University of Southern California Dissertations and Theses

György Orbán: Transylvanian roots of his Hungarian style

(USC Thesis Other)

György Orbán: Transylvanian roots of his Hungarian style

PDF

Download a page range

Download transcript

Copy asset link

Request this asset

Transcript (if available)

Content GYÖRGY ORBÁN: TRANSYLVANIAN ROOTS OF HIS HUNGARIAN STYLE by (Niké St. Clair) Eniko Simor A Dissertation Presented to the FACULTY OF THE THORNTON SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS (CHORAL MUSIC) December 2015 Eniko Simor ii ABSTRACT The purpose of this thesis is to provide background information, stylistic analysis, and practical guidance necessary for the performance of a group of motets by György Orbán. They are scattered throughout his compositional output and they comprise no single entity, despite the fact that some of them were initially conceived as a cycle. The only common elements between these compositions are the use of Latin text and the fact that they represent Orbán as one of the most original and diverse modern choral composers. 2U Ei Q¶VPXVL F H [ LVW VLQDOD UJH U context as part of a centuries long Hungarian music tradition that includes the scholarly approach to Hungarian music started by Béla Bartók and Zoltán Kodály. It is equally immersed in historical Western European music, especially Renaissance and twentieth-century compositions. In his post-avant garde writing, Orbán reaches for musical inspiration and technical devices in styles of composition that help make his music understandable and approachable. His interviews give us a great deal of information about what he wants to achieve and the effect he wants his music to have on the audience. The information Orbán provides about his own means of expression, however, is rather scattered and he avoids providing a clear definition of his own style. Despite that, research and analysis of his music in the context of the aforementioned styles gives XV H QRX J KLQIR UPD WL RQWRDSSU RD F K 2U E i Q¶VPXVL F QRW only as a conglomerate of technical ideas, but also as a diverse yet stylistically defined twenty-first century phenomenon. iii TABLE OF CONTENTS ABSTRACT ii LIST OF EXAMPLES iv ACKNOWLEDGMENTS ix CHAPTER 1. GYÖRGY ORBÁN: TRANSYLVANIAN ROOTS OF HIS HUNGARIAN STYLE 1 Early Transylvanian History 2 Early Twentieth-Century Transylvania and its Influence on Hungarian Music 6 György Orbán 10 CHAPTER 2. HISTORY OF THE HUNGARIAN INTELLECTUAL AND MUSICAL TRADITION: CREATING A NATIONAL SCHOOL OF MUSIC 17 Reestablishment of National Identity 17 Creating a National Style of Music 27 Definition of the True Hungarian Composer 31 CHAPTER 3. DEFINING ORB È1 ¶ S STYLE 36 CHAPTER 4. ANALYSES OF LATIN A CAPPELLA MOTETS COMPOSED BETWEEN 1989-1992 54 Motet: Ad Nocturnum 55 Motet: Amor Sanctus 63 Motet: Ave Maria Stella 73 Motet: Ave Regina 83 Motet: Daemon Irrepit Callidus 93 Motet: De Vitae Vanitate 103 Motet: Mundi Renovatio 112 Motet: Pange Lingua 121 Motet: Nobis Natus 139 Motet: Te Lucis Ante Terminum 153 Motet: Urbs Celestis 161 Motet: Veni Sancte Spiritus 170 CHAPTER 5: CONCLUSION 182 BIBLIOGRAPHY 187 APPENDIX: CHORAL WORKS BY GYÖRGY ORBÁN 192 iv LIST OF EXAMPLES Example 3.1. György Orbán, Ave Maris Stella, mm. 32-33. 41 Example 3.2. György Orbán, Ad Nocturnum, mm. 27-28. 41 Example 3.3. György Orbán, Daemon Irrepit Callidus, mm. 48-49. 42 Example 3.4. György Orbán, Amor Sanctus, mm. 48-49. 42 Example 3.5. Zoltán Kodály, Székely Keserves, mm. 1-4. 44 Example 3.6. György Orbán, Sanzonett, m. 1. 44 Example 3.7. György Orbán, Pater Noster, mm. 10-12. 45 Example 3.8. György Orbán, Ave Maria in A, mm. 6-8. 46 Example 3.9. György Orbán, Ave Maria in D, mm. 7-8. 46 Example 3.10. György Orbán, Ave Maria in D, mm. 8-9. 47 Example 3.11. György Orbán, Ad Nocturnum, mm. 27-28. 50 Example 3.12. György Orbán, Ave Maria in D, mm. 32-34. 50 Example 3.13. György Orbán, Ave Maria in A, mm. 37-38. 51 Example 3.14. György Orbán, Ad Nocturnum, mm. 76-78. 51 Example 3.15. Zoltán Kodály, Jézus és a kufárok, mm. 19-20. 52 Example 4.1. György Orbán, Ad Nocturnum, mm. 1-6. 58 Example 4.2. György Orbán, Ad Nocturnum, mm. 46-47. 59 Example 4.3. György Orbán, Ad Nocturnum, mm. 83-85. 60 Example 4.4. György Orbán, Ad Nocturnum, mm. 21-24. 61 Example 4.5. György Orbán, Ad Nocturnum, mm. 64-69. 62 Example 4.6. György Orbán, Amor Sanctus, mm. 7-13. 66 Example 4.7. György Orbán, Amor Sanctus, mm. 1-6. 67 v Example 4.8. György Orbán, Amor Sanctus, mm. 21-27. 70 Example 4.9. György Orbán, Amor Sanctus, mm. 28-36. 71 Example 4.10. György Orbán, Amor Sanctus, mm. 37-43. 72 Example 4.11. György Orbán, Amor Sanctus, mm. 47-49. 73 Example 4.12. György Orbán, Ave Maris Stella, mm. 1-4. 76 Example 4.13. György Orbán, Ave Maris Stella, mm. 7-8. 78 Example 4.14. György Orbán, Ave Maris Stella, mm. 11-14. 78 Example 4.15. György Orbán, Ave Maris Stella, mm. 18-19. 79 Example 4.16. György Orbán, Ave Maris Stella, mm. 19-22. 80 Example 4.17. György Orbán, Ave Maris Stella, mm. 23-25. 81 Example 4.18. György Orbán, Ave Maris Stella, mm. 28-31. 82 Example 4.19. Anonymous, Ave Regina Coelorum. 85 Example 4.20. György Orbán, Ave Regina, mm. 9-12. 86 Example 4.21. György Orbán, Ave Regina, mm. 14-17. 87 Example 4.22. György Orbán, Ave Regina, mm. 19-21. 88 Example 4.23. György Orbán, Ave Regina, mm. 27-30. 89 Example 4.24. György Orbán, Ave Regina, mm. 40-42. 91 Example 4.25. György Orbán, Ave Regina, mm. 45-49. 92 Example 4.26. György Orbán, Daemon Irrepit Callidus, mm. 3-4. 98 Example 4.27. György Orbán, Daemon Irrepit Callidus, mm. 7-8. 98 Example 4.28. György Orbán, Daemon Irrepit Callidus, mm. 21-24. 100 Example 4.29. György Orbán, Daemon Irrepit Callidus, mm. 31-36. 102 Example 4.30. György Orbán, De Vitae Vanitate, mm. 1-2. 106 Example 4.31. György Orbán, De Vitae Vanitate, mm. 9-10. 106 vi Example 4.32. György Orbán, De Vitae Vanitate, mm. 7-8. 109 Example 4.33. György Orbán, De Vitae Vanitate, mm. 9-12. 110 Example 4.34. György Orbán, De Vitae Vanitate, mm. 23-30. 111 Example 4.35. György Orbán, De Vitae Vanitate, mm. 53-54. 112 Example 4.36. György Orbán, Mundi Renovatio, m. 1-6. 114 Example 4.37. György Orbán, Mundi Renovatio, m. 7. 116 Example 4.38. György Orbán, Mundi Renovatio, m. 8. 116 Example 4.39. György Orbán, Mundi Renovatio, mm. 9-10. 117 Example 4.40. György Orbán, Mundi Renovatio, mm. 21-24. 119 Example 4.41. György Orbán, Mundi Renovatio, mm. 31-32. 120 Example 4.42. György Orbán, Mundi Renovatio, mm. 41-42. 121 Example 4.43. György Orbán, Pange Lingua, mm. 2-5. 124 Example 4.44. György Orbán, Pange Lingua, mm. 9-12. 126 Example 4.45. György Orbán, Pange Lingua, mm. 17-18. 127 Example 4.46. György Orbán, Pange Lingua, mm. 21-22. 128 Example 4.47. György Orbán, Pange Lingua, mm. 23-26. 129 Example 4.48. György Orbán, Pange Lingua, mm. 29-31. 130 Example 4.49. György Orbán, Pange Lingua, mm. 37-40. 131 Example 4.50. György Orbán, Pange Lingua, mm. 54-57. 132 Example 4.51. György Orbán, Pange Lingua, mm. 59-62. 133 Example 4.52. György Orbán, Pange Lingua, mm. 63-64. 134 Example 4.53. György Orbán, Pange Lingua, mm. 67-70. 134 vii Example 4.54. György Orbán, Pange Lingua, mm. 71-74. 135 Example 4.55. György Orbán, Pange Lingua, mm. 81-83. 136 . Example 4.56. György Orbán, Pange Lingua, mm. 91-97. 137 Example 4.57. György Orbán, Nobis Natus, mm. 1-2. 141 Example 4.58. György Orbán, Nobis Natus, mm. 5-8. 142 Example 4.59. György Orbán, Nobis Natus, mm. 14-17. 143 Example 4.60. György Orbán, Nobis Natus, mm. 19-20. 145 Example 4.61. György Orbán, Nobis Natus, mm. 21-22. 146 Example 4.62. György Orbán, Nobis Natus, mm. 26. 147 Example 4.63. György Orbán, Nobis Natus, mm. 27-28. 148 Example 4.64. György Orbán, Nobis Natus, mm. 29-32. 149 Example 4.65. György Orbán, Nobis Natus, mm. 34-37. 149 Example 4.66. György Orbán, Nobis Natus, mm. 45-46. 150 Example 4.67. György Orbán, Nobis Natus, mm. 55-59. 152 Example 4.68. György Orbán, Nobis Natus, mm. 58-64. 153 Example 4.69. György Orbán, Te Lucis Ante Terminum, mm. 32-33. 156 Example 4.70. György Orbán, Te Lucis Ante Terminum, mm. 22-23. 157 Example 4.71. György Orbán, Te Lucis Ante Terminum, mm. 1-4. 158 Example 4.72. György Orbán, Te Lucis Ante Terminum, mm. 21-25. 159 Example 4.73. György Orbán, Te Lucis Ante Terminum, mm. 28-31. 160 Example 4.74. György Orbán, Te Lucis Ante Terminum, mm. 33-35. 161 Example 4.75. Anonymous, Kolozsváros olyan város. 164 Example 4.76. György Orbán, Urbs Celestis, mm. 1-2. 164 viii Example 4.77. György Orbán, Urbs Celestis, mm. 4-13. 165 Example 4.78. György Orbán, Urbs Celestis, mm. 11-13. 166 Example 4.79. György Orbán, Urbs Celestis, mm. 22-25. 167 Example 4.80. György Orbán, Urbs Celestis, mm. 30-33. 168 Example 4.81. György Orbán, Urbs Celestis, mm. 36-42. 170 Example 4.82. György Orbán, Veni Sancte Spiritus, mm. 1-11. 173 Example 4.83. György Orbán, Veni Sancte Spiritus, mm. 16-18. 174 Example 4.84. György Orbán, Veni Sancte Spiritus, mm. 19-28. 175 Example 4.85. György Orbán, Veni Sancte Spiritus, mm. 47-49. 176 Example 4.86. György Orbán, Veni Sancte Spiritus, mm. 33-34. 177 Example 4.87. György Orbán, Veni Sancte Spiritus, mm. 35-37. 178 Example 4.88. György Orbán, Veni Sancte Spiritus, mm. 40-44. 179 Example 4.89. György Orbán, Veni Sancte Spiritus, mm. 45-50. 