that of Béla Bartók and Frédéric Chopin). Originally the building also had stained glass windows, made by Miksa Róth
Franz Liszt (Hungarian: Liszt Ferencz, in modern use Liszt Ferenc,[note 1] from 1859 to 1867 officially Franz Ritter von Liszt)[note 2] (October 22, 1811 -- July 31, 1886) was a 19th century Hungarian[1][2][3] composer, virtuoso pianist, conductor, and teacher.
F. Liszt II Hungarian Rhapsody
2014 March 22nd
Bartók Memorial House
Budapest
Piano, Gianluca Ciacciarelli
U Thant In Hungary (1963)
Budapest, Hungary.
MCU. United Nations flag flying from pole. Various shots of KLM Turbo prop aircraft taxiing in at Ferihegy airport, Budapest. BCU. Propellor rotating. Various shots of the General Secretary of United Nations Organisation (UNO), U Thant stepping from aircraft and is greeted by Hungarian government ministers. He then gets presented with flowers from some children. MS. & LS. U Thant walks across tarmac holding flowers and talking with the ministers. Various shots of U Thant outside front of main airport building being introduced to Hungarian personalities and members of diplomatic bodies. GV. Airport building with large word Budapest on top. MCU. Newsreel cameraman operating camera. Various shots of the Vice-President of the Council of Ministers, Gyula Kallay making welcome speech and U Thant replies. Various shots of the party leaving the airport by car. Travelling shot from front of car through streets of Budapest. LV. U Thant's car with motorcycle escort moves along street. High angle panning shot of section of Budapest showing Hungarian Parliament Building. MS. U Thant's car draws up in front of building and he steps out. MS. Interior of entrance, U Thant being met by Prime Minister of Hungary Janos Kadar. GV. Slow forward tracking shot in one of the large corridors in the Parliament building. Various shots of the ministers taking their seats around small round table and the talks begin.
(Dupe.)
Date found in the old record - 02/07/1963.
FILM ID:2669.16
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2013 October - Gyanta in Lethbridge
Clips from the Live Show of
Nearly Lost, Never Forgotten - History of Hungarian Music & Dance
Saturday, October 12, 2013 -- 7:00 pm // Yates Memorial Center -- Lethbridge, Alberta
A Special Performance in Conjunction With the
35th Western Canadian Hungarian Folk Festival
Gyanta Hungarian Folk Band & Friends
FIRST HALF
Introductory Remarks
Welcome to 35th Western Canadian Hungarian Folk Festival
Ancient Traditions from the Carpathian Mountains (The Centuries-Old Heritage of the Csángó People)
Renaissance Age -- The Groundwork for Hungarian Dance (Introducing the Hurdy-Gurdy (Tekerő) & Dances from Vajdaszentivány)
Contemporary Western Influences in Popular Hungarian Music (Rough and Rocky & Összetartozunk)
Baroque Basics -- Foundations for Hungarian String Music (G Minor Fugue for Solo Violin (J.S. Bach) & Traditions of Mezőség)
SECOND HALF (Following a 15 Minute Intermission)
A Perfect Union -- Fusing Hungarian, Romanian & Gypsy Cultures (Songs, Music, and Dances from Kalotaszeg, Transylvania)
Classical Gypsy Music (Taking Requests for Csárdás (Monti) & Pacsirta (Dinicu))
Hungarian Vocal Traditions (Ballads and Storytelling Through Song)
From Roots to Recitals (Breaking Down Béla Bartók's Romanian Dances)
The National Dance of Hungary -- Csárdás, The Tango of the East (Couple's Dance from Hungary's Southern Great Plains (Délalföld))
About the Performers
The members of the Gyanta Hungarian Folk Band are drawn from the vibrant Canadian-Hungarian communities of Quebec and Ontario. They belong to the upper echelon of musicians, singers and dancers based in North America specializing in the unique and centuries-old folk music of the Hungarian villages located in Hungary and Transylvania (within today's Romanian borders). They are called upon to perform at festivals, concerts, and Hungarian community-based events throughout the continent, and have collaborated with several well-known solo artists from Europe. Gyanta's members are:
Jeszika Paulusz-Garda (vocals, dance) -- Montreal, Quebec
Sylvie Paquette-Fritsch (gardon, vocals) -- Alexandria, Ontario
Kálmán Öcsi Magyar (violin, piano) -- Toronto, Ontario
Andrew Bandi Kocsis (violin, dance) -- Montreal, Quebec
Levente Levi Garda (kontra, drum) -- Montreal, Quebec
Attila Medve Krasznai (bass) -- St. Catharines, Ontario
József Szász is originally from Transylvania, and a founding member of Üsztürü, one of the top Táncház bands in the world. He lives in Budapest and continues to play with Üsztürü, regularly touring and teaching throughout Europe and North America. He is skilled in the cimbalom, kontra (3-string viola), and violin.
