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Everyone will probably agree that no great musician has been as frequently accused of bad taste as Liszt. And everyone will probably also agree that these accusations have had no effect on his stature as a great musician, even among the accusers. So what is bad taste, then, if it is so easily separable from artistic stature? It is a concept that has been poorly historicized or contextualized, if at all. This paper is an attempt to start the process, using Liszt as bellwether.

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Die Fakten zeigen ein Hervorgehen von zahlreichen Kompositionen für konzertierenden Kontrabaß aus dem ungarischen Raum. Die größten und bedeutendsten Adelskapellen hatten dort ihren Sitz, nämlich in Eisenstadt und Eszterháza, in Großwardein und in Preßburg, wo infolgedessen auch die Solisten zu finden waren, denen solche Partien zuzutrauen waren, und wo Komponisten wie Haydn, Dittersdorf und Pichl wirkten, die sie ihnen auf den Leib schrieben, wenn sie nicht - wie Sperger und Kämpfer - selbst in dieser Richtung tätig waren. Der konzertierende Kontrabaß war  eine neue, von Haydn zu Beginn der 1760er Jahre kreierte Errungenschaft.Der Anstoß zur Komposition von fast 30 Konzerten und konzertierender Kammermusik für das größte Streichinstrument ist nicht direkt von Haydn ausgegangen, sondern von seinem Freund Ditters, der den Kontakt mit ihm auch nach Eisenstadt aufrecht erhalten hatte und nach seinem fünfjährigen Intermezzo in Großwardein 1769 mit Pichl und dem Kontrabassisten Pischlberger nach Wien zurückkehrte, von wo die von Haydn ausgestreute und von Ditters weiter gepflegte Saat ins nahe gelegene Preßburg weitergetragen wurde, wo die Virtuosen und Komponisten Sperger und Kämpfer zusammen in der fürstbischöflichen Kapelle tätig waren und dort und in Wien öffentliche Konzerte gaben.

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The study revisits Haydn’s Erdődy Quartets with the premise that it was Haydn’s intention to copy the scores of three of the six — in D minor, B-flat and E-flat — as exemplum for his own library, and there is no reason to assume that such scores of the other three once existed. While the compositional tour de force in the D minor is the opening movement, the slow movements of the B-flat and E-flat form a carefully crafted pair of compositional essays (although they exhibit other special features, such as the E-flat’s Alternativo renditions of different lengths). From the same motivic starting point, both in 3/4 time, the E-flat Adagio of the B-flat major quartet and the B major Fantasia of the E-flat quartet present diametrically opposed strategies of the learned style. The focus in the Sunrise is on the meter, pulsation, and rhythm (including subtleties such as per arsin et thesin entries), while in the oft-analysed Fantasia it is on the modulation and the surprising shifts of key.

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The psychological concept of the uncanny (“das Unheimliche”) has been established in studies by E. Jentsch (1906) and S. Freud (1919). On the grounds of cultural and textual references, which can be found in these studies, one might regard the uncanny as a discourse construct contained in various literary, evaluative, and visual texts stretching from the late 18th century to the First World War. In my paper, I wish to discuss the assumption that the scherzo genre, commonly seen as founded on Haydn’s opus 33 string quartets and coming to a first fruition in various Beethoven cycles shows a particular propensity to act as the musical vehicle for an uncanny quality. The closer scrutiny of two “programmatic” scherzi (those are the 3rd movement of Mahler’s 2nd Symphony and L’Apprenti sorcier by Dukas) might shed light on the advantages of a genre-oriented approach when musical meaning is concerned.

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The concept of the historisch-kritische Gesamtausgabe series of the 1950s (the New Bach, Mozart, Haydn, etc., editions) is rightly questioned today. Not least because for the sake of making an impeccable text of a scholarly edition a certain kind of selfdefensive attitude of editors had priority over the interest of the intelligent user: the text should be eternally valid, the editor would not take the responsibility to answer justifiable questions of the performer. In case of 20th-century composers the source chain of a work from sketches to the printed and revised version(s) is not only much better documented than in the music of Baroque and Classical masters, but some composers (Schoenberg, etc.) explained their special use of performance instructions. In this respect Bartók is an intriguing and well-studied case, however, performers are often mislead by contradictory information or supposed authentic traditions. The forthcoming complete critical edition will offer two texts in each volume — not within the Critical Commentaries but before the score On Bartók’s Notation (partly standard, partly genre-oriented basic information), and Editorial Notes for the Performer (on each composition in the volume).

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A fertődi (a XVIII-XIX. századi névhasználat szerint eszterházai) marionettszínház és bábopera-játszás az európai kastélykultúra jelentős attrakciója volt. Az építtető főúr, Esterházy Miklós herceg mecenatúrája, valamint udvarának kiemelkedő művészei és mesterei - Joseph Haydn és Karl Michael von Pauersbach - a marionettszínházat páratlan kulturális értékké tették hazánkban. Az 1772-73 között felépült színház pompáját és kialakításának egyediségét a korabeli utazók egybehangzóan elismerték. Az épület eredeti rendeltetését már a XVIII. század végén elvesztette, majd 1845 után több ütemben magtárrá alakították át, s a XX. században már a teljes pusztulás fenyegette. A helyreállítást célzó tudományos kutatás a Műemlékek Állami Gondnoksága megbízásából 2004-ben kezdődött el. A helyszíni munka során alkalmazott „Bauforschung” módszer az épület legkisebb roncsolással járó részletes elemzését teszi lehetővé. Az alakhű építészeti felmérés egyik tudományos eredménye, hogy bizonyította egy 1789-es átalakítási tervrajz azonosítását az épülettel. A falszövet, a festés- és vakolatrétegek és más nyomok alapos megfigyelése és rajzi dokumentálása lehetővé tette a marionettszínház átépítési periódusainak körvonalazását, továbbá az épület XVIII. századi - eredeti - tömeg- és téralakításának, homlokzatképzésének és fedélszerkezetének elvi rekonstrukcióját. A további kutatás - elsősorban a hitelesítő régészeti ásatások - a teljesen elpusztult gazdag belső dekoráció és a színpadtechnika történeti leírásokból ismert kialakításának bizonyítékait hozhatja felszínre.

