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The present paper is devoted to the centenary of the remarkably popular poet and outstanding master of the Russian language, Alexander Tvardovsky (1910–1971). His artistic personality was marked by a peculiar double bind that caused him much anguish and risky conflicts despite all the honours he had received in his life. On the one hand, he cherished the idea of humanitarian communism compatible with democracy and the dignity of the individual; on the other, he was profoundly devoted to truth, and definitely insisted on his right and poetic duty to voice it. During the course of time he became more and more conscious of the illusory nature of his ideals. In his longer poems he represented the great turns in the life of Soviet society. Tvardovsky developed a flexible and terse style based on vigorous everyday popular speech; in post-war years this style has become loftier and more philosophic following (but not imitating) the tradition of Pushkin. Tvardovsky’s activities as the chief editor of the journal Novy Mir opened a significant turn in the literary life of his country promising the approach of an epoch of enlightenment and free speech.
Twenty-Five Bartók Letters to Arányi Sisters, Wilhelmine Creel and Other Correspondents
Recently Acquired Autograph Letters in the Budapest Bartók Archives
The collection presenting is a rather variegated one, a miscellany. It contains postcards written in Hungarian to the young violonists Adila (nickname for Adrienne) and Jelly Arányi between 1902 and 1907, letters to their youngest sister, pianist Titi (nickname for Hortense), from the early 1920s, two Hungarian letters to the ethnomusicologist Béla Vikár and one to the pianist Ernő Balogh, German letters to the pianist Gottfried Galston and to the British composer Philip Heseltine (alias Peter Warlock) from 1920 and 1921, respectively. Three letters in French were written to the musicologist Henry Pruničres and Robert Bernard (both of them chief editors of La Revue Musicale) in the 1920s and 1930s while letters, some of them previously unpublished, were addressed to one of Bartók's most devoted American pupil Wilhelmine Creel from the late 1920s and early 1940s. The Hungarian letters are published in English tradition side by side with their original texts.
gratitude to László Takács, chief editor of the Acta Antiqua Academiae Scientiarum Hungaricae for accepting and publishing the following nine papers in the present fascicle of this renowned journal which previously published the papers of the first event
from János Vajda during his illness and recovery away from Pest. 26 This must have been a fairly short-lived, temporary solution because her name was not printed next to that of Vajda as chief editor, nor was it stated in the current subscription
Zelenai, Ágnes Jekl, Sára Sánta, Tünde Vágási, Dominika Kovács, Ákos Zimonyi, Attila Gonda, and many others whom I cannot all list here. I wish to express my gratitude also to László Takács, chief editor of the Acta Antiqua Academiae Scientiarum
Bartók and the Violin
Proceedings of the symposium held on 14–15 September 2017 in the Bartók Hall of the Institute for Musicology, Research Centre for the Humanities of the Hungarian Academy of Sciences in collaboration with the Liszt Ferenc Academy of Music
Bartók studies thanks to their appearance in the International Journal of Musicology (2005), of which he served as chief editor. *** Bartók was a pianist, but at the same time, he was a chamber musician with great performance experience
. – Paperback, 237 p., 37 plates –ISBN 978-3-7001-7972-6 The manuscript was cleared in 2017, and shortly afterwards, the chief editor T. Bezeczky passed away in 2018, which is a huge loss also for the amphora research. One of his main research interest was to
-structured interviews were conducted after the closure of the questionnaires with several representatives of two of the biggest Slovene publishing houses, including five editors and a chief editor, with two language revisers and eight translators. The participants were
