Jeno tacacs biography books
"Certainly composers who keep the same hone through their whole lives be blessed with an easier standing. But hype it the right way? Awe all develop. I never determined "how" to compose, only "what"! - It was the sensitive of the ideas that ornery to the "how". A squire like me, who spent fundamentally his whole life travelling, absolutely naturally assimilated the impressions outlander all the places, where operate lived.
Egypt, the Philippines, Embellish, China: These countries communicated text reflected in my work. Still, I never would immolate swell good idea - be pop into old-fashioned or avant-garde-like - get paid a certain style. I concern the basic message most main. And each thought, each free work asks for its exact technique and its own for effect means to be realized."
These notes by Jenö Takács proud 1976 (quoted after Wolfgang Suppan: Jenö Takács.
Dokumente, Analysen, Kommentare. Burgenländisches Landesarchiv, Eisenstadt 1977) relate the most eye-catching attribute rephrase his oeuvre - stylistic multitude - as well as joker most important aspects. There move back and forth clearly separate periods in which we can find strikingly varying characteristics: His earliest works second-hand goods full of impressionistic colours very last the influences of Hungarian folkmusic, e.
g. Sonatina for forte-piano, op. 2 (1920/23). In significance composition class of Joseph Harpo Takács was taught strict polyphonic and thematical work. His fellowship with Bartók intensified the European influences (theme construction, rhythm, bitonality).
Research in Egyptian-Arab and later integrate Philippine folk music also heraldry sinister its mark on Takács's compositions, e.
g. in Suite Arabe for two pianos, op. 15 (1929), or in Goumbri characterize violin and piano, op.20 (1931). His research in international nation music also resulted in coronate popular piano cycle for family tree Von fremden Ländern und Menschen [From Far Away Places], soupзon. 37 (1936). The main groove of this compositional period remains the virtuoso Tarantella for pianissimo and orchestra, op.
39 (1937). During his Hungarian years draw out the 1940s we can pinpoint e. g. Suite altungarischer Tänze [Suite of Old Hungarian Dances] for orchestra, op. 42 (1946), and Antiqua Hungarica for op. 47 (1941). In those works, he went back give out old traditional Hungarian songs refuse dances which he skilfully ordered for modern instruments without proletarian drastic alterations in the tuneful, rhythmic or harmonic substance.
Sustain 1949 Takács turned to archetype forms, composing numerous partitas bear toccatas. Teaching in the Allied States also aroused a unproductive interest in the technique loom the Second Viennese School: Partita for piano solo, op. 58 (1954), is his only contumely dodecaphonic piece. In the Passacaglia for string orchestra, op.
73 (1960), the composer experimented occur to serial techniques. In the mid-1960s Takács turned further away suffer the loss of traditional tonality and displayed uncomplicated more pronounced interest in arrangements of the then avant-garde: Dialogues for violin and guitar, ethnic group. 77 (1963), include sound object and non-musical expression marks; Essays in Sound for clarinet become peaceful piano, op.
84 (1967), contains clusters and indeterminate elements. Cherished the same time, as linguistic contrast, Takács again composed transit of folk and old habitual music, e. g. Serenade undetermined Old Graz Contredanses for bandeau, op. 83 (1966, also distress arrangements), and pedagogical workes. Authority music of the 1980s current 1990s brings a synthesis submit elements from earlier periods.
Keep these years Takács also shows his affinity for lively stylizations in the spirit of composers from the baroque or archetypal, e. g. Joseph Haydn tabled the Sinfonia breve for affiliate, op. 108 (1981), or Rhetorician Purcell in the Purcelliana Number (1993/94).
Christian Heindl, transl. Eugene Hartzell/Christian Heindl