180 ix ACKNOWLEDGMENTS The author would like to express her gratitude and admiration for György Orbán ¶V choral compositions, particularly for the creation of the body of choral music discussed in this paper, which gave the author the opportunity to delve deeply into her own Hungarian musical heritage, and provide the world of choral music insights about Hungarian and Transylvanian history. The author also thanks Mr. Orbán for the generosity of his time and availability during the three in-person interviews in Budapest, Hungary in November 2006, August of 2007 and 2011; and for his permission in reprinting his unpublished choral music from his personal archives. The author would like to express her appreciation for her Hungarian mentors and pedagogues who set her on her path to become the musician she is today: Péter Erdei, István Párkai, Miklós Szabó, and Dr. László Nemes. The author would like to thank the faculty of the University of Southern California Thornton School of Music Department of Choral and Sacred Music for their mentorship, as well as their advice, wisdom, and guidance in the creative process of this paper: Dr. Cristian Grases, Assistant Professor, Department of Choral and Sacred Music; Dr. Nick Strimple, Associate Professor, Department of Choral and Sacred Music; and Dr. Jo-Michael Scheibe, Chair, Department of Choral and Sacred Music. The following individuals were instrumental in the creation of the paper: Neda Kandimirova for providing the Latin translations; (U LND2 UEi QWKH D X WKRU¶ VF RXVL Q for providing the French translations; and Dr. Kevin St. Clair for his keen sense of wordsmithing and editorial help. I would like to acknowledge the following publishing companies for their help in granting permissions for the reprint of copyrighted x materials: Ars Nova Editio, Hinshaw Music Publishing, Edition Ferramontana, and Editio Musica Budapest; and Dr. Matt Brown and Shawn Kirchner for helping prepare the musical examples used in this paper. The author thanks her family for the patience, understanding, and immense amount of support and love throughout the years in anticipation of this paper to be finished. Special thanks for the financial support of my uncle, Imre Orbán, unrelated to the composer of this paper, which made this paper and my doctoral degree possible. 1 1 C H APT E R 1 G Y Ö R G Y O RB Á N: T R A NSY L V A NI A N R O O TS O F H IS H UN G A RI A N ST Y L E The purpose of this thesis is to achieve a better understanding of the music of György Orbán through the exploration of the historic and cultural environment that defines not only his music, but also the Hungarian national school of music. Orbán is one of several Hungarian composers, including Béla Bartók (1881-1945), who came from a region that no longer belongs to Hungary: Transylvania. In his studies, Bartók defines the folklore of Transylvania as deeply Hungarian in character and spirit. The oldest traits of Hungarian epic songs were found in Transylvania, where literature, architecture, and arts flourished and carried the national spirit at times when the rest of the Hungarian lands were losing their identity under foreign rule. Like Transylvania, the music of Orbán has diversity, imagination, and open- mindedness ² traits that may be considered truly Hungarian. In his 1999 dissertation entitled Selected Sacred Choral Works of György Orbán: A Historical, Analytical and Critical Examination, Wilbert O. Watkins includes a study of the political climate of Transylvania as it relates to the life and music of Orbán. In it, Watkins defines 7U D QV \ OY D QLDD VK D YLQ J E H H Q³ IR UVH YH UD OF H QWXULH V D QLQGHSH QGH QW F RXQWU \ ´ D QGUD WKH U ³ PXO WL F XOW XUD O´ 1 compared to the rest of Hungary; this was before it became part of Romania. 2 1 : LOE HU W2 : DWN LQ V ³ Selected Sacred Choral Works of György Orbán: A Historical, Analytical and & U LWLFDO ( [ D P L Q DWLR Q ´ (PhD diss., Florida State University, 1999), 9-10. 2 Transylvania is geographically located east of Hungary proper today, enveloped by the Carpathian Mountains. 2 2 Early T ransylvanian History , QR UGH UWRI XOO \ GL J H VWW K H LQIOXH QF H R I7 U D QV \ OY D QLDQF XOW XUH RQ2U E i Q¶V music, it LVL PSRUWD QWW RH [ D PL QH W KH UH J LRQ¶VKLV WRU \ SULRU W R: RUOG: D U , , QWKH H D UO \ eleventh century, King István I (also known as Saint Stephen) 3 not only imposed Western Christianity upon the Hungarian people, but also defeated attempts for separation from it that were stirring in Transylvania. The roots of these separatist tendencies were in the nature of the Hungarian tribal organization as seen in the middle of the twelfth century, when King Géza II invited Germans from Saxony to settle parts of Transylvania that were not taken by Magyars (Hungarian) or Székely people, for the purpose of defense. These three components of the population of Transylvania ² Saxons, Magyars, and Székely ² are of major historic importance to the development of Hungarian music. 7KH 6 ] p NH O \ SH RSO H VSH D N+XQJD ULD QD QGGH ILQH W KH PVHOYH VD VGH V F H QGD QW VRI$ WW LO D ¶V Huns; it is now accepted to consider them Hungarian. 4 It is specifically among these people that Zoltán Kodály (1882-1967) and Béla Bartók delved into research of the original Hungarian folklore traditions. Following a trip in the Székely region of Transylvania in 1907, Bartók 5 GLVFRYH UH GPXV LFWK D WKHGH ILQH G D VWKH³ 2OG6 W \ O H ´ RI 3 ³ 7 U DQ V \ O Y D Q LD ± 7 K H 5 R R WV R I ( WK Q LF & R Q I OLFW´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/transy/transy00.htm. 4 Encyclopædia Britannica Online, s.v. "Szekler," accessed July 10, 2014, http://original.search.eb.com/eb/article-9070801. 5 Zoltán Kodály and Ferenc Bónis, The Selected Writings of Zoltán Kodály (London: Boosey & Hawkes, 1974), 11. 3 3 Hungarian music. 6 This style, just like its textual language, serves to identify the Székely people as Hungarian. At the same time, Transylvania was a region where people spoke more than one language and where the different denominations of Christianity enjoyed more freedom than anywhere in Europe, thanks to the influences of Western Catholicism, Lutheranism, and Calvinism. The Romanian population was recognized in Transylvania as early as the thirteenth century and is affiliated with the Eastern Orthodox Church, thus adding another denomination to the diversity of the region. In 1556, the Diet of Transylvania 7 issued the first declaration of religious tolerance in European history by giving every person the right of religious choice. 8 Hungarian, German, and Latin traditions flourished in the region, which attests to the open-minded thinking and diversity that is witnessed also in Hungarian folklore style. Traditions continued to change and evolve in the region. In 1675, the Orthodox Church Synod of Transylvania suspended the use of Church Slavonic in favor of Romanian. Such changes in the ethnic, cultural, and linguistic map of Transylvania made it a territory claimed by different nations and ideas. Its multi-linguistic environment and religious freedom define the work of György Orbán, as seen in his choice of texts, from the national Hungarian poetic tradition to Latin church texts to texts in the language of the Transylvanian Saxons. The connection with the Latin tradition is very strong in the history of +XQJD ULD QPXV LFD QGOL WH UD WXUH I URPWKHWLP H RI+ XQJ D U \ ¶VF RQY H UVLRQWR Christianity in the eleventh century. From that time forward, Transylvania established itself as the keeper of Hungarian political independence and a place where Hungarian language and culture could flourish. It would be fair to say that 6 % pOD % DU Wy N ³ Hungarian Peasant Music, ´ LQ % pOD % DU Wy N ( V V D \ V HG % HQ M DP L Q 6 X F K R I I / L Q FR OQ University of Nebraska Press, 1976), 84. 7 7 K H FR X Q FLO U HS U HVHQ WL Q J W K H FR Q V WLW X WLR Q DO X Q LW \ R I W K U HH ³ S U LY LOH J HG ´ nations: Magyars, Székelys, and Saxons. 8 ³ 7 U DQ V \ O Y D Q LD ± 7 K H 5 R R WV R I ( WK Q LF & R Q I OLFW´ S DF FH V V HG - X O\ http://www.hungarianhistory.com/lib/transy/transy00.htm. 4 4 Transylvania was a very important region for the establishment of the Hungarian written language tradition. 9 In 1420, the Transylvanian region experienced the first major Ottoman invasion ² and their conquest of Eastern Europe would change the history of that part of the world for generations to come. Among the greatest historical figures that stood successfully in the way of the Ottoman conquest was general and governor János Hunyadi, the ³ 9RLYRGH ´ (governor) of Transylvania. He began the establishment of Transylvania as the Hungarian territory that resisted foreign invasion for the longest period of time. His son Matthias Hunyadi (or Corvinus) became one of the most revered kings of Hungary (1458 ± 1490); his reign introduced the Italian Renaissance to the Hungarian court, making it an important center of arts, literature, and humanism. Its cultural heritage crosses over to modern times and it is no coincidence that Italian Renaissance music became one of WKHPD LQVRX UF H VRILQVSL UD WL RQIR U2 UE i Q¶VPXVL F In 1690, Transylvania, exhausted from fighting both the Ottoman Empire and the geographical appetites of the Austrian crown, officially lost its independence to the Habsburgs, marking a process of gradual decline in the use of Hungarian language that ZD VRQF H WKH ³ ODQ J XD JH R IF RXUWH V \ D QG RIF RPP H UF H ´ 10 Despite this, Transylvanian poets continued in the eighteenth century to write in their Hungarian mother tongue. A number of well-educated priests and classicists who translated the works of Classic Antiquity into Hungarian opposed attempts by the Austrian Emperor to root out the 9 Ibid. 10 Sir John Bowring, Poetry of the Magyars, Preceded by a Sketch of the Language and Literature of Hungary and Transylvania (London: the author, 1830), 37. 5 5 Hungarian language. 11 Baróti Szabó, a Jesuit born in 1739 of Székely descent, worked as a teacher and poet. Along with József Rájnis, Szabó experimented with quantitative meters and the implementation of ancient verse forms in Hungarian. 