pickf.!,; by · 2011. 3. 31. · tn . trace tho . origi.oa of certain foatorul in gipsy ....
TRANSCRIPT
rillo of Ihe lIungarian ~rilinJ A MAfJ1l lXJZE1or
Translated by HOIAW) TEMlRSI nnd (YNIIUA TOlLY
Tnlonltuinn IOvllled ty ltA lHEXPE PICKF
[hi new additioDli were translated by CYUltA GUlNA
racket and biurlonll hy ImlKA lFtAl
Tbird odilio
ISBN ooa I~ 1middot1 ~ 0
() (nifi hiAd6 13udApel l060
Prlnld in lIungary 1082
AUTHORS PREFACE TO THE ENGLISH EDITION
It ill with pJ88IJ1Inl that 1 olfer thio book to English reampd_ in the hope of supplying them with amplo information about Hungn1ian folk music
lntanlst in the flUbjeot ho8 never been lMlring Dame Sybil Thomdiko when intervimred onoe about my mnaiD inBtampntIy mlllltioned a IIOng from Francia KorbRya B1Ingaria Melod~ WllIJ undoulmdly the simiIazity of 00J 1lIlJ1le8 t111l~ CIUlsed the roofuBioJl Unfortuolltely KorbaY1I very popumiddot Iar volume contains hardly a Binglo genuinD folkeong d the I14me applieo to other popular publicntiona
Folk musio WII8 simiJacly ahaImt from tho repertory of famous to gipsy blUlw Only during tho last flW docBd08 stimulntcgtd by th Hungarian Radio did they begin gradually to learn traditional peasant tuneH th 6CQOmmiddot poniment of whioh till eonsiBte too oftett of iDBpproprioto hampnnoruee derived from thclr bBoJmoyod routine
Bart6klI book Hungaria Fan JlttN (Oxfonl Univ811Iity Press 1931) providod thorough iofolttUltion for thoHe intereBt0d Unfortunately1hrt6ks etudy only teOUlhcd a BJDaIJ circle of oxpertamp-tho publio scarcely at ail GenernlJy -peaking HuogarillI folk music i still idltmti1led with gipsy musio and folksoog is confwwd with popular art-muaio Yet in its namlwer _ HWlgurian folk musir hM littlo or nothing in cornman with tho D11IlIio ollmed om the rndio 811 Hungnrian folk tun or alnoo Snrnsntc as gipsy meloshydies Perormod by Wpsy orcheotrna or in other popular arrangements such music 11811 been tho bllliM of all genenilizations aboot Hungruian JDllIIic for rumcly a bllJldred)-cant Nor ill it in any way th creotion of glplties IUIItiII frt-quontJy 888CIIed owlnjt to Fnmz Limltt monumental error
It is geUllrally po8IIiblo to identify tho oompoae~ of the varions tun08 that include the themes of Btallrn8S Hungarian Dancu ond Ligzts Hunshygarian lJhJJpaodiu They all lived in tbe nineteenth oontury and the moat couWnnding were Hungorlarlll of Doblo d08OOIt To mention bot rsr KalmAn Simllnfly of Maroads4rbely (1832-1889) Elmn4r ampentinnay Wh08e retJ muno WII8 JtiooII N4math of ZIIid JUld Vodnd11 (1836-1908) ~ni EgreII8Y wlJQB6 full
5
~ name W08 J3enJnDlill Galnmbos of Egres (1814-1B5J) Otbers cam from
o bourgeois families that bad been 88iiimiJoted IlUch 88 B6ln Keler (1820-1882) nnd KAroly Them (18171886) both rom the S7epc8 region whioh from tbo twelfth century onwards was settled by Germans orcountlessgipsy musician very rew wcro composers M1aka Fllrkns (1829-1800) and PAl R= (18S71886)
Tho gip8y contribution was nat very distingulshed with the poeaiblo exception of Pista Danko (1868-1903) his oompoeitions evidently postdate Lim since Liszts DeB BoMmieM et u leur mtuigue ell Hcmgrie appeared in 1859
A number of Hongs written by silll llnitientifuld compo6Cl8 show by their HtyJo thot they too belong to this periodTI
Although text IlDd melody were 6Omotimea writtan by the erune person m C( the hl1llDonlc accompaniment W08 genemily written by anotber as happenctl
with polypbonio airleenthmiddotoentury c1umBOM and the minnllBingers TimZ tI Tho Hungarian COlDpo5el1l mentiaruxl above woro nearly alwaY inmll~middot
