Mai magyar kórusszerzők [antikvár]

Miklós SZABÓ Bartók — Confessions of a Chorus Conductor •The Hungarian child does not knowyet that the Christmas of 1936 has brought him a gift that will last him all his life,"wrote KODÁLY in hisarticle: Children's Chorus of Béla BARTÓK. "This is clearto all those who seek to take the Hungarian children into a world where the air is clearer, the sky bluer and the sun shines warmer." The BARTÓK choruses have accompanied my entire career as a chorus conductor and they have often been of decisive importance. I inherited an engraved score ofThe Hungarian Chorus from my father. During myyears in the Academy of Music, the successful conducting of I've no one in the world in a compeiition represented my first step. At its first performance in Budapest in the spring of 1959 the Kemale Chorus of Uyor performed the Pillow Dance and then sang pieces in the 8ih volume at its first full evening concert. The performance of Village Scenes won 1st prize at the Debrecen International Choral Competition in 1961. In the years before and after that I only occasionally conducted BAR1ÓK works. The decisive turning point was in 1965. The first two performances in (jyor of the full c)'cle and even the two performances in Budapest (in addition to which the Two Romanian FoU^ Snn^r^uerr performed, probably for the first time ever, and Village Scenes) unexpectedly attracted great attention. It was as a result of this that we made our first recording in 1966 (fallowed by the recording of the mixed choruses in Bratislava in 1971). Duringthe past 20 years we have sunglhe lull series on more than iweniy-five occasions, iníiyörand Budapest, in Kecskemet. SzombaiheK and Körmend (on a memorable summer evening), in Paris, .Milan. Vienna, Duisburg (FRCi). Belgium and .Montreal (Canada). Of these, the Paris performance was an entirely new production and the Milan performance partly new (I recall with particular pleasure the rehearsals for the latter). My increasingly rich musical experience inspired me to make constant improvements although, because of the force of habit, these were not always successfully reflected in the concert performances. For this reason, towards the end of the seventies 1 fell that there was an urgent need to leach the whole work over again. Al the same time, I also wanted to write a book about the may practical observations that had accumulated over the years and the results of the analytical work that had been carried out parallel with this Tor two decades now ! have been returning again and again to Béla BAR TÓK's Children's and Women's Choruses (wich isa rare exception, given my situation). On such occasions — especially in recent years — I look forward with expectant curiosity to see if they have something new to say to me, to us. And they always do! Other pieces easily become •"worn" and tired with repeated renewals, rehearsals and performances, but these are always the source of fresh experiences (my loyal chorus members — including Klári and .Marinka — who have sung at ever)' rehearsal and performance, readily confirm this). Hven as I was writing the last chapter of the book on "Musical-poetical language". they revealed more and more new secrets. I see one of the strongest proofs of the exceptional quality of the cycic in all this. KODAI.Y was right: "They have full arti-sticvalue. for adults too". (Miklós S/ABÓ; The Choral Works of Béla Bartók. Hditio .Música. Budape.sl. 1985. pp. 7, 325-326) Miklós SZABÓ Bartók -Les confessions d'un maître de chapelle „l.'cnfant hongrois ignore encore qu'il an obtenu, a la .Noél 1936. un cadeau dont l'est ainsi que Zoltán KODAI.Y a commencé son article intitulé les Choeurs d'enfant de Béla BAR TÓK. Mais cela est bien connu pour 1