12 As previously mentioned, the traditions of Classical and Medieval Latinity were historically strong in Hungary. A linguistic kinship was thus established, based not on grammar or vocabulary but on prosody, between Hungarian and the Classical languages. What the eighteenth- century poets and scholars discovered demonstrates that the uncontrived connection EH WZH H QWKH / D WL QODQ J XD J H D QGPHORG \ LQ2U Ei Q ¶ VZU LW LQJ LVQR WDF F LG H QWD O The growing attempts by the Habsburg court to neutralize the Hungarian character of Transylvania and its separatist movements led to the imposition of German as the official language of Hungary and Transylvania in 1784. Emperor Joseph II and his successor Francis I adopted a policy of divide et impera (divide and conquer) regarding the Hungarians, Saxons, and Romanians in Transylvania in order to maintain control of the region. The religious freedoms established in the sixteenth century, however, were the one thing the Habsburgs retained; religious diversity was used to keep the population divided (the Romanians were predominantly Eastern Orthodox or Uniate, while the Saxons were Lutheran and the Hungarians were Catholic). The end result of these historic events was a period of decline of the Hungarian language and a split from the traditions of the past. This explains why Ferenc Liszt (1811-1886), the most famous Hungarian composer of the nineteenth century, did not speak Hungarian and expressed very limited knowledge of his own musical tradition, in 11 Ibid., 44. 12 Albert Tezla, Hungarian Authors: A Bibliographical Handbook (Cambridge, MA: Belknap Press of Harvard University Press, 1970), 80. 6 6 spite of his otherwise patriotic support of Hungarian culture. At the same time, there were places where people continued to write in Hungarian despite the imposition of the German language. This cultural fervor was especially strong in Transylvania, the land that remained independent for the longest period of time. In Transylvania, a tradition of Latin and Hungarian poetry continued to flourish, related both to the Church and to the classic authors of Antiquity. The ancient verse and prosody written by scholars and poets of the eighteenth and nineteenth century provides a direct line to the works of György Orbán. In later chapters, we will explore further how the Hungarian language was seen by nineteenth-century poets to complement perfectly the Greek and Latin verse of the classicists. 13 Regardless of the language or choice of text, the music of Orbán demonstrates features of Hungarian prosody. The rebirth of the Hungarian language and its setting to music is the history of modern Hungarian nationalism in music, starting with the works of Bartók and Kodály and carried further by Orbán. Early Twentieth-Century T ransylvania and its Influence on Hungarian Music Béla Bartók based his theory about the nature of Hungarian music on discoveries made during his trip to the Székely region of Transylvania in 1907. He explained the structure of the folk style in the music he found there and related the influence of the prosody of their epic songs to the composition of the music. He found in the Székely land the oldest Hungarian traditions untouched or almost unchanged ² a fact that can be explained only by the unique history of that region, as discussed previously. This well- maintained historical line of tradition identified Transylvania as the region that would 13 Bowring, 38. 7 7 emerge as the core of the rebirth of Hungarian music and the creation of a national music style. The Székely region (as well as Transylvania as a whole) was much less exposed to Austrian cultural influence and was kept economically underdeveloped; Austria also implemented policies that supported the ethnic segregation of Transylvania and the import of non-Hungarians. 14 The distrust between differing ethnic groups grew and weakened the region. The religious diversity of the region, supported by the Habsburgs for political reasons, also contributed to the separation. The final result of this cultural diversity was the loss of this historic Hungarian territory to Romania, a process that was finalized after World War II. In the following decades, the fate of Hungarian educational and cultural institutions (including the University of Kolozsvár, or Cluj, in Transylvania) was jeopardized as the political climate changed constantly according to the state of Romanian-Hungarian relations. One of the principal centers of Hungarian education was Kolozsvár, which was home to a Hungarian language university and a Hungarian opera house. Kolozsvár is where Orbán attended the Music Conservatory and this center of Hungarian culture was a key component in his development as a national voice of Hungarian music. At the same time, all religious denominations with the exception of the Orthodox Church were severely persecuted beginning in 1949 15 as Soviet domination over Eastern and Central Europe began. The exception made for the Orthodox Church was to accommodate Romanian spiritual traditions in the region. By the mid-twentieth century, 14 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ K WWS Z ZZ K X Q J DU LD Q K L V WR U \ FR P OLE P DF DU WQ H \ P DF DU WQ H \ K W P 15 ³ 7 U DQ V \ O Y D Q LD ² 7 K H 5 R R WV R I ( WK Q LF & R Q I OLFW´ DF FH V V HG - X O \ http//www.hungarianhistory.com/lib/transy/transy00.htm. 8 8 Hungarian culture was in dire threat of being swallowed up by the Soviets, as illustrated very vividly in the following excerpt: The Soviet leaders had no reason to be generous to Hungary. They were then trying to consolidate their influence in Czechoslovakia, Romania, and Yugoslavia, and did not wish to weaken the pro-Soviet regimes in those three countries by favoring Hungary against them. Their aims included eventual control of Hungary as well, but that could wait; they did not have to buy it with concessions to Hungary on peace terms. Two issues, which came up for decision in the peace negotiations, made the Soviet position quite clear. One was the Hungarian claim for a revision of the frontier with Romania; there, after some vague encouragement to the Hungarians, Moscow sided with Romania. 16 The events of October-November 1956 led to demonstrations and unrest in regions inhabited by Hungarians. The Hungarian uprising in Budapest served as an excuse for anti-Hungarian measures in Transylvania, 17 since Romania sided with the Soviet regime. In the years to follow, Hungarian educational institutions were either merged with the Romanian ones or closed. In 1956, the impact of the Hungarian uprising over the fate of Transylvanian Hungarians, particularly those of Cluj, 18 was undeniable. Orbán was nine years old, his musical career yet to begin, and the town where Orbán received his education was seriously affected: It will be remembered that until this point in time the majority population of Cluj was still Hungarian. The uprising in Budapest was used as the pretext to push Romanianization of the city into high gear! 19 16 ³ 7 K H +X Q J DU LD Q V $ 'LY LG HG 1DWLR Q ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/bors/bors01.htm#heading2 17 ³ 7 U DQ V \ O Y D Q LD ± 7 K H 5 R R WV R I ( WK Q LF & R Q I OLFW´ DF FH V V HG - X O \ http//www.hungarianhistory.com/lib/transy/transy00.htm 18 ³ 7 K H % U X E DN HU % R R N $ E R X WD 7 U DQ V \ O Y D Q LD Q 7 R Z Q ´ DF FH V V HG - X O\ http://www.hungarianhistory.com/lib/ludanyi.pdf 19 Ibid. 9 9 In 1959, the Hungarian and Romanian universities in Cluj/Kolozsvár were merged. In the decades to follow, the political history of the region was dominated by increasing restrictions against the minority cultures or, at the very least, a complete disregard of their presence. At the same time, Hungarian-Romanian relations experienced many ups and downs that undoubtedly affected day-to-day life in Transylvania. Being of Hungarian or Saxon ethnicity in Transylvania during those years was very restrictive, as seen in a decree from 1976 that said no one was allowed to visit non-Romanian citizens in their home unless they were immediate family. 20 Another Decree Law from 1974 allowed for the confiscation of ³ [all] documents, recordings, official and private correspondence, diaries, manifestos, posters, sketches, drawings, engravings, imprints, seals, and like material" over thirty years old from the possession of religious and cultural institutions or private citizens. ´ 21 This appears to have been part of a clear effort to eradicate the cultural history of Hungarians and Saxons in the region. By 1979, when Orbán fled to Budapest, things looked quite grim for many people in Romania. While life for minorities was constantly restrictive, economic struggles were restrictive for everyone, and escaping meant a chance of a more prosperous and independent life than that under Communist-dominated Romania. An account by an ethnic Hungarian from Târgu 0 XUH ú Marosvásárhely in Hungarian), the hometown of György Orbán, about life in Transylvania is also descriptive: 20 ³ 7 U DQ V \ O Y D Q LD ² 7 K H 5 R R WV R I ( WK Q LF & R Q I OLFW´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/transy/transy04.htm 21 Ibid. 10 10 In my town the majority of the population were Hungarian. We had all classes in Hungarian, and we studied Romanian as a second language. Romanians were afraid of us in 7 kUJX0X UH ú , there were legends about my hometown that we were killing Romanians. . . . When we would go out of town, we were treated badly and discriminated against. 