rienced IIJ1ItteUl1l The tunes beeome oommon property BOOn nftor their epshyE al pearIInee IlJld nobody inquimd after t heir origin ))epitu tb Copyright Law IT of 1886 e-erytbing was freely reprinted until with tho beginning of t he
twentieth century the modllrn Idea of autblJrs right camo inti) existenceA S Hunce in ita CiliomtiaIB the style of Hungariatl popull1l music as gllllBrally
il known WIIamp formed in tho middle of the ninstoenth oentury rts rhytbmical
c chnracteristics pring Crom Inn~ag ond dance its tunes wore later outcrop
e of IlJ] older typoin which Western European influences trncoobla A ainglo
v feature the aomiddotcalIod gipsy ooIe pointa tn Sollth~rn Oriental (Arabi origin and may p066ibly bave reached Hungury througb tho gipbiJlseuro
~
r t I
GipliQS falsify tho fo1kBollh tbey play 1y introduoin the nugmcntod imervals of this IIOWO wbicb aru rarely used by pcasantl It should he emphllshyIized lugtwOllr tlUlt Lhe gipily $ltltlIo by no menn~ ptlltlomlnut in gipsy Rtyl and tJmt moduru major ~cl nUlIor hlltUl8 an tnnrh ml11l (rtqucnt
GiPY comr~ followed fllithfully to the fnotrlepo of oth nativo Mel assimilated Runglrian~ Tho IllOSt pTOWle Pilita Danko was quite etroogly under Uw inHueneu oJ inuigenous HU11gw-ial1 pC8J1t mWlio Ho wrote more than four burulrod 8011 to contelllpnmry Ullngllrian tcxtll wher other gipsy oompooclII confinod thllJJSChmiddote t the wnrdlwa lUlu illgttrunl811tal1y eonoeivod utircM4
This is not to soy tJmt coal gipsy music toes not exist It COJllltmJ of ahort BOngS in Rotnruly known und rung totI y mainly by nomadlo tunt-eoloniClSmiddot
6
and to l0880f oxtent by eettJcd vilnge jiplliflll the civilizod towngipoifOl and hence the mURi oitm8 do not know them at all Still lugeIy unexplored tctritory thcIe6 80ngs havo virtWLily nothing in oommon with tbe HungarilU1 popular lityle or with true Hungurinn folbong A IIlIlIO thoroughgoing stylistio tUI8lyms may some day mAke it 10li8iblo tn trace tho origioa of certain foatorul in gipsy compo6itioJlll but gipsy composers at best are never rooretbdn 8OOOndmiddot rate imitators of tho true Hungarian Htylo
In rtlCent deoodm tlllre baa heen 1 revival of the giJlllY stylo whinJ baa 888111IUrl at lcaa quantitativa irnportM~ Tbe cbillf exponents nro again noti-u IT1l1Jgarin8 llUeh as L6rond Frtitcr of Ipp and Erkeeer1l (1872-1928) and Arpld DIlIAzs (1874-11141) or llJ3Ijimiluted Hungariam such as Emil LAnyi (1861- 1923) The) is a oompiouoWl nbstulOO of gipsy cOIllJlltlSflJll today
It is tmtiroly erroneous therefore to rcgard tho mullin played hy gipiliea from about lSliO onwnrda lUI gipsy music It is quioo clear that moat of the pieces were (and laquotill nrtl) written not by gipiliee but by Hungarians QDd My gipsiea concemed Mve t aken over a stylo ureatod by nthlllS In origin and cbJUnetor Ulia stylo belonged to the town tradi tion of printed art-mrurie IU1d had nothing to do with middot8tUieut tradition or tbe like True it lipread by wOId of mouth gipsics performed it wilhout written muaic d it ww sung by large numbers of mmiclllly U1itemto peoplo It was assimilated by the average Hungarian and more eapecially by tbu t ownmiddotdwellm- althnugb a groat deal of it aLo found itJ wily into the viI1ages SUJldlciul ollsenn moy 00 forgiven for bu IJlg fnlletl into tlletrllp oftbinking that it wtl8 typfuuJ fnikl()ng
Tho following ltlXllI11plo by Elenur Szcntirmy hllll become world-famous It ie the main theme of Sarnsatos Gipay Aftlodia in hich it eppoom in II
corrupt form CompI1l8 the followJIg original notatiDD
D
Cstllt ~gy net lany an ~ v-i middot I Eon Az flu kcdt=5 ril-zsam a-Iumbom