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Ferenc Zsasskovszky (1819–1887) wurde in Zsasskó, Nordungarn (heute Žaškov, Slowakei) als Kantorensohn geboren. Er studierte von 1841 bis 1843 an der Prager Orgelschule bei Karl Franz Pitsch, der ihn in die Kunst der Bach’schen Improvisation einführte. 1846 wurde er Regens Chori am Dom zu Eger, wo er Kirchenmusikwerke von Joseph und Michael Haydn, Mozart, Beethoven, Hummel, Cherubini etc. aufführte. Neben seiner Tätigkeit als Kantor organisierte Zsasskovszky auch weltliche Konzerte. Während dieser Zeit zählte Eger zu den bedeutendsten Musikzentren Ungarns. Zsasskovszky war auch als Pädagoge tätig, er unterrichtete Musik und leitete die Schulchöre der Lehrerbildungsanstalt, des Gymnasiums sowie der Volksschule. Zsasskovszky gab seiner Arbeit mit modernen Handbüchern eine theoretische Grundlage, die er gemeinsam mit seinem Bruder, Endre Zsasskovszky (1824–1882), verfasste. Ihr bedeutendstes Werk ist das Katholische Kirchengesangbuch ( Katholikus Egyházi Énektár , 1855), welches den ungarischen Kirchengesang entscheidend beeinflusst hat und bis in die 1960er Jahren im regulären Gottesdienst verwendet wurde. Die Brüder Zsasskovszky verfassten Gesangbücher für alle Unterrichtsstufen und Choral-Sammlungen für alle gängigen Chorbesetzungen, die im ganzen Land verbreitet wurden und zu einem allgemeinen Aufschwung des Chorgesangs beitrugen.

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(Woodbridge: The Boydell Press, 2016. ISBN 978 1 78327 107 8; x + 288 pp.) The Professor of Cardiff University, eminent specialist of the Viennese Classical Period, author of several volumes on Haydn and Beethoven, David Wyn Jones presented an

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György (Đuro) Arnold (1781-1848) the composer, teacher, conductor, lexicographer and founder of the first music school in Subotica, was the regens chori of the Subotica's Sv. Terezija church (1800-48). He was a prolific composer, writing in a variety of genres, from compositions for the church of Sv. Terezija, choral and chamber works to operas, melodramas, songs, overtures, and verbunkos (the complete list of his works is included in the appendix). Arnold's style was influenced by Viennese Classical church music and the emerging Hungarian national style. In his early sacred pieces, he used quotations from popular operas, but in later compositions he was closer to Haydn, and the Te Deum Solenne dedicated to the Zagreb Bishop Aleksandar Alagović shows possible influence of early Beethoven. In many aspects, Arnold was a composer on the periphery. He liked large ensembles which could impress audiences with the brightness of the orchestral sound altough, as far as we know, he never attempted to build a large symphonic form which would match the richness of such a sound. He ususally set the text in short sentences, quickly exhausting its possibilities, undermining the expectations raised by the large-scale gradations which open his compositions. In 1819, Arnold published Pismenik, a collections of texts (without tunes) of Croatian Roman Catholic hymns collected in Bačka (western Vojvodina); the preface to Pismenik and its complete table of contents are reprinted in an appendix. In 1839-40, he completed the hymnal Valóságos egyházi kántori fontos énekeskönyv with 186 church compositions intended for Hungarian and Transylvanian chuch musicians, which remained unpublished. In 1826, Arnold began working on the Historisch-musikalisch bibliographisches Tonkünstler Lexikon, which expanded to four manuscript volumes in length, but remained unpublished and seems to be lost today. 

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Johann Nepomuk Schauff (1757–1827) publisher and engraver was born in the Czech town Heřmanův městec, studied arts in Vienna, as student of Jakob Mathias Schmutzer and acted as professor of drawing in Pozsony (today Bratislava, Slovakia) in the national normal school for 25 years. He is also author of four studies about architecture and art history. Both in his capacity as an art teacher and as a writer on the theory of architecture he was convinced of the important role of art education, as a way of improving (Hungarian) national consciousness. Similarly to the trend in other countries he made sketches of a Hungarian national row of columns.

He had also private enterprises: an art shop in the inner city of Pozsony, selling books, copper-plate engravings and music scores, he was publishing books, and from 1792 to 1802 he was also the owner of a small but high-ranking printing shop. During this decade he issued 114 printings some of which decorated with his own engravings, but he was also employing other artists either from his town Pozsony or from the nearby Vienna, where he had aquaintances possibly dating back to his academic years. Among the copper-plate engravings signed by him one can find the coloured representation of the Hungarian Holy Crown, the portrait of King Leopold II., the portrait of the scholarly publisher Karl Gottlieb von Windisch, etc.

According to contemporary practice music scores of compositions were engraved on copper plates, and it was very likely only Johann Nep. Schauff who produced scores in Pozsony. The names of the composers range from Joseph Haydn to the normal school music teacher Franz Rigler.

By way of presenting the manyfold activities of Johann Nep. Schauff his relationship and connections with other printers, publishers and artists is also displayed.

In the Appendix Schauff’s engravings signed by him or attributed to him are listed together with the music scores issued by him.

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