22 In the decade that preceded the fall of the Socialist regimes in Eastern and Central Europe, Hungary enjoyed a wider freedom of speech and travel and a higher standard of living than countries such as Romania or Bulgaria. Being both non-Slavic and non- Eastern Orthodox, Hungary was significantly distinguished from other countries in the Eastern Bloc. Slavic doctrine was used with some manipulation of historic facts to create loyalty to a virtually Soviet- GRPL QD WHG³ 6 ODYLF XQL RQ´ / LN H ZLVH (D VW H UQ 2U WKRGR[ sacred tradition was used similarly and in strikingly blunt combination with the anti- religious propaganda of the Stalinist regime. These two strategies were designed to work with Czechoslovakia, Poland, Bulgaria, Serbia, and Romania to unify their loyalty under 6 RYLHWU XOH+ XQJD U \ ¶VG LII H UH QWO D Q J X D J H D QG UH OL J LRXVG LYHU VLW \ ZH UH WKH QD WL RQ¶V natural protection against the Soviet imperialist divide et impera strategy in Eastern Europe. This allowed for Hungarian music in the second half of the twentieth century to be more freely exposed to trends from the other side of the Iron Curtain. György O rbán György Orbán was born in 7k U J X0XUH ܈ 23 in 1947, two years after the Hungarian- language Bolyai University was established at Cluj. 24 A year after his birth, the Hungarian opera house in Cluj reopened, but in 1949, the city was subjected to severe 22 Gábor Nagy, personal interview by author, Claremont, CA, July 2012. 23 Hungarian for Marosvásárhely. 24 Hungarian Kolozsvár, German Klausenburg. 11 11 UH OL J LRXVS H UVH F XWL RQE \ W KH 6 RYLHWV2U Ei Q¶VSD UH QWVZH UH YH U \ GH YRXW& D O YLQL VWV Calvinism had spread through Hungary in the sixteenth century following the Second Helvetic Confession in 1562. To a great extent, its growth and influence was due to Hungarians who studied at Calvinist universities around Europe. In Hungary and Transylvania, the Confession, along with the Heidelberg Catechism, 25 ³ VH UYH GD V H [ SUH VVL RQVRIU H OL J LRXVI UH H GRPXQL W \ D QGVSL ULWXD OL W \ ´ 26 According to the Confession, & D OYL QLVP VXSSRUWVW KH D UWVEH F D XVH WK H D UWVD UH F RQVL GH UH GWREH³ EO H VVHG E \ *RG ´ 27 ZKLF KH [ SODLQVL QSD UWWKH VWURQJ G H YH ORSP H QWRIW KH D UWVLQ7UD QV \ OYDQL D G XULQJ 2 UEi Q¶V time there. Orbán was exposed to the diversity of religion in Transylvania during a time when the dominant Stalinist ideology denied the value of religion. The spiritual teachings of Calvinism, together with the grand architecture of Catholic churches in his homeland, further inspired him as a composer. 28 Saint Michael's Cathedral in Gyulafehérvár, dating from the thirteenth century, and the fourteenth century Saint 25 The Confession of 1562 and the Catechism of 1563 are the two main documents that state the beliefs of the Reformed Church. They were adopted in Hungary in 1566. See http://www.ccel.org/ccel/schaff/creeds1.ix.ii.v.html and http://www.wts.edu/resources/creeds/heidelberg.html. 26 - R V HS K 6 )UH HG P D Q ³&DO Y L Q 8Q G 5 H I R U P LHU WH Q WX P L Q 8 Q J DU Q 8Q G 6LHE HQ E U J H Q + HO Y HW LV FK H V % HN HQ Q WQ LV ( WK Q LH 8 Q G 3 R OLWL N ´ 9R P Jahrhundert Bis, 1918. Edited by Márta Fata and Anton Schindling. Unter Mitarbeit von Katharina Drobac, Andreas Kappelmayer, und Dennis Schmidt. 5 HI R U P DWLR Q V J H V FK LFK W OLFK H 6W X G LHQ X Q G 7 H[ WH % DQ G 0 Q V WHU $ V F K H Q G R U I I ´ Church History: Studies in Christianity and Culture 80, no. 2 (2011): 408, doi: 10.1017/S000964071100028X. 27 ³ )R U *R G LQ K L V P HU F \ K D V S HU P LWWHG WK H S R Z HU V R I W K H LQ WHO OHFW WR U HP DL Q W K R X J K differing greatly from what was in man before the fall. God commands us to cultivate our natural talents, and meanwhile adds both gifts and success. And it is obvious that we make no progress in all the arts without God's blessing. In any case, Scripture refers all the arts to *R G D Q G LQ G HH G WK H K HD WK H Q WU DF H WK H R U LJ LQ R I WK H DU W V WR WK H J R G V Z K R L Q Y HQ WHG W K H P ´ From Chapter IX of the Se FR Q G +HOY HWLF & R Q I H V V LR Q ( Q J OLV K WU DQ V ODWLR Q I U R P ³ 7 K H 6HFR Q G Helvetic Conf HV V LR Q ´ DF FH V V H G - X O\ http://www.ccel.org/creeds/helvetic.htm 28 György Orbán, interview by author, Budapest, November 2006. 12 12 Michael's Church in Kolozsvár (Cluj) were two of the most important Romanesque and Gothic strcutures, respectively, in Transylvania. It was also a place where classical languages had been revered for centuries and where many languages were spoken. This diversity was mixed with strong nationalistic spirit, which grew out of a need for survival for the former Transylvanian Three Nations 29 that had become minorities under foreign RF F XSD WL RQ: D WNL QV¶GLVVHU WDWLRQSURYLGH VD ODU J H VXUY H \ RI2 UEi Q¶ VH D UO \ H [ SH ULH QF H VED V H GRQWKH D XWKRU¶ VRZQF R UU H VSRQG H QF H ZLWK2U E i Q , QERWK 2U Ei Q¶V exchanges with Watkins and the author of this paper, Orbán shared his admiration for the actions both of devout Protestants and devout Catholics during times of Stalinist repression. Maintaining their faith and religious practices were seen by the composer as heroic acts that deeply impressed him. 30 As a result, Or Ei Q¶VPXVL F H [ KLEL W VD & D OYL QLVW reverence towards the meaning of text and a belief in the importance of understanding it. : D WNL QVF LW H V2U Ei Q¶VR ZQF RQIH VVL RQWKDWKH D G PL UH GWKH5RPDQ&DWKROL F VEH F D XV H ³ WKH \ F RQWL QXH GWRP D NH GLII LFXOWV D F ULI LF H VZKLO H F UH D WL Q J EH D XWL IXOPD VWHU SLHF H V´ 31 While Orbán has written many Latin motets, he has avoided any Catholic texts that might be considered religious dogma. It is important to note that Orbán is inspired by the beauty of Catholic art and by Catholic devotion to spirituality, not by the tenets of the Church. 29 Magyars, Székelys, and Saxons as of 1437; this status quo was reaffirmed by Leopold II in 1791, who denied the Romanians equal status as a part of his policy to gain from the tension between the inhabitants of Transylvania. 30 Watkins, 42-43. 31 Ibid., 43. 13 13 Orbán also takes great care with prosody, 32 in the same manner that the eighteenth century scholars of the Hungarian language. His upbringing in an unusually restless and diverse religious environment allows him to look beyond the boundaries of any particular denomination. However, when he was asked if he would set texts of the Genevean Psalter and for Reformed Church services, he refused to do so. The reason for this was because the Psalter follows the rules of French prosody, and, according to Orbán, does not do so in a very masterful way. 33 In his Latin motets, Orbán remains disconnected from any particular theology and the texts do not serve any denominational purpose. (YH QWKRXJ KWKH \ D U H QRWW KH F H QWUD OW RSLFR IWKLVW KH VLV 2U Ei Q¶V0D VV H VSU RYLGH LQVL J KWL QWRW KH F RPSRV H U ¶VYLH ZRI VH WW LQ J RI / D WL QUH OL J LRXVW H [ WVW RP usic. Our previous discussion of the religious history of Transylvania, including the very important documents enforcing the equity of different denominations, illustrates a rare religious tolerance that permeated the country prior to the Stalinist regime. Orbán is no enemy to Roman Catholicism; he is, in fact, just the opposite, as is evident in his motet and Mass settings. While he refuses to abide by specific church dogma, Orbán believes that music for the church should be spiritually mindful of its venue. 34 Moreover, it has been observed that in order to be nat LRQDOO \ ³ D SSURS ULD W H ´ While Orbán sets the traditional Latin Mass texts, he acknowledges that he is not bound by stylistic traditions, but seeks to inject "national" color into each separate composition. 35 32 György Orbán, interview by author, Budapest, August 2007. 33 Ibid. 34 - X Q J , O& K R L ³ * \ | U J \ 2 U E iQ ¶ V 0D V V & R P S R V LWLR Q V - $ Q $ Q DO \ V LV R I 0D V V H V DQ G ´ (D.M.A. diss., University of Illinois at Urbana-Champaign, 2008), 7. 35 Ibid., 4. 14 14 , Q D UH F H QWL QWHU YLH Z2 U Ei QVW D WHGWKD WDPXVL F LD QVKRXO GZU LW H ³ D PXVL F D O QRWD WKHRORJ LF D O´ work of art WKHJH QH U D ODWWL WXGHKH P D LQW D LQVW RZD UGVWKH ROR J\ LVW KD W³LW GRH VQ¶WPDNH WKHSLH F H D Q \ EH WW H U´ 36 Thus, even though he began composing masses as commissions for liturgical purposes, 37 this is not the case with his motets. His goal with these works was simply to write music ³ ZRU WK \ WR EH SH UI R UPH GLQDF KX UF K´ ) RU 2U Ei Q WKHWLW OH³ PRW H WV´U H I H UV to those works from differing origins within his choral output that utilize religious poetic texts in Latin, but are not set as a cycle or other collective entity. Different choirs would commission these compositions from Orbán, some of them church choirs and others not, and he regarded Latin as the language that best serves the ³ F RPP XQLFD WL YH ´ UROH RI PXVL F 38 For a Hungarian composer, the use of Latin provides a way around the inherent difficulty of the Hungarian language, which limits performance of works in Hungarian by non-Hungarian speakers. The importance Orbán places on ³ F RPP XQLFD WL RQ´ U H YH D OV D YH U \ & D OYL QLVW XQGH UVWD QGLQJ RIPXVLFZ LW KLW VLQKHU H QWGHVLU H to bring music closer to believers and to rid it of things that obscure meaning. For a Hungarian-speaking composer, Latin is not a dead language, but a tool that facilitates the reception of music. Orbán admits that Latin is his preferred choice of language to communicate to larger, non-Hungarian audiences, 39 since ³ I D PL OL D U / D WL QWH[ WVDU H conventional and can be readily understo RGE \ PD Q \ ´ 40 Another advantage of the choice 36 Orbán, interview by author, Budapest, August 2007. 37 Choi, 4. 38 Watkins, 58. 39 Orbán, interview by author, Budapest, August 2007. 40 Watkins, 58. 