A to lsmiddotlen be na-~yon azeret H(hyen Oft- em a-doH temiddotte dGt
A oampaciBon of thiB tune witb Scbuberts Semtad~ ilu6tratea how thi8 8tyJamp IlO frmoo under tb infIncnooofWet European melndies It itiundtmimiddot ably RungUiflIl in _1100 but itJ Wcgtstorn trappings D11ly explain ita vas popularity outside Hungary
Tho genuine old folk-tradition 13 not visible even in the ml18iclIJ style that immedl4tely prcoeded this tllo tityll that lIourlshed in Hungary during tbe ~t bill of tho ninetntb century It too was town art-moaio in llII88Iloe
7
ZfJ
orFo nothing but wmco muaio t liM it Will een wrillCI1 by fOroifnOl8 and Imshymigrants ILOd like ita later oounterpllrt WI8 to bo found in print
~ne inIt DI1MU Bongroi~metimes jUtot called Ilongrouu-wrrre compoecd by mnn with nJmellliUCb 118 Bengmf Franz TObt DrecbJler l[ohBlIpt Stoolrer It is still a mystery whero tbuy obtained tbo Hungarian ttimminlS for their moWocre plCOOII formed and harmonized in the ViennClo etyle A fmv copi of ampJlonymoWl da1lOOll of that pariDd published in VientuI und in~luuing the sourco of Haydn Rondo uongarnsc sLow lllltltlll of all eMlier [nom primitive instrumcntai trndition This I1lAY oove survived omong gipsy mllBioians ()f tbo day since 8C8ttered traoes orit still remain in remote villo gas
The Later muaio in tbia stylo was provided by Jantl8 LftvoLta of hsepfalvn musi IlOd Kevolliha (1763-1820) JAnOil S~ita of Boo8r (c 1800-1874) the
coml VPllladin KAzmct of 8arklI (17011-1876) tIld tb pbyaician J D of HnshyZolt nJlLd (1807-1865)--ltill H~ abo by th ClIech Anton oerrruik the I (1807-18amp5) eeJ-eurotyled DlllOnct of Dlujk and RouhllOJ Lbo gipsy Jan Engl Bihllri (1764-]827) tnd amp Jw MArk R681lTlllgyi (178I1-lBolS) whmc dlllLth and imIJired Petdfili famOWl dooply-felt lgtOltm Ncwly-aW1lkenCld nntimml fooling mod 6Wcpt asidtl differences or birth IUId bllekllmuruJ In tbo tl4lrIloo of middotnntionnl Ast 1OlI0i all found Um_h- on ltvmmon ~und Sup Mast of tills mUliie now 1eC1I18 nld-rlUlbionlt-d and dated only tbe composhyinte lritions of BilUlri still i1Il with life Bul mnw h hnd 011 knltlwlcdge of mllsicnl con nntalion tlwre will n~Hr he lUI) C[middotrt1Unty nhout what is hhI nod wbat h1lll eth l been OOded by thIkle who noter dnwn nod (()]lied bla mUBie At IllI OVllDta vall seven of hiB piocaJ 8(l related to tnlditionlll Hungnrion peasant music Ho exa IO~1Il8 the only link betwOOl1 the POIlSlut lrIIIlltion unu the urban donoo muaic
Ko that produced tho CIIilrdgt rounrl hout 1830 not The intention )f Ul) not work ill ttl throw light on nspootB of Hungn thE nan Iolbong-rcsenrcb bleh T(()ci~ltod little or nu attention in Brt6ks book pre conoolved WI it 6 l1li n work of t1cuwcd IlIlfilyoiB nod clOBampilJcation ItR prlt of BJlIUlI 1me pretnted tb~ ineluion of mll1ly Mltampl and lhis is one of ilill Pro 1CII8m1gt wby rh rMder Lo often roferrt( to J3llrl6kmiddot work for dditiolJ dis xntnpltld Our knowtl(l(o hlUl iJltnNJd ainco Bart6ks time pnrtioulnrly with Hl regurd to tb IfllUlic of IinguiHtica1ly-related peorles The relationship of folk pe mU8ic witb Iilt-mUampic of til jriOO8 nud with cliurolJ 1JIUlio hat is to say witlt gi the biJlttoriool uvironment 11M becomo rnu~1i cliAI1r The work of oollectora a -Ilplt)nIdlo belwn 10114 arm 1050 but Il1lt~ticruly mrtendud with the lin of ar the tape TCIltIrder liin~ thcn-bw lirnught to light ID1lIlY nllW fn~u WlI I
of conBid8lsblamp number of VlUllwta of BltU1okmiddot8 book roLuina ita wue 011 n roftIttIIIle wCJrk nnd as 11 yuIJ-I1mm t( ~llIl 001100110raquo of cmmfllus -hilo UlO great nnlhoJogy now in Pllllarotion b~ fshy Ue Folic _ftJllic- ROICUffb Gmup to blJ publisbod in SUCC03Sh~o valwntlS s is dOOlgned to oomplw fiarltik5 outline Fivo oJum of MfVJJOr NiptM p 8 a a t
