Cadenza : to the first movement of Concerto for violoncello and orchestra no.2 (1783) in D major Op.101 Hob.VIIb:2 by Joseph Haydn (1732-1809)
by Attila Jurth (1993)
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Library shelf no. 787.4/JUR 2 [Available for loan]
This Cadenza is an homage to Joseph Haydn in relation to his extensive Hungarian contacts. Haydn (at Esterháza/Fertőd), Beethoven (at Martonvásár), Schubert (at Zselic), Brahms (through József Joachim), Liszt (of Doborján/Raiding) and others were virtually misled in the course of their confrontation with music of other peoples present in Hungary (eg the Gypsies) and with pseudo-Hungarian kitsch as well as other sob-stuff under "Hungarian" label. The genuine and original Hungarian music was not internationally recognised until the œuvre of Béla Vikár (1859-1945), Béla Bartók (1881-1945), Zoltán Kodáy (1882-1967) and that of their students became common knowledge.
After quoting the Concerto's introductory notes with two variations of same, three sections follow which are taken from the idiom of the eighteenth century (recruiting dance - bokázó), the nineteenth century (virtuoso romanticism), and the twentieth century (pentatonic folk song style), respectively. However, only the latter is authentic ie ancestral Hungarian. While the Settecento and Ottocento sections' bravura is rather l'art pour l'art and shows a degree of scepticism ("O Freunde, nicht diese Töne!"), the Novecento section not only reaches back to the roots of Hungarian music but to the very roots of music as such, culminating in pure anapæstic rhythm by knocking with the fist before a triumphant final run re-establishes the initial D major key.
Duration: 3 min.
Dedication note: Dedicated to Levente Jurth. Dedicated to Levente Jurth
First performance: by Levente Jurth — 28 Oct 93. AMEB Licentiate Diploma Examination, Brisbane
Performances of this work
28 Oct 93: AMEB Licentiate Diploma Examination, Brisbane. Featuring Levente Jurth.
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