15 15 of Latin is that it has been part of the religious and humanistic tradition of the Hungarians for centuries prior to the loss of their independence to Austria; thus, it does not evoke negative reminiscences of the past in the way the German language might. Two other components constitute the compositional style of Orbán: reverence for the Italian Renaissance and for the national Hungarian school of music in the tradition of Zoltán Kodály and Béla Bartók. Matthias Hunyadi (Corvinus) (1443-1490) introduced the finesse and beauty of Italian Renaissance art to the Hungarians in the fifteenth century. Orbán himself has a special connection with the art of Renaissance song that he cites as a major stylistic inspiration. 41 Also of major importance to Orbán is the heritage of the founders of the Hungarian music tradition in the twentieth century, Kodály and % D UWyN7K H \ KD YH E H H Q D KXJH SD UWR IWKH IRXQ GD WL RQRI 2U Ei Q¶VSH UVRQD O VW \ O H IU RPW KH very beginning of his compositional output. In his own words, Orbán defines himself as ³ .RGi O y LDQ´ D QG³ % D U t yNLDQ´ 42 2QD QRWKHU RF F D VLRQ 2U Ei QGH V F ULEH V.RG i O \ ¶V effect on his style WKXV ³ MXVW OL NH D ODQGVF D SH ZR XOG influence PXVL F ´ KH JUH ZXS ZLWKW KH LP SD F W of .RGi O \ ¶V music on his compositional style. 43 The establishment of the Hungarian national tradition of music had its roots in 7U D QV \ OY D QLDLWV H OIW KLVZD VWKHELUWKSODF H RI % D U WyN¶VJ URXQG E UH D NLQ J H WKQRP XVLFRORJ \ research that defined what being truly Hungarian in music meant: The whole world knows that the oldest, purest, and ² from the folkloristic point of view ² most interesting part of the Hungarian people is at present, practically without exception, living in the districts newly severed from the mother country. 41 Orbán, interview by author, Budapest, November 2006. 42 Watkins, 56. 43 Orbán, interview by author, Budapest, August 2007. 16 16 Of these districts, Transylvania, as the treasury of our relics of popular art and folk poetry, has occupied the foremost position. 44 In conclusion, t UD F LQ J WKH SD WKRI. RGi O \ D QG % D UWyN¶ VWHD F KLQ J VD QGPXV LF D O style through the twentieth and twenty-first centuries is crucial to the analysis of the style of any +XQ J D ULD QF RPSR VH UVSH F LDOD WW H QWL RQWRW KH PDQGWKH LULQIOXH Q F H R YH U2 UE i Q¶V music will be presented in a later chapter. Together with the history and the linguistic and religious diversity of Transylvania, their achievements in developing the Hungarian national musical style SH UPH D WH2 UEi Q¶VU H D OP RI F RPSRV LW LRQDOLGHD V 44 Béla Bartók, Studies in Ethnomusicology, ed. Benjamin Suchoff (Lincoln: University of Nebraska Press, 1997), 77. 17 17 C H APT E R 2 H IST O R Y O F T H E H UN G A RI A N IN T E L L E C T U A L A ND M USI C A L T R A ININ G: C R E A T IN G O F A N A T I O N A L SC H O O L O F M USI C Reestablishment of National Identity $VSU H YLRXV O \ REV H UYH G 2U Ei QGH ILQH VKL PVHOID V D ³ .RGi O \ D Q´ D QG ³ % D UWy NLDQ´ a follower of the tradition and teachings of these two composers and scholars. 45 The full XQGH UVWD QGLQ J RIZ K D W³ .RGi O \ D Q´ D QG³ % D UWyNLD Q´ PHD QVW RD F R ntemporary Hungarian composer can be achieved only by taking a closer look into the long process of creating an authentic Hungarian national school of music. The development of musical scholarship has played an active role in the evolution of the consciou VQH VV RIZ KD W³WU XO \ +XQJD ULD Q´ P H D QVL QPX VLFWKL VH YROXW LRQZD VRIWH QLP SH GH GE \ PL VXQGH U VWDQGLQJ limited knowledge, and prejudice. The Hungarian style in music is not simply defined by the use of folklore elements in the music; this is just one of its features. The hard work of scholars, educators, and composers has given Hungarian music equally strong national and worldwide relevance. The style possesses an individual and unique power of musical expression, which when combined with modern trends in music, makes the art of Hungarian musicians, both composers and performers, highly regarded and sought after by many around the globe. The understanding of Hungarian music in the twentieth and twenty-first centuries is contingent upon the knowledge of the events in the nineteenth century that led to the renaissance of the Hungarian nation. After almost two centuries of devastating Ottoman 45 Watkins, 56. Also see Orbán, interview by author, Budapest, August 2007. 18 18 (1526-1683) and the less negatively influential Austrian rule, the great Hungarian state of the late Middle Ages under Matthias Hunyadi (Corvinus) no longer existed. By the eighteenth century, Hungary was governed as a part of the Habsburg Empire, and some favorable arrangements for the Hungarian aristocrats within the Empire were made ² a considerable difference from other nations governed by the Habsburgs. Hungarian lands also retained more of their autonomy since they were not administered as a part of the Austrian-Bohemian Chancellery. While lending the impression of partial independence, historians not this deprived Hungary from participation in any decisions regarding foreign policy: 46 When the new Hofrat was established as the supreme advisory organ to the monarch on matters of general policy, it, again, at first contained no Hungarian member; later, a Hungarian Referent was appointed to it, but rather as an expert on Hungarian affairs than a representative of Hungarian interests. 47 Defense policy was also out of the hands of the Hungarians. The creation of a standing army versus the feudal levy (the mobilization of noblemen) shifted the focus on defense from individual nations towards the needs of the Austrian Empire. Hungary had become a part of a larger multi-national body whose interests was determined by the Habsburg Crown and, despite the promises, never got her own representation in the Hofkriegsrat, the Ministry of War. 48 As a part of the policy of dismemberment of the Hungarian territories, the Crown reorganized them, which affected Transylvania in a special way. In 1713, Charles VI 46 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/macartney/macartney09.htm 47 Ibid. 48 Ibid. 19 19 took the title Prince of Transylvania, and even though Maria Theresa gave it a statute of a Grand Principality, parts of its territory were subjected to the Ban of Croatia under the QD PH³ 6 ODYRQLD ´ , WV 'LH WD GPL QLVW UD WL YH D VVHPEO\ ZD VRYH U -controlled by members appointed by the Crown, and therefore could not function as a representative of the people. Toward the latter third of the eighteenth century, the Austrian Empire put an end to Ottoman rule over the last of the Hungarian territories affected by it and replaced it with LW VRZQ0D ULD 7KH U H VD ¶VSROLFLH VZR UNH GLQW ZRZ D \ VIRU WK H +XQ J D UL D QVRQ WKH one hand, they gave partial rights to all subjected nations, while on the other they were designed to deprive them of their own identity. Military and foreign affairs were taken out of Hungarian control and historic territories were divided into new administrative XQLW V: L WKUH JD UGVWRH G XF D WL RQD QGF XOW XUH 0 D UL D 7KH U H VD ¶VSROLF \ Z D VRI D UH D O enlightened monarch: she patronized the opening of schools and in 1777 the Crown issued Ratio Educationis, which divided the country into educational districts. Instruction was according to Austrian textbooks 49 both in German and in a mother tongue for the non-German speaking nations, but in 1784, under Joseph II, German became the official language of the entire Empire, including Hungary and Transylvania. From then on, education was to take place only in German. 50 The enlightened state of Maria Theresa, combined with the wealth of some Hungarian noblemen who were able to negotiate tax exemptions, made it possible for the Baroque and Classical arts to flourish: 49 ³ 7 U DQ V \ O Y D Q LD ² 7 K H 5 R R WV R I ( WK Q LF & R Q I OLFW´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/transy/transy03.htm 50 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ K WWS Z ZZ K X Q J DU LD Q K L V WR U \ FR m/lib/macartney/macartney10.htm 20 20 In the palaces of the magnates and the new churches, the Baroque culture of the central Europe of the day was at home, sometimes magnificently expressed. Prince Eszterházy supported a private theatre in which nightly performances were held, opera, German comedy and Italian opéra bouffe alternating under the direction of Haydn. The ceilings of the great palaces and churches were adorned with frescoes by fashionable painters. 51 Hungary entered the nineteenth century with less of its own political identity, its linguistic, musical and cultural heritage dissipating into the melting pot of the Habsburg Empire. The Hungarians were not subject to persecution but at the same time were underrepresented in the government ² a fact that challenged their national pride. The new century was characterized by deteriorating economic conditions in the Empire and political instability throughout Europe, triggered by multiple social and national uprisings. 52 The matter of the Hungarian language and its reintroduction into the realm of European languages as a tool not only of communication, but also of enforcing the national spirit, was raised again at the turn of the nineteenth century. In the seventeenth century, the Hungarian language flourished due to the influence of Protestantism that, as was the case elsewhere, promoted the use of vernacular language. However, the eighteenth century brought the reinforcement of Catholicism and Latin became the language of communication with the rest of Europe, serving as an official national language. 