Tdra (Cor]1lu Mtl8iCM Pamppltiari8 UgartCM) havo flO fur I1PpcnrBd nnmoly I Cildre Oam IT Caletular Ctli1lmM amp11(18 III IVtddnll Sl)lil1 J 17 Pairi~ Songs V poundamenia The Hun1lrilln Aooemy of SdrllCltlll h guonmttled unmiddot intemptoo poblication of U18 rMults of lbiJlt monumentol uudertlking Ooly ben t ill compJetoo m n final survey and Ompllmtive nonJysi3 bo carried out Ii is 800 _entia toot lI)Blematically moo collection of the other
nations concerned bo mlldo ampvailnblamp for adudy In Lhe meantime this book mampy 88rvo to point tho Wly tn greater gAins
from tho compamtive study of musien folklore
Budnpest 1060 ZtJuln Kodill
NOTE ON THE NEW ENGLISH EDlTION
rite new edition of Foil- II wilt o U(JflY hIlA been cxpllndtvl hy he Inclusion of IBTRC numbf-r of MV murtiral -xlllnp[oo weU lUI numerous nddundo Tho overwhelming majority of lh_ Wertmiddot chq(fll lind drafted Ly Kodlly hlmsclf we not only bave his own words ahout thio hut bullwl nuOlll(lU
IlJlnotnlioM Md 8Upp]urunntlllO higt OWlt copj of tho book Lo guido Ug Th bulk of my work consistd in 8uppltJllontinll UIO mlloi111 cxamplL nnd rnfr nces 10 lW(orlthuwo with th JlIIllotlllinl1o
In 3 Co inrtanOO modlfirnlillThl nlIarel nlllry e cn lh f
((lUld no longr obtain guidl1nco from KQdlily whcro n(W ft I remlfshyIIn1 en hrought to li~h~ whioh he Uid nnt (or woa unahlo to) ilr ThiJ wu largely tnJ1 in 111 amp1 of lnwnUl tI) irurtnuoontlt who lWO nl work_the mncnl- olumo In th Oorp Ifie PlHllllri nufI(urirHr V 11m Milnt SArnoltig book on instnJlnlmt to th Ilautwn ckr ItlropiiM)rn lnb bullriki1l-lrllmrllte-wo (Oojlleml)II nlllll1l1uwd nrlier knowkd~
In c (1ibUII e bllv( enuRoured (u illIorporaLo the now fACt- nnd wbrc ]lOibl tn mnkn Qr Knd6ly rrlllulnti from other sour eo (0 lmvo tho work lUI flU M pbltl ill It ()ri~iJUu form We MVO boon Ir tiulnzly ful IIot to Ilttribll(O to KodAly ~tntumlUlt8 never mIMI hy him
Vo hI h1i in lhit wILy tho work ill nnt Mcrinec pffllCllt timolinll8fO while )lmlCrvill lhnt ohnrctcr wllirh 111111 Illrdy glvn it hislorio vnho
BuUaI-l Autumn lOon Laiw VargytU
o
~ name W08 J3enJnDlill Galnmbos of Egres (1814-1B5J) Otbers cam from
o bourgeois families that bad been 88iiimiJoted IlUch 88 B6ln Keler (1820-1882) nnd KAroly Them (18171886) both rom the S7epc8 region whioh from tbo twelfth century onwards was settled by Germans orcountlessgipsy musician very rew wcro composers M1aka Fllrkns (1829-1800) and PAl R= (18S71886)
Tho gip8y contribution was nat very distingulshed with the poeaiblo exception of Pista Danko (1868-1903) his oompoeitions evidently postdate Lim since Liszts DeB BoMmieM et u leur mtuigue ell Hcmgrie appeared in 1859
A number of Hongs written by silll llnitientifuld compo6Cl8 show by their HtyJo thot they too belong to this periodTI
Although text IlDd melody were 6Omotimea writtan by the erune person m C( the hl1llDonlc accompaniment W08 genemily written by anotber as happenctl
with polypbonio airleenthmiddotoentury c1umBOM and the minnllBingers TimZ tI Tho Hungarian COlDpo5el1l mentiaruxl above woro nearly alwaY inmll~middot
rienced IIJ1ItteUl1l The tunes beeome oommon property BOOn nftor their epshyE al pearIInee IlJld nobody inquimd after t heir origin ))epitu tb Copyright Law IT of 1886 e-erytbing was freely reprinted until with tho beginning of t he
twentieth century the modllrn Idea of autblJrs right camo inti) existenceA S Hunce in ita CiliomtiaIB the style of Hungariatl popull1l music as gllllBrally