Jim Cockell is a native of Edmonton, where he began his musical studies at age three. He obtained degrees in English and Music Theory from the University of Alberta and currently plays violin with the Edmonton Symphony and Cifra, his own Hungarian folk band.
Eszter Savanya (Várkonyi) began her vocal career in the Hungarian Radio Children's Choir and later became the lead singer of The Bluegrass Pilgrims Band, one of Hungary's top bluegrass bands in the '80s. Since settling in Calgary, she has been a prominent promoter of Hungarian music throughout Alberta.
István Steve Savanya is a masterful player of an array of instruments (including guitar, kobsa, hurdy-gurdy, and zither) spanning various genres. He is also a poet, which has given rise to his own genre of word music -- an amalgamation of István's vast musical experiences and his poetry.
Zoltán Zsuráfszki Jr. is widely regarded as one of Hungary's most dynamic and talented folk dancers. He was a soloist with the Hungarian State Folk Ensemble for several years, and a two-time recipient of the Golden Spur (Aranysarkantyú) award, given to Hungary's most elite folk dancers. He has choreographed for and taught professional groups such as the Ifjú Szívek Folk Ensemble in Bratislava, as well as amateur ensembles such as the Erkel, Matyó and Tisza Dance Ensembles.
Judit Szabó started dancing at a young age in her hometown of Kisújszállás, Hungary, where she performed for many years with the Nagykun Táncegyüttes. She is currently a member of the renowned Szentendre Dance Ensemble, one of Hungary's top amateur dance ensembles.
KODALY SCHOOL CHOIR BUDAPEST
Concert Magyar Radio 10-3-2013.
Fantastic music education. THEY SING BY HEART. The rearl thing.
Later they will be glad for what the have learned.
Béla Bartók made his home in this house in 1945.
The grate Hungarian composer Béla Bartók (1881-1945) made his home in this house during the last year of his life.
309. West 57Th St Manhattan
CD - B. Bartok, Z. Kodaly (11)
Béla Bartók (1881-1945)
44 Duets két hegedűre Sz.98 BB 104
44 Duos for 2 Violins, Sz.98 BB 104
44 Duety na dwoje skrzypiec, Sz.98 BB 104
Paweł Wójtowicz - hegedű I / violin I/ skrzypce I
Anna Wójtowicz - hegedű II / violin II/ skrzypce II
Zoltán Kodály (1882 --1967)
Szerenád két hegedűre és mélyhegedűre Op.12
Serenade for 2 violins and viola, Op.12
Serenada na dwoje skrzypiec i altówkę, Op 12
Anna Wójtowicz - hegedű I / violin I/ skrzypce I
Paweł Wójtowicz - hegedű II / violin II/ skrzypce II
Elżbieta Gromada - mélyhegedű / viola / altówka
Ligeti György (1923-2006)
Baladǎ și joc
Ballade and dance
Ballada i taniec
Anna Wójtowicz - hegedű I / violin I/ skrzypce I
Paweł Wójtowicz - hegedű II / violin II/ skrzypce II
CD - B. Bartok, Z. Kodaly (1)
Béla Bartók (1881-1945)
44 Duets két hegedűre Sz.98 BB 104
44 Duos for 2 Violins, Sz.98 BB 104
44 Duety na dwoje skrzypiec, Sz.98 BB 104
Paweł Wójtowicz -- hegedű I / violin I/ skrzypce I
Anna Wójtowicz -- hegedű II / violin II/ skrzypce II
Zoltán Kodály (1882 --1967)
Szerenád két hegedűre és mélyhegedűre Op.12
Serenade, for 2 violins and viola, Op.12
Serenada na dwoje skrzypiec i altówkę, Op 12
Anna Wójtowicz -- hegedű I / violin I/ skrzypce I
Paweł Wójtowicz -- hegedű II / violin II/ skrzypce II
Elżbieta Gromada -- mélyhegedű / viola / altówka
Ligeti György (1923-2006)
Baladǎ și joc
Ballade and dance
Ballada i taniec
Anna Wójtowicz -- hegedű I / violin I/ skrzypce I
Paweł Wójtowicz -- hegedű II / violin II/ skrzypce II
Tulu İçözü & Csaba Király Improvisation on a Turkish theme
Bartók & Saygun Meetings - “Melodic Responses” Chamber Concert / Budapest 2015
Tulu İçözü - Mezzo Soprano
Csaba Király - Piano
Honorary Guest: Dr János Sipos
Concert Venue: Béla Bartók Memorial House / May 2015
Film Crew:
Cameraman: Bence Mladin
Sound Engineer: Bence Bonár
Editing: Krisztian Jankai
44 Duos for 2 Violins, Sz. 98: No. 45, Transylvanian Dance
Provided to YouTube by Believe SAS
44 Duos for 2 Violins, Sz. 98: No. 45, Transylvanian Dance · Rúni Bæk, Øssur Bæk
44 Duets for Two Violins
℗ Tutl
Released on: 2014-09-26
Composer: Béla Bartók
Music Publisher: D.R
Auto-generated by YouTube.
