Haack [Haacke, Haak, Haake], Friedrich Wilhelm



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Huszár, Lajos


(b Szeged, 26 Sep 1948). Hungarian composer. He studied composition with István Vántus in Szeged, with Szervánszky and Durkó in Budapest (1967–73) and with Petrassi in Rome (1975). In 1973 he joined the Szeged Conservatory as lecturer in theory and composition, of which he was appointed head in 1993. Between 1983 and 1989 he taught various courses at the Liszt Academy and the Academy of Dramatic and Film Arts in Budapest, as well as at the Békéscsaba music school. He has organized events of the Szeged Contemporary Hungarian Music Week and in 1994 was awarded the Erkel Prize.

Huszár's work is characterized by a lyrical tendency and by expressive and meditative effects. Accordingly, he has retained a link with Romanticism while excluding the extremes of the avant garde. The first period in his output is influenced by Polish and Hungarian music of the 1960s, namely the works of Lutosławski, Kurtág and Durkó; it is characterized by atonal harmony and asymmetric rhythms. Musica concertante, on the other hand, employs aleatory technique, the result of his studies in Rome. The summit of this period of atonality is 69.zsoltár (‘Psalm lxix’, 1976), a work in which the text’s expressive arch form of prayer–protest–damnation–praise is punctuated by variants of a single chord comprising e, a and f. Works from the late 1970s onwards use simpler rhythms, followed in 1981–2 by a return to tonality. (Huszár's decision to simplify his style was also influenced by the music of Górecki.) After 1983, and particularly in A magány dalai (‘Songs of Solitude’) and Notturno, his music strives for a synthesis of traditional and modern elements, aiming for a logical combining of tonality and atonality. In Concerto rustico (1985) he charts the harmonic gradations between these two possibilities. His most important works in this period of assimilation are the Chamber Concerto (1987), Libera me (1993) and the opera A csend (‘The Silence’, 1994–7).


WORKS


Stage: A csend [The Silence] (op, 2, L. Darvasi, after B.Balázs), op.27, 1994–7, unperf.

Orch: Serenata concertante, fl, str, 1981; Conc. rustico, op.18, 2 hn, str, 1985; Chbr Conc., op.20, vc, 17 str, 1987

Choral: Caligaverunt, female chorus, 1976; 2 madrigál, SATB, 1981; Ave Maria, female chorus, 1983; A csönd virága [The Flower of Silence], op.23, SATB, 1990; Agnus Dei, op.28, SATB, 1996; Az ezüst rózsa alatt [Under the Silver Rose], male chorus, 1983; Dies sanctificatus, op.15, female chorus, 1983

Solo vocal: 69. zsoltár [Ps lxix], op.4, T, kbd, 1976; 2 dal [2 Songs] (E. Ady), op.6, B, kbd, 1977–83; 3 dal [3 Songs] (E. Lasker-Schüler), op.13, S, va, 1981–9; A magány dalai [Songs of Solitude] (Quechua texts, trans. J. Tornai), op.16, S, perc, 1983–95

Chbr and solo inst: Csomorkány, op.2, pic, fl, ob, cl, bn, hn, tpt, kbd, perc, 1974; Musica concertante, op.3, pic, fl, cl, a sax, b cl, hn, tpt, trbn, kbd, hp, perc, 1975; 5 zongoradarab [5 Pf Pieces], op.5, 1977; Scherzo e adagio, op.8, 11 str, perc, 1978; 5 változat [5 Variations], vc, op.9, 1979; Hpd Sonata, op.11, 1979–85; Brass Qnt, op.12, 1980; Notturno, op.17, kbd, 1984; Ének virradatkor [Song at Daybreak], op.19, fl, vib, 1987–95; Ov., op.22, 3 tpt, 1989; Libera me, op.26, org, 1993

Principal publishers: Editio Musica Budapest, Rieks Sodenkaup

BIBLIOGRAPHY


B.A. Varga, ed.: Kortárs magyar zeneszerzők [Contemporary Hungarian composers] (Budapest, 1989)

M. Hollós, ed.: Az életmű fele: zeneszerzőportrék beszélgetésekben [Half a life's work: portraits of composers in conversation] (Budapest, 1997)

MÁRIA ILLÉS


Huszka, Jenő


(b Szeged, 24 April 1875; d Budapest, 2 Feb 1960). Hungarian composer. At the National Hungarian Royal Academy of Music he studied with Hubay (violin) and Koessler (composition), and he also studied law. He was for a time a first violinist in the Lamoureux Orchestra, and then worked in the Ministry of Culture in Budapest, where he met Ferenc Martos, who became his librettist. Huszka’s first operetta, Tilos a bemenet (‘No Entry’), was produced in 1899. With Bob herceg (‘Prince Bob’, 1902), set in London and later produced in Vienna, Italy and the USA, he successfully challenged the dominance of Viennese and British works and helped pave the way for a Hungarian school of operetta. Huszka was held in high esteem in Hungarian artistic circles; he served as president of the Hungarian Society of Composers and Authors and was vice-president of the International Composers’ Federation congress in Budapest in 1930.

WORKS


(selective list)

all operettas, first performed in Budapest, unless otherwise stated; for more detailed list see GroveO



Tilos a bemenet [No Entry], 1899; Bob herceg [Prince Bob], 1902; Aranyvirág [Golden Flower], 1903; Gül-Baba, 1905; Tündérszerelem [Fairy Love], 1907; Rébusz báró [Baron Rebus], 1909; Nemtudomka [Night-club Girl], 1914; Lili Barónő [Baroness Lili], 1919; Hajtóvadászat [Riding to Hounds], 1926; Erzsébet [Elizabeth], 1939; Gyergyói bál [Ball at Gyergyoi], 1941; Mária főhadnagy [Corporal Maria], 1942; Szabadsag szerelem [Freedom, Love], 1955; Szép Juhászné [Beautiful Mrs Juhasz], 1955

BIBLIOGRAPHY


L. Tordai: Dalmuvek könyve (Budapest, 1936)

G.S. Gal and V. Somogyi: Operettek könyve (Budapest, 1959)

J. Huszka: Szellő szárnyán … [On the wings of the breeze] (Budapest, 1977) [bibliography; incl. list of works]

R. Traubner: Operetta: a Theatrical History (New York, 1983)

ANDREW LAMB


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