il known WIIamp formed in tho middle of the ninstoenth oentury rts rhytbmical
c chnracteristics pring Crom Inn~ag ond dance its tunes wore later outcrop
e of IlJ] older typoin which Western European influences trncoobla A ainglo
v feature the aomiddotcalIod gipsy ooIe pointa tn Sollth~rn Oriental (Arabi origin and may p066ibly bave reached Hungury througb tho gipbiJlseuro
~
r t I
GipliQS falsify tho fo1kBollh tbey play 1y introduoin the nugmcntod imervals of this IIOWO wbicb aru rarely used by pcasantl It should he emphllshyIized lugtwOllr tlUlt Lhe gipily $ltltlIo by no menn~ ptlltlomlnut in gipsy Rtyl and tJmt moduru major ~cl nUlIor hlltUl8 an tnnrh ml11l (rtqucnt
GiPY comr~ followed fllithfully to the fnotrlepo of oth nativo Mel assimilated Runglrian~ Tho IllOSt pTOWle Pilita Danko was quite etroogly under Uw inHueneu oJ inuigenous HU11gw-ial1 pC8J1t mWlio Ho wrote more than four burulrod 8011 to contelllpnmry Ullngllrian tcxtll wher other gipsy oompooclII confinod thllJJSChmiddote t the wnrdlwa lUlu illgttrunl811tal1y eonoeivod utircM4
This is not to soy tJmt coal gipsy music toes not exist It COJllltmJ of ahort BOngS in Rotnruly known und rung totI y mainly by nomadlo tunt-eoloniClSmiddot
6
and to l0880f oxtent by eettJcd vilnge jiplliflll the civilizod towngipoifOl and hence the mURi oitm8 do not know them at all Still lugeIy unexplored tctritory thcIe6 80ngs havo virtWLily nothing in oommon with tbe HungarilU1 popular lityle or with true Hungurinn folbong A IIlIlIO thoroughgoing stylistio tUI8lyms may some day mAke it 10li8iblo tn trace tho origioa of certain foatorul in gipsy compo6itioJlll but gipsy composers at best are never rooretbdn 8OOOndmiddot rate imitators of tho true Hungarian Htylo
In rtlCent deoodm tlllre baa heen 1 revival of the giJlllY stylo whinJ baa 888111IUrl at lcaa quantitativa irnportM~ Tbe cbillf exponents nro again noti-u IT1l1Jgarin8 llUeh as L6rond Frtitcr of Ipp and Erkeeer1l (1872-1928) and Arpld DIlIAzs (1874-11141) or llJ3Ijimiluted Hungariam such as Emil LAnyi (1861- 1923) The) is a oompiouoWl nbstulOO of gipsy cOIllJlltlSflJll today
It is tmtiroly erroneous therefore to rcgard tho mullin played hy gipiliea from about lSliO onwnrda lUI gipsy music It is quioo clear that moat of the pieces were (and laquotill nrtl) written not by gipiliee but by Hungarians QDd My gipsiea concemed Mve t aken over a stylo ureatod by nthlllS In origin and cbJUnetor Ulia stylo belonged to the town tradi tion of printed art-mrurie IU1d had nothing to do with middot8tUieut tradition or tbe like True it lipread by wOId of mouth gipsics performed it wilhout written muaic d it ww sung by large numbers of mmiclllly U1itemto peoplo It was assimilated by the average Hungarian and more eapecially by tbu t ownmiddotdwellm- althnugb a groat deal of it aLo found itJ wily into the viI1ages SUJldlciul ollsenn moy 00 forgiven for bu IJlg fnlletl into tlletrllp oftbinking that it wtl8 typfuuJ fnikl()ng
Tho following ltlXllI11plo by Elenur Szcntirmy hllll become world-famous It ie the main theme of Sarnsatos Gipay Aftlodia in hich it eppoom in II
corrupt form CompI1l8 the followJIg original notatiDD
D
Cstllt ~gy net lany an ~ v-i middot I Eon Az flu kcdt=5 ril-zsam a-Iumbom
A to lsmiddotlen be na-~yon azeret H(hyen Oft- em a-doH temiddotte dGt
A oampaciBon of thiB tune witb Scbuberts Semtad~ ilu6tratea how thi8 8tyJamp IlO frmoo under tb infIncnooofWet European melndies It itiundtmimiddot ably RungUiflIl in _1100 but itJ Wcgtstorn trappings D11ly explain ita vas popularity outside Hungary
