„Budapest Sorely Misses Dohnanyi”, Musical Courier, LXXXII/21 (1921. május 26.), 47.
Gyűjteményes kiadás: DocB/5, 85–91.
Forrás: BBA
BUDAPEST SORELY MISSES DOHNANYI Work by Darius Milhaud, Heard for First Time, Makes Schönberg Sound Tame–Budapest to Have Second Opera House–Music in Pressburg, New Capital of Slovakia Budapest, April 19, 1921.–The outstanding event in Budapest’s musical life during February and March undoubtedly was the success which Erno Dohnanyi is earning in the U. S. A. Yes, we miss him badly–although a shadow of his laurels falls upon us, too. Concert life in Budapest has suffered heavily from his absence. Every now and then it is enlivened by the performance of some interesting work by a contemporary musician, but such appearances are very scarce indeed. Since the first of March we had only one concert which brought us the long-looked-for change in the monotony of the usual concert programs. The Waldbauer-Kerpely Quartet played on April 8 Schonberg’s sextet, op. 4 („Verklarte Nacht”), Darius Milhaud’s second string quartet, and Beethoven’s last work of this genre. DARIUS MILHAUD’S WORK IMPRESSES. It is with sincere joy that we welcome the sudden appearance of a young, powerful talent, a talent which takes its own course, which has something to say and says it well. Darius Milhaud is one of the truly gifted of the youngest French school. Only twenty-eight years of age, he already belongs to the famous „Groupe des Six.” In the five movements of this string quartet, composed at the age of twenty-three, nothing can be detected of the so-called French impressionistic style. There is even a touch of rudeness produced by a certain recklessness in composing, which we are not prepared for–a reaction from impressionism, probably inevitable after the French music of the past decades. The five movements of his string quartet have their themes in common–not a new feature of musical construction, by the way. Technically, but not in spirit and content, the work reminds us of Stravinsky. Somewhat strange in this opus is the endeavor to create new effects in purely diatonic passages–by the abrupt opposition of diatonic chords and melodies. The work doubtless sounds a genuine personal note and gives proof of a real intellectual capacity. What one misses occasionally is warmth; the ascetic simplicity of the themes sometimes goes to extremes. SCHONBERG TAME IN COMPARISON. The pioneer interpreters of Schonberg’s works were Rosé and his magnificent colleagues, who first opened the way in December, 1920, with Schonberg’s second quartet. Now the Waldbauer Quartet made it their task to perform the already famous sextet by the Viennese composer, the second of his works to be heard this season. The sextet proved far less interesting than the preceding quartet; there is in it nothing essentially new; it well might have been written in the pre-Schonberg period. So one cannot help asking oneself: how is it that twenty-six years ago this work could be termed hypermodern? The audience, which still holds its breadth [breath] when the name of Schonberg is mentioned, listened to the work with sincere enjoyment and the applause it earned proved that the „Devil” is not as black as he is commonly painted. Both the Schonberg and Milhaud works were performed with superior interpretative power. SOME INTERESTING CONCERTS Although no other really exciting events have occurred, some really good concerts have taken place during the last six weeks. Isabella Nagy and Bela Bartok performed some compositions by the latter–the Peasant Songs and some piano pieces. The Waldbauer-Kerpely Quartet, with Bartok at the piano, and Sandor Farkas of the Budapest Royal Opera House, gave a concert of compositions by Dohnanyi–the string quartet in D flat major, songs with piano, and the famous piano quintet. Theodor Szánto, pianist, and the violinist Koncs gave a recital at which sonatas by Beethoven, Brahms and Cesar Franck were played, while Busoni’s „All Italia” works by Kodály, Albeniz and Bartok were played splendidly by the pianist, Sandor Vas. A performance of the „Hungarian Coronation Mass,” by the choir and orchestra of the Academy of Music, under Professor Hubay, again brought to mind the absence of Dohnanyi, who, up to last year, the brilliant leader of our Academy, had to yield his post to Hubay. Bach’s „Passion According to St. Matthew” had two renditions by the Budapest Orchestral Union under Emil Lichtenberg, with local soloists. Among the outstanding orchestral events was the appearance of Ferdinand Loewe, of Vienna, who once more proved his abilities as an interpreter of Beethoven. Under his conductorship the „Pastoral Symphony,” Strauss’ „Death and Transfiguration” and the „Tannhauser” overture made a deep impression. BUDAPEST TO HAVE TWO OPERA HOUSES. In the State Opera House, too, there were some fine performances such as Gounod’s „Faust” and Puccini’s „Madame Butterfly” with Bertha Kiurina, of Vienna, as a guest. In the Municipal Theater, a curious revival, that of Meyerbeer’s „Etoile du Nord,” aroused attention. The Municipal Theater is now definitely leased to Emil Abrányi, formerly conductor, and in 1920-1921 director of the State Opera House, who is going to make it into Budapest’s second opera house. CAPITAL OF SLOVAKIA MUSICALLY ACTIVE. A short stay in Pressburg, now the capital of Slovakia, gave me an opportunity to get a glimpse of musical Iife in this historic Hungarian city. First rank artists like Baklanoff, Henri Marteau, Eugen d’Albert, Moriz Rosenthal, the singer Franz Steiner, the already world-famous Elly Ney, etc., have given recitals there during the season. The Waldbauer Quartet also paid a visit, earning enormous success with Beethoven, Dohnanyi and Debussy quartets. At the Pressburg Municipal Theater a Czech operatic company is just now giving performances. Its very able conductor, Herr Zuna, I am sorry to say, has only second rank soloists and orchestra at his disposal. Nevertheless, besides the often-repeated „Tales of Hoffmann,” „La Juive” and „Dalibor,” a new opera, „Die Schwarze Seerose,” by Emanuel Marsik, has been brought out. The composer of this work, who was educated at the Budapest Academy of Music, undoubtedly has learned all a good musician ought to know, yet his work lacks the expression of a decided personality. In style it reminds one of Strauss, with a touch of neo-French impressionistic influences. What appeals most to us is the formal perfection, which, above all, avoids unpleasant lengths. Bela Bartok