In regard to the aesthetic and stylistic phisiognomy of the music of both Sándor Veress (1907-92) and György Kurtág (*1926) it is instructive to focus on their treatment of the melodic dimension. For both the melodic statement remains a basic necessity, even in the context of the post-war avantgarde. Yet in contrast to Béla Bartók, Zoltán Kodály, and especially their epigones, composing for Veress and Kurtág often means “seeking melody” in which the sought after object cannot appear in its “pure” form. Veress' position is discussed in the light of Orbis tonorum for chamber orchestra (1986). On the basis of two Beckett pieces of Kurtág - Mi is a szó (1990), What is the Word (1991) - and his Életút (1992), aspects of his aesthetics and the melodic treatment are examined.