Tho genuine old folk-tradition 13 not visible even in the ml18iclIJ style that immedl4tely prcoeded this tllo tityll that lIourlshed in Hungary during tbe ~t bill of tho ninetntb century It too was town art-moaio in llII88Iloe
7
ZfJ
orFo nothing but wmco muaio t liM it Will een wrillCI1 by fOroifnOl8 and Imshymigrants ILOd like ita later oounterpllrt WI8 to bo found in print
~ne inIt DI1MU Bongroi~metimes jUtot called Ilongrouu-wrrre compoecd by mnn with nJmellliUCb 118 Bengmf Franz TObt DrecbJler l[ohBlIpt Stoolrer It is still a mystery whero tbuy obtained tbo Hungarian ttimminlS for their moWocre plCOOII formed and harmonized in the ViennClo etyle A fmv copi of ampJlonymoWl da1lOOll of that pariDd published in VientuI und in~luuing the sourco of Haydn Rondo uongarnsc sLow lllltltlll of all eMlier [nom primitive instrumcntai trndition This I1lAY oove survived omong gipsy mllBioians ()f tbo day since 8C8ttered traoes orit still remain in remote villo gas
The Later muaio in tbia stylo was provided by Jantl8 LftvoLta of hsepfalvn musi IlOd Kevolliha (1763-1820) JAnOil S~ita of Boo8r (c 1800-1874) the
coml VPllladin KAzmct of 8arklI (17011-1876) tIld tb pbyaician J D of HnshyZolt nJlLd (1807-1865)--ltill H~ abo by th ClIech Anton oerrruik the I (1807-18amp5) eeJ-eurotyled DlllOnct of Dlujk and RouhllOJ Lbo gipsy Jan Engl Bihllri (1764-]827) tnd amp Jw MArk R681lTlllgyi (178I1-lBolS) whmc dlllLth and imIJired Petdfili famOWl dooply-felt lgtOltm Ncwly-aW1lkenCld nntimml fooling mod 6Wcpt asidtl differences or birth IUId bllekllmuruJ In tbo tl4lrIloo of middotnntionnl Ast 1OlI0i all found Um_h- on ltvmmon ~und Sup Mast of tills mUliie now 1eC1I18 nld-rlUlbionlt-d and dated only tbe composhyinte lritions of BilUlri still i1Il with life Bul mnw h hnd 011 knltlwlcdge of mllsicnl con nntalion tlwre will n~Hr he lUI) C[middotrt1Unty nhout what is hhI nod wbat h1lll eth l been OOded by thIkle who noter dnwn nod (()]lied bla mUBie At IllI OVllDta vall seven of hiB piocaJ 8(l related to tnlditionlll Hungnrion peasant music Ho exa IO~1Il8 the only link betwOOl1 the POIlSlut lrIIIlltion unu the urban donoo muaic
Ko that produced tho CIIilrdgt rounrl hout 1830 not The intention )f Ul) not work ill ttl throw light on nspootB of Hungn thE nan Iolbong-rcsenrcb bleh T(()ci~ltod little or nu attention in Brt6ks book pre conoolved WI it 6 l1li n work of t1cuwcd IlIlfilyoiB nod clOBampilJcation ItR prlt of BJlIUlI 1me pretnted tb~ ineluion of mll1ly Mltampl and lhis is one of ilill Pro 1CII8m1gt wby rh rMder Lo often roferrt( to J3llrl6kmiddot work for dditiolJ dis xntnpltld Our knowtl(l(o hlUl iJltnNJd ainco Bart6ks time pnrtioulnrly with Hl regurd to tb IfllUlic of IinguiHtica1ly-related peorles The relationship of folk pe mU8ic witb Iilt-mUampic of til jriOO8 nud with cliurolJ 1JIUlio hat is to say witlt gi the biJlttoriool uvironment 11M becomo rnu~1i cliAI1r The work of oollectora a -Ilplt)nIdlo belwn 10114 arm 1050 but Il1lt~ticruly mrtendud with the lin of ar the tape TCIltIrder liin~ thcn-bw lirnught to light ID1lIlY nllW fn~u WlI I
of conBid8lsblamp number of VlUllwta of BltU1okmiddot8 book roLuina ita wue 011 n roftIttIIIle wCJrk nnd as 11 yuIJ-I1mm t( ~llIl 001100110raquo of cmmfllus -hilo UlO great nnlhoJogy now in Pllllarotion b~ fshy Ue Folic _ftJllic- ROICUffb Gmup to blJ publisbod in SUCC03Sh~o valwntlS s is dOOlgned to oomplw fiarltik5 outline Fivo oJum of MfVJJOr NiptM p 8 a a t