Bartók:Contrasts II. Banda, Klenyán, Csillagh
BARTÓK : CONTRASTS Sz. 111, BB 116 , II. Pihenő
Katalin Csillagh - piano, Ádám Banda - viloin, Csaba Klenyán - clarinet
Bartók Memorial House, Budapest, 18.05.2013
All rights reserved, SW Arte C
Bartok: 44 Duos (Nos. 1, 8, 6, 9, 10, 7, 5, 14) for two mandolins
Béla Bartók: 44 Duos for 2 Violins, Sz.98 (1931)
1. Necklied (Teasing Song) - 0:03
8. Slowakisches Lied 2 (Slowakian Song 2) - 0:57
6. Ungarisches Lied 1 (Hungarian Song 1) - 1:50
9. Spiel-Lied (Play Song) - 2:44
10. Ruthenisches Lied (Ruthenian Song) - 3:26
7. Wallachisches Lied (Walachian Song) - 4:26
5. Slowakisches Lied 1 (Slovakian Song 1) - 5:06
14. Polster-Tanz (Pillow Dance) - 5:59
This is a selection of Bartok's 44 Duos for two violins, played on two vintage Italian bowlback mandolins. The first four duos in my recording (Nos. 1, 8, 6, 9, in that order) form one of the concert sets proposed by Bartok, to which I have added four more of the earlier (and easier) duos. I think these work pretty well on mandolin!
Mandolin 1: 1890s Umberto Ceccherini (right channel)
Mandolin 2: 1915 Luigi Embergher (left channel)
Bartok died in 1945, and copyright in the EU expired in 2015, so his compositions are now in the public domain. IMSLP has very nice scans of the original editions of the 44 duos:
Tarantella by Liszt, performed by Elise Sun
Memorial concert for Dr. Andor Kiszely, held in McShain Auditorium at Rosemont College on Sunday, April 15, 2007.
Dr. Andor Kiszely, 1922-2006, was born in Balassagyarmat, Hungary on November 17, 1922. Dr. Kiszely received his musical and pianistic training at the Franz Liszt Royal Academy of Music in Budapest, Hungary. His artist-teachers in piano were Dr. Ernö Daniel, and Dr. Bela Böszörmenyi-Nagy, who studied with Dohnanyi. His third teacher in piano was Lajos Hernady, a Bartok student, who was an adjustor in the 1970 Tchaikovsky Piano Competition in Moscow. Dr. Kiszely also studied with Zoltan Kodaly. Shortly after he received his Masters Degree in Performance and Piano Pedagogy from the Franz Liszt Academy, he also received a doctorate in Political Science from Peter Pazmany University in Budapest. After the Second World War, under the auspices of the U.S. Special services, he toured West Germany, giving concerts in Munich, Augsburg, Stuttgart, Nuremberg, Heidelberg, and other cities. Until 1956, Dr. Kiszely led an active life in Budapest as a well-known performing artist and a respected teacher at the Budapest Academy of Music. He gave numerous recitals, was soloist with the MAV Symphony Orchestra, and made recordings for the Budapest Radio. During the days of the Hungarian Revolution, Dr. Kiszely was one of the musicians chosen by his colleagues to lead the reorganized ministry of education. After 1956, Dr. Kiszely made his home in Vienna, Austria. He received a Ford Foundation Scholarship for two years of post-graduate study in orchestral conducting at the State Academy of Music (Akademi für Musik und Darstellende Kunst) with Hans Swarowsky. Among his classmates were Zubin Mehta, and Claudio Abbado. He received his Diploma in Orchestral Conducting in 1959 In Vienna, he gave many recitals in the Musikvereinsaal and the Brahmssaal, and made recordings for the Austrian Radio and Television. Other appearances in Austria include Salzburg, Linz, and other cities. Dr. Kiszely came to the U.S. in 1959, giving recitals in Judson Hall, New York, Rutgers University, New Jersey, Klein Memorial Hall, Norwalk Conn; in Philadelphia, at St. Josephs College; LaSalle College; Holy Family College; International Institute, International House. Dr. Kiszely and his wife Joy Miller Kiszely founded the Main Line Conservatory of Music in Ardmore in 1967, which over its 40 years has produced medal winners in major competitions like the Bartok-Kabalevsky National, Stravinsky International, International Piano Recording Competition of the NGPT, finalists in the Philadelphia Orchestra Greenfield Competition, Mann Music Center Competition, World Piano Competition Grand Prize winners and Medalists, Eaglesmere, West Chester University, Drexel University competition winners, Pottstown and New Jersey Symphony orchestra winners, Baldwin Junior Keyboard, PMTA Concerto and Solo winners Outstanding Young Christian Artist, Bart Pittman Award winners, Kennett Square, and Tri-County Youth Festival winners. In addition, many students of the Main Line Conservatory serve on the faculties of Universities and Colleges and others have followed Dr. Kiszelys example and founded music schools, which today are thriving and proudly carrying on the musical tradition learned at the Main Line Conservatory Dr. Kiszely was nominated Master Teacher by the American Music Scholarship Association, and in 1983, received the Teacher of the Year Award from PMTA. He is listed in Whos Who in Music in the World, the International Whos Who of Music, and Whos Who in American Education.