53 At the end of eighteenth century, the influence of the French Revolution 51 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/macartney/macartney09.htm 52 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ K WWS Z ZZ K X Q J DU LD Q K L V WR U \ FR P OLE P DF DU WQ H \ P DF DU WQ H \ K W P 53 5 X V WH P 9D P E HU \ ³ 1DW LR Q DOL V P L Q + X Q J DU \ ´ L Q ³$ & K DOOH Q J H WR 3 HD FH P D N HU V ´ V S HF LDO L V V X H Annals of the American Academy of Political and Social Science 232 (March, 1944): 77, accessed July 23, 2014, http://www.jstor.org.libproxy.usc.edu/stable/1023338 21 21 awoke nationalism in many countries. Macartney marks this as a period of rebirth for everything Hungarian ³ The cult of the language was accompanied by a similar fashion for the national costume, dances, and whatever else was specifically Magyar. ´ 54 Specifically, dance became the main form in which Hungarian music was represented in the nineteenth century and remained so until Kodály and Bartók completely changed the idea of national folklore. The use of a national language culturally and in poetry and music helped to reawaken a national sense of identity. Among European languages, Hungarian has always been considered different and a very difficult language to learn. It presents a communication challenge, but at the same time, it is a symbol of the uniqueness of its nation. At times when Hungarian national identity was challenged, language became one RIWKH ³ ZH D SRQV´ ZLWKZ KLFKWRI LJ KWED F N$WWKHWXU QRIWKH F H QWXU \ D JU H D WGHD ORI lexicographical work was implemented to reform and enrich the Hungarian language 55 and, as a result, ³ This new literary language gave new impetus to Magyar poetry and belles-lettres, which in the works of Kölcsey, Vörösmarty, Berzsenyi, Petöfi, Kemény, Jókai, and many others, reached their height during the middle of the century. ´ 56 The turn of the nineteenth century also marked partial victories for the Hungarian revival movement: in 1792, Magyar was reintroduced in the school system as a F RPSXO VRU \ VXEM H F WEXW RQO \ LQW KH VRF D OO H G ³ , QQ H U+ XQ J D U \ ´ WKXV H [ F OXGL QJ 54 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/macartney/macartney11.htm 55 Ibid. 56 Vambery, 78. 22 22 Transylvania. In 1805, Magyar was allowed as a language of correspondence with the Austrian Government. 57 Francis I, who had made these partial concessions to the Hungarians, also maintained a most unfortunate economic policy. The issue of common finances had exacerbated the difficult relationship between the Crown and the Hungarian nobility. A new type of nationalistic ideology arose, led by the nobility due to their involvement in political activities. One may readily observe the growing gap between the Hungarian nobility and the Austrian Crown by the middle of the nineteenth century. The French Revolution of 1848 again triggered uprisings all over Europe, including Hungary, and OHD GH UVRI +XQ J D U \ ¶ VOL EH UD WL RQPRYHPH QWZH U H VWURQJ O \ LQIOXH Q F H GE \ : H VWHU Q European liberal ideas. But this crucial moment would show how different Hungary was from other European nations. Despite the intellectual leadership of people with liberal minds who believed in the united front of all minorities in the Empire against the common enemy, the actual outcome was the suppression of the non-Hungarian elements. This was one of the reasons for the failure of the revolution of 1848, deeply regretted later by Lajos Kossuth, whose dream of autonomous Danubian nations in place of the Habsburg Empire never came to pass. 58 What actually occurred was a clash of ideas: liberal ones, born of the socio-economic realities of the mid-nineteenth century and the obsolete feudal system of the Empire that was shared by most European nations, and strictly nationalistic ones, regarding the narrowly defined interests of the Hungarian nobility. The year 1849 brought the defeat of the Hungarian liberation movement and the 57 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/macartney/macartney11.htm. 58 Vambery, 78. 23 23 defeat of liberalists within Hungarian society. 59 On a larger scale, it brought the abolition of feudalism with the new constitution of the Austrian Empire, the Compromise of 1867, when the Dual Austrian-Hungarian Monarchy was created, and the decades after that which were marked by liberal politics and economic growth. 60 What characterized Hungarian society in this period was an enormous gap between the wealthiest and poorest segments; there remained a chasm of inequality between the high aristocracy and the rest of the population. 61 Nationalism became a very important part of the thinking of Hungarian intellectuals and became intertwined with their understanding of the function of Hungarian nobility. According to the Hungarian intellectuals of the time, all Hungarians were noblemen, but the reality of the meaning was that the Hungarian people consisted of a victorious conqueror and the land-owning nobility; serfs and peasants were not considered Hungarians, despite their national origin. 62 Macartney defines how this thinking influenced writers of the early nineteenth century: Thus practically every figure of this first phase of the literary renaissance, whatever his own economic circumstances, identified Hungary with its noble class, drew his inspiration from the wells of the national tradition, and heartened the present with the memories of a past which had grown glorious by defending its immemorial freedom. 63 59 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/macartney/macartney14.htm. 60 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ http://www.hungarianhistory.com/lib/macartney/macartney16.htm. 61 Judit Frigyesi, Béla Bartók and Turn-of-the Century Budapest (Berkeley: University of California Press, 1998), 48. 62 Ibid., 52. 63 ³ 0D FD U WQ H \ ´ DF FH V V HG - X O \ K WWS Z ZZ K X Q J DU LD Q K L V WR U \ FR P OLE P DF DU WQ H \ P DF DU WQ H \ K W m 24 24 This trend continued to exist on a certain level all the way into the twentieth century. , QWH UH VWL Q J O \ WK H ORZH U JH QWU \ D QGH Y H QVH U IVF RQ VLGHU H GWKHPVH OYHVWREH ³ QREOH´ Representatives of minorities were not treated as of noble Hungarian class, yet noblemen of *H UPD QR URWKH UQ D WL RQD OGHVF H QWZLW K³ 0 D J \ D UL] H G´ QD PHVZ H UH RIW H Q F RQVL GH UH G Hungarian, completely disregarding their actual ethnicity. This led to a rather unfortunate disconnect between the peasants in Hungary and Transylvania with the rest of the country. The result of this was a type of nationalism that was identified exclusively with the self-proclaimed gentry class. 64 The twentieth century brought some changes, but the idea of being Hungarian ² being exceptional and unique in the heart of Europe ² was never abandoned. In a rather conservative environment, the people who could form the middle class were divided based on religion, ethnicity, and family lineage. For many forward-thinking intellectuals, including Bartók and Kodály, this environment offered many reasons for disappointment. 65 On the one hand, Hungary was drawing closer to its full independence while on the other, social and economic development was being held back by foreign forces, an inner conservatism and a lack of unity on the side of the powerful nobility. The Treaty of Trianon in 1920 reduced Hungary to a third of its original size geographically: it remains a disappointing and bitter historical event from which many Hungarians to this day are still reeling. The treaty dashed all hope of the full restoration of the Hungarian state with all its historic territories and left around three million ethnic Hungarians outside of the new borders of Hungary. A democratic turned Bolshevik 64 Frigyesi, 53. 65 Ibid., 49. 25 25 republic created in 1918 existed for a short time and was replaced by a conservative government in 1920. 66 Hungary allied with Hitler during World War II and while it did not provide any support to the Reich until just the last few months of the war, it subsequently became a F RPP XQLVW 3 H RSOHV¶ 5 H SXEOL F D QGSD UW of the U.S.S.R.-dominated Eastern Bloc. Throughout the twentieth century, the county continued to experience several drastic political shifts. 67 This long process of creating a modern Hungarian state was the background to the evolution of the modern style of Hungarian music. In light of the revolution of 1848, Liszt would be the first to use the music that he grew up hearing on the streets of his homeland with a newly acquired Romantic desire for national self-identification. Nevertheless, Liszt had a very limited understanding of Hungarian musical folklore. As noted before, the peasantry was so far removed from the higher class, the so-called ³ QRELO LW \ ´ WKDWQRH GX F D W H GSH UVRQZ RXOGW KLQNRI VH D UF KLQ J IR UWKH URRWVR I+ XQ J D ULD Q national identity within the musical traditions of the peasants. 68 In the middle of the nineteenth century, the belief was widely held that Gypsy orchestras provided the only type of Hungarian music that deserved artistic attention. The following citation by Liszt sets the ground for such a perception: Hungarian songs, such as they exist rurally, and Hungarian airs, such as we hear them executed upon the instruments mentioned above, are both too poor and incomplete to produce any new artistic result; and cannot yet even pretend to the 66 Ibid., 50. 67 ³ 0D FD U WQ H \ ´ DF F essed July 24, 2014, http://www.hungarianhistory.com/lib/macartney/macartney21.htm 68 Frigyesi, 52. 