Tdra (Cor]1lu Mtl8iCM Pamppltiari8 UgartCM) havo flO fur I1PpcnrBd nnmoly I Cildre Oam IT Caletular Ctli1lmM amp11(18 III IVtddnll Sl)lil1 J 17 Pairi~ Songs V poundamenia The Hun1lrilln Aooemy of SdrllCltlll h guonmttled unmiddot intemptoo poblication of U18 rMults of lbiJlt monumentol uudertlking Ooly ben t ill compJetoo m n final survey and Ompllmtive nonJysi3 bo carried out Ii is 800 _entia toot lI)Blematically moo collection of the other
nations concerned bo mlldo ampvailnblamp for adudy In Lhe meantime this book mampy 88rvo to point tho Wly tn greater gAins
from tho compamtive study of musien folklore
Budnpest 1060 ZtJuln Kodill
NOTE ON THE NEW ENGLISH EDlTION
rite new edition of Foil- II wilt o U(JflY hIlA been cxpllndtvl hy he Inclusion of IBTRC numbf-r of MV murtiral -xlllnp[oo weU lUI numerous nddundo Tho overwhelming majority of lh_ Wertmiddot chq(fll lind drafted Ly Kodlly hlmsclf we not only bave his own words ahout thio hut bullwl nuOlll(lU
IlJlnotnlioM Md 8Upp]urunntlllO higt OWlt copj of tho book Lo guido Ug Th bulk of my work consistd in 8uppltJllontinll UIO mlloi111 cxamplL nnd rnfr nces 10 lW(orlthuwo with th JlIIllotlllinl1o
In 3 Co inrtanOO modlfirnlillThl nlIarel nlllry e cn lh f
((lUld no longr obtain guidl1nco from KQdlily whcro n(W ft I remlfshyIIn1 en hrought to li~h~ whioh he Uid nnt (or woa unahlo to) ilr ThiJ wu largely tnJ1 in 111 amp1 of lnwnUl tI) irurtnuoontlt who lWO nl work_the mncnl- olumo In th Oorp Ifie PlHllllri nufI(urirHr V 11m Milnt SArnoltig book on instnJlnlmt to th Ilautwn ckr ItlropiiM)rn lnb bullriki1l-lrllmrllte-wo (Oojlleml)II nlllll1l1uwd nrlier knowkd~
In c (1ibUII e bllv( enuRoured (u illIorporaLo the now fACt- nnd wbrc ]lOibl tn mnkn Qr Knd6ly rrlllulnti from other sour eo (0 lmvo tho work lUI flU M pbltl ill It ()ri~iJUu form We MVO boon Ir tiulnzly ful IIot to Ilttribll(O to KodAly ~tntumlUlt8 never mIMI hy him
Vo hI h1i in lhit wILy tho work ill nnt Mcrinec pffllCllt timolinll8fO while )lmlCrvill lhnt ohnrctcr wllirh 111111 Illrdy glvn it hislorio vnho
BuUaI-l Autumn lOon Laiw VargytU
o
ZfJ
orFo nothing but wmco muaio t liM it Will een wrillCI1 by fOroifnOl8 and Imshymigrants ILOd like ita later oounterpllrt WI8 to bo found in print
~ne inIt DI1MU Bongroi~metimes jUtot called Ilongrouu-wrrre compoecd by mnn with nJmellliUCb 118 Bengmf Franz TObt DrecbJler l[ohBlIpt Stoolrer It is still a mystery whero tbuy obtained tbo Hungarian ttimminlS for their moWocre plCOOII formed and harmonized in the ViennClo etyle A fmv copi of ampJlonymoWl da1lOOll of that pariDd published in VientuI und in~luuing the sourco of Haydn Rondo uongarnsc sLow lllltltlll of all eMlier [nom primitive instrumcntai trndition This I1lAY oove survived omong gipsy mllBioians ()f tbo day since 8C8ttered traoes orit still remain in remote villo gas
The Later muaio in tbia stylo was provided by Jantl8 LftvoLta of hsepfalvn musi IlOd Kevolliha (1763-1820) JAnOil S~ita of Boo8r (c 1800-1874) the
coml VPllladin KAzmct of 8arklI (17011-1876) tIld tb pbyaician J D of HnshyZolt nJlLd (1807-1865)--ltill H~ abo by th ClIech Anton oerrruik the I (1807-18amp5) eeJ-eurotyled DlllOnct of Dlujk and RouhllOJ Lbo gipsy Jan Engl Bihllri (1764-]827) tnd amp Jw MArk R681lTlllgyi (178I1-lBolS) whmc dlllLth and imIJired Petdfili famOWl dooply-felt lgtOltm Ncwly-aW1lkenCld nntimml fooling mod 6Wcpt asidtl differences or birth IUId bllekllmuruJ In tbo tl4lrIloo of middotnntionnl Ast 1OlI0i all found Um_h- on ltvmmon ~und Sup Mast of tills mUliie now 1eC1I18 nld-rlUlbionlt-d and dated only tbe composhyinte lritions of BilUlri still i1Il with life Bul mnw h hnd 011 knltlwlcdge of mllsicnl con nntalion tlwre will n~Hr he lUI) C[middotrt1Unty nhout what is hhI nod wbat h1lll eth l been OOded by thIkle who noter dnwn nod (()]lied bla mUBie At IllI OVllDta vall seven of hiB piocaJ 8(l related to tnlditionlll Hungnrion peasant music Ho exa IO~1Il8 the only link betwOOl1 the POIlSlut lrIIIlltion unu the urban donoo muaic