Arad, Romania
Arad is the capital city of Arad County, historically situated in the regions of Crişana, and having recently extended on the left bank of the Mureș river, in Banat region of western Romania.
An important industrial center and transportation hub on the Mureș River, Arad is also the seat of a Romanian Orthodox archbishop and features two universities, a Romanian Orthodox theological seminary and a training school for teachers. It had one of the first music conservatories in Europe. The city has a population of 159,704, making it the 12th largest city in Romania. Arad is the third largest city in the western part of the country, behind Timișoara and Oradea.
This video is targeted to blind users.
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Chorus Matricanus Debrecen flash mob
Anna Juhász | PLANNED CITY WITH PLANNED CULTURE
The once-industrial town of Salgótarján, wich used to be an exemplary town of Socialist urban planning in the 1960-70s, is now struggling with the legacy of the past and the seemingly hopeless future. Its inhabitans have very ambivalent feelings towards their city and its past during socialism, although they have to live their daily life in the settings of the decaying modernist city, reminding them constantly of the previous system. After 1989, the city lost its former privileged status, most of its industry collapsed, and its population shrinked. This also shows that the progress of the 60s-70s was generated from above and was not sustainable – hence, the original plans to build a modern city and generate a cultural life, which is appropriate for the newly established built environment, and the scale of the utopic idea to create the „ideal Socialist city” and its ideal inhabitant is still astonishing.
Salgótarján was not a newly founded and erected town, but one that was radically transformed during the huge constructions of the 1960-70s, along with its former atmosphere and scale. The architectural quality of the city centre, characterised by the buildings of the Kádár era’s prominent architects (György Jánossy, György Szrogh, József Finta and Géza Magyar), was regarded as a standard and catalyst for other areas of life. The transformation of the city lasted for decades, and it gives us the opportunity to examine the accompanying architectural debates, utopias and compromises of the period. It also shows how the reigning power connected the notion of progress to these kind of towns, and used various methods to achieve that the urbanising masses would embrace the identity of the town-dweller. Decisions of cultural policy served a double aim: to shape the taste of working class inhabitants, and to strengthen the local identity. The lecture examines the interferences of urbanism and cultural policy through different junctions: the possible roles of artists in the town, the significance of sculptures on public squares, and the representation of Salgótarján at the Venice Biennial in 1976.
Anna JUHÁSZ (HU) is an art historian and curator from Budapest. She has degrees in Art History and Film Theory and Film History from Eötvös Loránd University, and in Fine Art Theory from the Hungarian University of Fine Arts, Budapest. From 2014 she worked as program supervisor at ACAX | Agency for Contemporary Art Exchange and as co-curator at OFF-Biennale Budapest. Since 2015 she has been working in Kassák Museum. Her fields of research are ephemeral artistic practices, the possibilities of artistic self-organization, and the cultural legacy of socialism. She has been dealing with the examination of this legacy both in her researches and as co-curator of the exhibition Past, Continuous – Contemporary reflections on the cultural legacy of Socialism (Budapest, 2014).