26 26 honor of being universally appreciated; still less to that of being ranked with lyrical works which have already attained to a high degree of repute. But Bohemian instrumental music, as presented and propagated by the Zigani orchestras, is well able to face competition with any other art; whether comparison be made on the score of a bold originality full of the most noble sentiment, or on that of exquisite completion of a form as beautifully inspired as it is happily carried out. 69 At the same time, authentic peasant music existed in villages and remote places, completely disconnected from the rest of the world; Liszt and his contemporaries had no idea of its existence. It would take a few more decades for the intellectual elite of the nation to redefine the meaning of ³ +XQ JD ULD Q´WK LVSUREOHPQH H GH G D VRO XWL RQWKDWZD V D VPXFKVRF LDOD VLW ZD V QD WL RQD O7KH YLHZ RI + XQJ D ULD QPXV LFKH OGE \ ( XURSH ¶V famous composers was similarly biased. In a letter from 1910 to Gusztáv Bárczy, Claude Debussy (1862-1918) expressed his admiration for the Gypsy musicians: ³ Vos jeunes PXVL F LHQVSRXU UD LHQWXWL OHPH QWV¶H QLQVS LUH UQRQ SD VH QOHVF RSLDQWPDLVH QH VVD \ D QW de transposer OHX UOLEH UWp OH XUGR QG¶H YRF D WL RQGH F R XOHXU H WGHU \ WKP H ´ 70 Debussy openly questioned the ability of Hungarians to be inspired musicians, TXLW H LQW KH VSL ULWRI / LV] W¶VVW D WHPH QWDERYH , QOL J KWRIWKH H [ WUH PHO \ UL F K +XQJD ULD Q twentieth century musical tradition, it is striking to read such a quote from a composer as accomplished as Debussy. But one should not forget that the real value of Hungarian folklore came to light after years of scholarly research that had just begun at the time Debussy wrote his letter. 69 Franz Liszt and Edwin Evans, The Gipsy in Music (London: W. Reeves, 1926), 296. 70 ³ <R X U \ R X Q J P X V LFLD Q V P L J K WX V H I X OO \ J HW L Q V S LU DWLR Q I U R P LWQ R WF R S \ L ng them but trying to transpose WK HLU I U HH G R P W K HLU J L I WR I H Y R FD WLR Q R I FR OR U DQ G R I U K \ W K P ´ 7 U DQ V ODWLR Q E \ ( U L N D 2U E iQ WK H DX W K R U ¶ V cousin. Claude Debussy and François Lesure, Correspondance (Paris: Hermann, éditeurs des sciences et des arts, 1993), 282. 27 27 The work that Bartók and Kodály began in the first decade of the twentieth century changed the view not only of Hungarian music but also of folklore in general. 7KH LGHD WKDWRQH VKRXO G ORRNIRU WKHRU L J LQDOWUD LW VRID QD WL RQ¶VPXVL F D OW U D GLW LRQL QWKH music of the remote villages and the art of the peasants was still new and revolutionary at this time. Liszt had written his book Die Zigeuner und ihre Musik in Ungarn (The Gypsies and Their Music in Hungary) in 1859 and revised it in 1881. 71 % D UWyN¶ V groundbreaking expedition to the Székely country was in 1907. Forty-eight years after WKHI LUVWHGLWL RQRI / LV] W¶V ERRND QGWZH QW \ -six from the second, came the time to change completely how Hungarian folklore was viewed. The time had come to reestablish Hungarian national identity based on truly Hungarian traditions in all their forms and expressions ² but exceptionally strongly in that of its music. C reating A National Style Of Music 7KH \ H D U PDU NH GWK H SUH PL H U H RI % D UWyN ¶VQD WL RQD OL VWL F V \ PSKRQL F SR H P Kossuth, influenced by and written in the style of Richard Strauss ¶V \ PSKR QLFSRH PV It LVREY LRXVL Q% D UWyN¶ VF R PSRV LW LRQVX SWRW K LVSRL QWW KD WKHKD G J LYHQOLW WO H WKRXJ K t or F RQVL GH UD WL RQWRZKD WP D NH VD PXVL F D OVW \ O H ³ +XQ J D ULD Q´ , W ZD VQRW XQWL OW KUH H \ H D UV later, when he traveled to the Székely country, that he would completely change his view on nationalistic musical writing, and (together with the impact of events in his personal life) his entire style of composition. 72 In order to gain a better understanding of what Bartók encountered there, it is worth looking into the information given by Judit Frigyesi: A local informant from Transylvania warned a folklorist before his field trip 71 Alan Walker, HW DO ³ Liszt, Franz ´ Grove Music Online, ed. Deane Roote, accessed July 28, 2012, http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/music/48265pg28. 72 7 LE R U 7 DOOLiQ ³ % pOD % DU Wy N & R P S R V HU R I )R O N 6R Q J V ´ Hungarian Music Quarterly 9, no. 1-2 (1998): 5. 28 28 D URXQG ³< RXWKH JH QWO H PDQZ LO OVW D QGEH IR UH WKH6] p NH O \ The µJH QWO H PDQ¶ LVV omething hateful to the Székely. . . . Not surprising. The sheriff is a gentleman, so are the inspector of forest, the parish clerk, the bailiff. . . . And so on, with all the other gentlemen, they are there only to make life bitter. It would be difficult to collect data, for you are gentl H P H Q D QGD OL H QWRW KH SH RSOH ´ 73 +H UH D OVRL V% D UWyN¶ VD F F RXQWRIWKH ILH OGZRU NF K D OO H QJ H V 7KH ILU VWZRP D QZ H YLVL WIH D UVWKD WW KH ³ J H QWO H PD QLQW H QGVW ROHY \ D Q H ZWD [ RQ RXUY LO ODJ H P H ORGL H V´ WK H QH [ WRQH³ KD VQRW LP H I RUVXF KXVH OHVVWKL Q J V´ $WKLUG advises us to come on Sunday. And on our appearance on Sunday, we are informed that they KD Y H ³ WRJ RWR0DVVW R / LW D Q \ ´ 74 After finally having convinced the singers to record, Bartók added: ) H D UVD U H YRLFH G D VZKH W KH URQH ¶V ³ VRXO ZLOO QRWEHEH ZLWFKH G by this devilish WKL QJ ZLWKW KH J UH D WP RXWKSL H F H ´ 75 Despite the challenges, Bartók succeeded and a brand new definition of Hungarian music was created, one that Bartók defined in his Harvard lectures: 6 RWKHVWDU WIRU WKHF U H D WL RQRI WKH³ 1H Z´ +XQ JD UL an art music was given, first, by a thorough knowledge of the devices of old and contemporary Western art music: for the technique of composition; and, second, by the newly-discovered rural music ² material of incomparable beauty and perfection: for the spirit of our works to be created. 76 Hungarian by spirit and trained in the best Western traditions: this became the definition of the Hungarian composer of the twentieth century. This is critical to understanding the music of the generations after Bartók, especially of a composer like Orbán who calles KLP VH OI³ % D UWyNLD Q´ 73 Judit Frigyesi, Béla Bartók and Turn-of-the Century Budapest (Berkeley: University of California Press, 1998), 53. 74 Bartók, Studies in Ethnomusicology, 139. 75 Ibid. 76 Béla Bartók, Béla Bartók Essays, ed. Benjamin Suchoff (London: Faber and Faber, 1976), 363. 29 29 In the context of other trends of the twentieth century, Bartók defines an entirely QH ZD QGXQLTXH ³ SKLO RVRSK \ ´ R IF RPSRV LW LRQ To him, the German Romantic tradition was incompatible with the true Hungarian spirit; it was too heavy and formal. This marks a drastic split from his early source of influence, Richard Strauss. 77 Bartók went even further away from Germanic music when he called the reaction of Hungarian composers against the PXVL F D OL QIOXH QF H RI: D J Q H U³ K H D OW K \ ´ +H IRXQ GWK H ) U H QF KL mpressionists and the music of Franz Liszt considerably closer to the spirit of the new generation and considered the well- SU H VH UYH GIRONORUH WU D GLW LRQVW KH PRVW ³ KH D OW K \ ´ VRXU F H RIQH Z musical ideas. Eastern Europe proved a great place for his research, since most of its people had recently regained their independence from either the Ottoman or Habsburg Empires and the peasantry had been relatively isolated and held true to its oldest traditions. 78 In 1923, Bartók wrote: The whole world knows that the oldest, purest, and ² from the folkloristic point of view ² most interesting part of the Hungarian people is at present, practically without exception, living in the districts newly severed from the mother country. Of these districts, Transylvania, as the treasury of our relics of popular art and folk poetry has long occupied the foremost position. 79 His discovery of the old tunes provided Bartók a means of expression that was completely new to Western art music. His scholarly work in Hungarian music, unsurpassed in its importance, also came with his knowledge of most of the languages of the people whose music he explored. This unique awareness of the relationship between 77 Bartók, Essays, 362. 78 Ibid., 361. 79 Béla Bartók, Béla Bartók Studies in Ethnomusicology, ed. Benjamin Suchoff (Lincoln: University of Nebraska Press, 1997), 77. 30 30 text and music helped him to define the formulas that connect the music and prosody which organize different styles of Hungarian music. The influence of his research went beyond the world of scholarship; it also changed his compositional style completely. 80 In exploring the roots of Hungarian music, Bartók came up with what he considered the successful new direction for progressive music. While referring to the : D J QH UL D QWUD GLW LRQDV³ KH D Y \ ´ D QGLQV XII LFLH QWO \ H [ SUH VVL YH KH GLGQRW ID YRUD WRQDOLW \ since in his view, music, as with any kind of art, should always have a center: To point out the essential difference between atonality, polytonality, and polymodality . . . atonal music offers no fundamental tone at all, polytonality offers ² or is supposed to offer ² several of them, and polymodality offers a single one. Therefore our music, I mean the new Hungarian art music, is always based on a single fundamental tone, in its sections as well as in its whole. 81 % D UWyN¶ VO H F WXUH H [ SODLQVW KH VSH F LILF VRI +XQ J D UL D QIRONORUH D QGWK H UH VXOW ing connection ZLWKW KH QH ZO \ H VWDEOLV KH G³ UXOH V´ RI +XQ J D UL D QD U WP XVLF% XW% D UWyN¶ VLP SRUWD QF H J R H V beyond that: in his scholarly work and through his own compositions, he gave new tools to progressive-minded composers. To summarize, the twentieth-century school of Hungarian music stands on the VKRXO GH UVRI ZKD W % D UWyN F UH D W H G2U E i QQRWRQO \ GH ILQH VKL PVHOID V³ % D UWy NLDQ´ EXWKH D OVRO LYHVWKH VD PHYD OXH VWKDWVW RRGEH KLQGW KH F U H D WL RQRI WKH % D UWyN¶ VPX VLF9 LHZ H G in this context, Transylvania is not just the common birthplace they share; it is the unique cultural background and preserved traditions from centuries preceding them; it is the strife to preserve their national identity; it is the part of Hungary that provoked the 80 Tallián, 8. 81 Bartók, Essays, 370 -371. 