Ko that produced tho CIIilrdgt rounrl hout 1830 not The intention )f Ul) not work ill ttl throw light on nspootB of Hungn thE nan Iolbong-rcsenrcb bleh T(()ci~ltod little or nu attention in Brt6ks book pre conoolved WI it 6 l1li n work of t1cuwcd IlIlfilyoiB nod clOBampilJcation ItR prlt of BJlIUlI 1me pretnted tb~ ineluion of mll1ly Mltampl and lhis is one of ilill Pro 1CII8m1gt wby rh rMder Lo often roferrt( to J3llrl6kmiddot work for dditiolJ dis xntnpltld Our knowtl(l(o hlUl iJltnNJd ainco Bart6ks time pnrtioulnrly with Hl regurd to tb IfllUlic of IinguiHtica1ly-related peorles The relationship of folk pe mU8ic witb Iilt-mUampic of til jriOO8 nud with cliurolJ 1JIUlio hat is to say witlt gi the biJlttoriool uvironment 11M becomo rnu~1i cliAI1r The work of oollectora a -Ilplt)nIdlo belwn 10114 arm 1050 but Il1lt~ticruly mrtendud with the lin of ar the tape TCIltIrder liin~ thcn-bw lirnught to light ID1lIlY nllW fn~u WlI I
of conBid8lsblamp number of VlUllwta of BltU1okmiddot8 book roLuina ita wue 011 n roftIttIIIle wCJrk nnd as 11 yuIJ-I1mm t( ~llIl 001100110raquo of cmmfllus -hilo UlO great nnlhoJogy now in Pllllarotion b~ fshy Ue Folic _ftJllic- ROICUffb Gmup to blJ publisbod in SUCC03Sh~o valwntlS s is dOOlgned to oomplw fiarltik5 outline Fivo oJum of MfVJJOr NiptM p 8 a a t
Tdra (Cor]1lu Mtl8iCM Pamppltiari8 UgartCM) havo flO fur I1PpcnrBd nnmoly I Cildre Oam IT Caletular Ctli1lmM amp11(18 III IVtddnll Sl)lil1 J 17 Pairi~ Songs V poundamenia The Hun1lrilln Aooemy of SdrllCltlll h guonmttled unmiddot intemptoo poblication of U18 rMults of lbiJlt monumentol uudertlking Ooly ben t ill compJetoo m n final survey and Ompllmtive nonJysi3 bo carried out Ii is 800 _entia toot lI)Blematically moo collection of the other
nations concerned bo mlldo ampvailnblamp for adudy In Lhe meantime this book mampy 88rvo to point tho Wly tn greater gAins
from tho compamtive study of musien folklore
Budnpest 1060 ZtJuln Kodill
NOTE ON THE NEW ENGLISH EDlTION
rite new edition of Foil- II wilt o U(JflY hIlA been cxpllndtvl hy he Inclusion of IBTRC numbf-r of MV murtiral -xlllnp[oo weU lUI numerous nddundo Tho overwhelming majority of lh_ Wertmiddot chq(fll lind drafted Ly Kodlly hlmsclf we not only bave his own words ahout thio hut bullwl nuOlll(lU
IlJlnotnlioM Md 8Upp]urunntlllO higt OWlt copj of tho book Lo guido Ug Th bulk of my work consistd in 8uppltJllontinll UIO mlloi111 cxamplL nnd rnfr nces 10 lW(orlthuwo with th JlIIllotlllinl1o
In 3 Co inrtanOO modlfirnlillThl nlIarel nlllry e cn lh f
((lUld no longr obtain guidl1nco from KQdlily whcro n(W ft I remlfshyIIn1 en hrought to li~h~ whioh he Uid nnt (or woa unahlo to) ilr ThiJ wu largely tnJ1 in 111 amp1 of lnwnUl tI) irurtnuoontlt who lWO nl work_the mncnl- olumo In th Oorp Ifie PlHllllri nufI(urirHr V 11m Milnt SArnoltig book on instnJlnlmt to th Ilautwn ckr ItlropiiM)rn lnb bullriki1l-lrllmrllte-wo (Oojlleml)II nlllll1l1uwd nrlier knowkd~
In c (1ibUII e bllv( enuRoured (u illIorporaLo the now fACt- nnd wbrc ]lOibl tn mnkn Qr Knd6ly rrlllulnti from other sour eo (0 lmvo tho work lUI flU M pbltl ill It ()ri~iJUu form We MVO boon Ir tiulnzly ful IIot to Ilttribll(O to KodAly ~tntumlUlt8 never mIMI hy him
Vo hI h1i in lhit wILy tho work ill nnt Mcrinec pffllCllt timolinll8fO while )lmlCrvill lhnt ohnrctcr wllirh 111111 Illrdy glvn it hislorio vnho
BuUaI-l Autumn lOon Laiw VargytU
o