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While Béla Bartók's Selbstbiographie of 1921 provides some insight into his musical training in Pozsony, music historians looking for a broader understanding of the rich musical life that helped shape Bartók must also consider autobiographical statements made by his contemporaries. Fortunately, excellent opportunities present themselves in the writings of the two musicians who preceded Bartók as the organist for the Pozsony Gymnasium's Sunday Mass: Franz Schmidt's Autobiographische Skizze, which he completed around 1915, and Ernő Dohnányi's Memoirs, which he read over Hungarian Radio on January 30, 1944. This article examines the three autobiographical statements to provide a more accurate representation of the richness of Pozsony's musical life at the end of the nineteenth century, and a more complete portrayal of the musical and cultural influences under which Bartók thrived in Pozsony.
Ernst von Dohnányi visited Kristiania, nowadays Oslo, the first time in 1906. Receiving very good reviews, he became a frequent guest in the city playing usually for full concert halls. He came to the city numerous times as a soloist performing music of the leading European composers of the nineteenth century and Beethoven’s and Bach’s works as well. He appeared on the stages in Kristiania also as a chamber music performer. Besides, his music was played there being prized high. He was considered a permanent and very wanted guest in the city and became an artist recommended as a piano teacher to the young Norwegian students by for example Edvard Grieg. His name was also used by the Norwegian piano factory’s owners together with the names of other famous artists such as Leschetizky, Paderewski, Carreño and others in the commercials of the instruments for many years. Eventually, his music was played there not only by the artist. This article’s aim is to show all the aspects of presence and reception of Dohnányi’s art in Kristiania in the period the artist used to show up in the city’s musical life.
This article reveals the background of the young Ernő Dohnányi's successes as a pianist and a composer, through the investigation of all available press articles, concert programs, letters and other contemporary documents, to make a step to create an authentic image of Dohnányi. October 24, 1898, the day of Dohnányi's debut in London, marked a decisive turn in the artist's career. After concerts in Hungary, Vienna and Germany he came into the focus of attention of wide audiences by playing Beethoven's Piano Concerto in G major at the London St James's Hall. The warm reception and the sensational news in the press launched a chain reaction of invitations and Dohnányi's international career. His first England tour (October-December 1898) was followed by two further tours within a year (January-March and October-December 1899, respectively) and his series of successes was crowned by these two tours of America (March-April 1900, November 1900 - March 1901). In the meantime he acquired fame as a composer as well: with his Piano Concerto in E minor (op. 5b) he won the Bösendorfer Competition in Vienna in March 1899 and the three-movement version of the work (op. 5) was performed several times in Hungary, England, Germany and the United States. His String Quartet (op.7) was performed in London, his Sonata for Violoncello (op. 8) in London and New York. His piano pieces (op. 2, 4, 6) - just as the piano parts of his Quintet (op. 1) and Concerto - were played by him several times. The promising, yet unknown youth at the beginning of his career turned into an internationally acknowledged and appreciated artist within three years.
The article gives a picture of the folk music life in Turkey. Turkish folk music has undergone drastic change because of the social and cultural development. The country is entering a specially rapid process of industrialization. The expansion of technology, industry and consumer economy enhanced globalization in Turkey. The worldwide uniformity is due to the interaction of economic and cultural phenomena. The source of folk music has not been extinguished, rather people have formed a new kind of music depending on the changing cultural, social and economic conditions.
zenei élet idöszerü kérdéseiröl [On topical questions of the Hungarian music life]. Visszatekintés [Retrospection] III. 54-55 A magyar zenei élet idöszerü kérdéseiröl [On topical questions of the Hungarian
industry and professional music life. This connection is explicitly named in the curriculum for level 5, in other levels it is part of general activities. This short overview shows, that joining (classical) concerts as part of school music education is not
become distanced from its audience, who expect a different concert experience from what most contemporary concerts can offer. It is worth giving some thought to the fact that neither mainstream music life nor the concert-going audience in Hungary have
1 Introduction It is a commonplace in Hungarian music history that Ernő Dohnányi, who played a central role in Hungarian music life as an administrative leader and a versatile musician in the interwar period, practically disappeared from Hungarian
. , Dionne-Fournelle , O. , Crete , M. , & Lupien , S. J. ( 2005 ). Physiological stress response to video-game playing: The contribution of built-in music . Life Sciences, 76 ( 20 ), 2371 – 2380
personality, which, in addition to his scholarly achievements, also contributed to his leaving a lasting imprint on Hungarian music life – as my interviews with his former pupils and fellow music historians have shown. According to these recollections, Bartha