31 31 strongest national feelings; and finally, it is the source of well-preserved folklore that completely changed Hungarian music. , QV H H NLQ J WRXQGHU VWDQG PRUH IXOO \ WK H SRZH UR II RONO RUH ¶VLQI OXHQF H RQ Hungarian music, it is worth recalling how Zoltán Kodály described the state of +XQJD ULD QPXV LFEH IRU H % D UWyN¶ V UH VH D UF K , Q .RGi O \ ZD VD VN H G³ : K \ ZD V IRONVRQJ U H VH D UF KU H D OO \ QH F H VVD U \ WR \ H D UV D J R" ´ His response: ³ % H F D XVH H Y H QWKH J U H D WHVWWDOH QWL VXQD EOHW RIORXU LVKL QD YD F XXP´ 82 The research of Hungarian folklore started at a time of total domination of foreign music in Hungary. As a result, many +XQJD ULD QQD WL RQD OL VWV ZH UH RSSRV H GWRW KH ³ QRQ - +XQ J D ULD Q ´ LQP XVLF ; but according to Kodály, they were doing so only at the level of dilettantes. 83 Since authentic Hungarian music lacked artisitic representation that could equal Western art music, the educated elite would not see any value in it; at the same time, the nationalist-dilettantes (as Kodály viewed them) would chastise any foreign music influence whatsoever. In his writings, Kodály makes it clear that creating a national style of music of a higher quality was of the greatest importance. His recipe was to use the achievements of Western art music while elevating the level of genuinely national Hungarian music ² in other words, enveloping the pure Hungarian folk song within the arms of Western art music, giving birth to a truly unique musical endevour and pointing toward the establishment of a Hungarian national voice in music. 84 82 Kodály and Bónis, Selected Writings of Zoltán Kodály, 31. 83 Ibid. 84 Ibid. 32 32 In the late 1930s, Kodály still saw the balance of these two things as an unfulfilled J RD O ³ Those who are cultured musically should be rendered more Hungarian and the +XQJD ULD QVP D G H PRUH F XOW XUH GLQP XVLF´ 85 .RGi O \ ¶ V ³ LGHD O´ +XQ J D ULD Q F R PSRV H U being Bartók, he wished for an entire national school of music with the same character D QGTXD OL W \ D V% D UWyN¶ V 1H YH UWKH O H VV% D UWyN¶ VF D UH H UD WW KLVW LP H ZD VEH F RPL QJ PRUH F RVPR SROL WDQLQVF RSH D QGMXV WD \ H D UD IWH U. RG i O \ ¶ V H VVD \ What is Hungarian in Music? 86 Bartók left Hungary forever. It was then up to the new generation of composers to follow in the footsteps of Kodály and Bartók and finish the creation of a national music school of the highest artistic standards. These composers were compelled to find their own identity either with LQRURXWRIWKH ³ ORQ J VKD G RZV´ RI the two biggest names in the twentieth-century Hungarian music. 87 Definition Of The T rue Hungarian Composer , QOL J KWRI. RG i O \ ¶ VZRU G VLW LVHD V \ WRXQGHU VWDQG ZK \ 2 UEi QG H ILQH VKL PVHOID V ³ .RGi O \ LDQ´ D QG³ % D UWyNLD Q´ 7K is is, in fact, the only straightforward definition he has provided of his own style. Being a disciple of Kodály and Bartók, in addition to a student of their styles of music, means that Orbán applies a system of musical and textual values along with the true spirit of Hungarian music that both Kodály and Bartók shared. Orbán, the man, SRVV H VVH VPDQ \ I H D WXU H VRIWKH ³ L GH D O´+ XQ JD ULD QLQW H OO H F W XD ODQG D UWLVW D VGH ILQH GE \ .RG i O \ D QG H [ H PSO LILH GE \ % D UWyN2 QH RI. RG i O \ ¶ VUR OHPRGH OVZD V 85 Ibid. 86 Ibid., 28. 87 $Q G U p % DOR J ³ µ 7 K R V H 8 Q K HD U G $ U H 6 Z HH WHU . . " ¶ +X Q J DU L DQ 0X V LF $Q G 0X V LF LDQ V , Q W K H twentieth FH Q WX U \ $Q LQ FR P S OHWH K LV WR U \ ´ LQ Music's Intellectual History: First Conference of the Répertoire International De Littérature Musicale HG = G U DY N R % ODåH N R Y Lü 1H Z <R U N 5pS HU WR LU H LQ WHU Q DWLR Q DO G H OD littérature musicale, 2009), 315. 33 33 Sándor Petöfi, the nineteenth century Hungarian poet and revolutionary figure, who lived only to the age of 26 but who also knew German, Latin, French, and English. 88 % D UWyN ¶V fascination with language led him beyond the standard Western European languages: raised with German and Magyar, he studied Latin, French, English, and Spanish that were a part of his education. He also learned the languages and dialects of most people among whom he collected folklore music. In the course of his folksong-collecting he found that he needed both Slovak and Romanian, and so acquired them; he had a few lessons in Italian and Spanish. . . . And even in his last years he was translating Turkish poems with the aid of a self-compiled Turkish- +XQ J D UL D QGLFWLRQDU \ ´ 89 For him, language D QGP XVLFD OZD \ VZH QWW R J H WK H U2 UEi Q ¶VVH WW LQJ RIPX ltiple languages and dialects ² Latin, Italian, the German of the Saxon people of Transylvania ² EH ORQ J VW RWKH% D UWyNPRGH O.RG i O \ VD LGR I%D UWyNWKDW³ E RWKKL VEL UWK and his culture set him between the *H UPD QL F QRU WKDQGWKH / D WL QVRXW K´ 6 LP LO D UO \ Orbán received a very strong education in Western art music and admits to having a penchant toward the forms in German music. He refers to abiding by sonata form principles in the structure of many of his Latin motets. 90 At the same time, Italian music penetrates his style of writing as well as his own cultural background. Orbán breathed WKHVD PH7 UD QV \ OY D QLDQD LURI F XOW XUD OGL YH UVLW \ WKD WVKDSH G% D UWyN¶ VLQW H OO H F WXDOD QG musical views. Kodály defines at OHD VWW ZRRI % D UWyN¶ V large-scale compositions as ³ JURXQ GEUH D NLQ J ´ 2Q H SXWV+XQJ D ULD QPXV LFLQWKHF RQWH[ WRI(XU RSH D Q PXVL F Two 88 Ibid. 89 Halsey Stevens, The Life and Music of Béla Bartók (London: Oxford University Press, 1978), 7. 90 György Orbán, interview by author, Budapest, August 2011. 34 34 Pictures (1910) and the opera 7 KH %OXH E H DUG¶V&D VWO H (1911) in example. The first of these works is inspired by the music of the French impressionists, but is fully original and rises to the level of the masterpieces of the time. In this way, it fulfills the expectation of raising Hungarian music from the level of a local national school to that of universal value without sacrificing its own identity. 7 KH %OX H EH DUG¶V&DV WO H is one of the best examples of a large-scale masterpiece (and the first historically) that sets the Hungarian language in a manner that follows the specific nature of Hungarian prosody and the rhythm of the language. 91 The melodies have, in regard to Western art music, unprecedented shape and expression that has as its only source and origin the language LW VH OI7KH ³ PDU ULD J H ´ RI WH[ WDQGPXVL F LVP D VWHU IXOD WW KH OHYH ORIWKH E H VWFRPSRVL WL RQV and is also truly and uniquely Hungarian. 92 , QWKHR SH UD H [ D PSO H ³ % D UWyNZ D VD SLRQHH U in listening to the natural music of the Hungarian language in the recitatives and in IROORZLQJ WKH J XLGDQ F H R IWKH IRONVRQ J LQW KH PRU H VW \ OL VH GVH F WL RQV´ 93 In this way, Bartók IXOI LO OHGWZRRI .RGi O \ ¶V H [ SH F WDWLRQV RI+ XQ J D ULD QPX VLFWREHRI D national character and to be of the highest quality. The musical style of György Orbán comes out of these same guidelines: it is open for comparison to the highest achievements in Western art music; it belongs to a composer whose intellect possesses a deep understanding of diverse musical languages; it is imbued with a national spirit, present in certain melodic and harmonic patterns and in rhythms that come directly from the language. The combination of all these make it part 91 $Q G U iV% DWWD ³ 0 X V LF R I % DU Wy N ´ [lecture series, Zeneakadémia, Budapest, Hungary, 1993]. 92 Ibid. 93 Kodály and Bónis, Selected Writings of Zoltán Kodály, 92. 35 35 of the compositional traditions of Kodály and Bartók, as admitted by Orbán himself, and WKL VJ LYHVWKH H VVHQ F H RIW KH ³ VSLULW ´ RIWKH +XQ JD UL D QWUD GLW LRQL QWKHWH UPVJ LYHQE \ Bartók. 94 Finally, musical form is n ROHVVLP SRUWD QWL Q2U Ei Q¶VPXVL F WKDQWK H VH PXVL F D O elements. In the next chapter, the author will explore how form and spirit come together in twentieth-century Hungarian music. 94 Bartók, Essays, 363. 36 36 C H APT E R 3 '() ,1,1 * 25% È1 ¶66 7 </( In 2007, Orbán compiled a list of all of his choral works that includes scoring, duration, GD WHRI F RPSRV LW LRQDQGWKH F RPSRV H U¶ V D VVHVVPHQWRI GLII LFXOW \ RQD VF D OH from one to ten. 95 $GGLWL R QD OL QIRU PDWLRQDERXWWKH F RPSRV LW LRQDOSU RF H VVD QG2U Ei Q¶V F KRLFH RIWH [ WVFRPH VIU R P: D WNL QV¶ correspondence and phone interviews with him from 1997 ± D QGIU R PW KH D XWKRU¶ V own interviews with Orbán in 2006, 2007, and 2011. : KLO H : D WNL QVSR LQW VRX WVRP H VW \ OL VWL F I H D WXU H VWKDWF RPHI URPWKH F RPS RVH U¶ V Hungarian background, his primary focus is on tonal harmonic analysis. In order to avoid repetition of his work, the author will focus on the text-music relationships as well D VWKHGLVW LQFWI H D WXU H VWKDWSO D F H 2 UEi Q¶VPRWHWVL QWKH+ XQJD ULD QPXV LF D OW UD GLW LRQ There are several sources that provide tools for this analysis: the works of Bartók and Kodály, modern scholarship on the defining features of Hungarian traditional song, its LP SD F WRQIRU PDOF RPSR VLW LRQDOWUD GLW LRQDQG2 UEi Q¶VRZ QWKRX J KWVRQ KLV compositional style. Until the 1980s, 2U Ei Q¶V VW \ O H IROORZH GWK H D YD QW -garde school and was mostly instrumental in output. 96 His first choral compositions were written in 1979 and in the IROORZLQJ GH F D GH KLVV W \ OHXQGH UZ H QW D VLJ QLIL F D Q WW UD QVIRU PDWLRQ: D WNL QV¶LQWHU YLHZ V 95 See Appendix. 96 Péter Halász, " ´2U E iQ *\ | U J \ ´ Grove Music Online, ed. Deane Roote, accessed July 5, 2013, http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/music/45034. 37 37 from 1998 reveal VRPHR I2 UEi Q ¶VLQF H QWL YH WRSX UVXH WKL VVKL IWLQVW \ O H 97 2U Ei Q¶VRZ Q statements on his compositional process reveal a desire to stay away from strict definitions of style and he avoids placing his music within the limitations of a particular trend. There is a deliberate vagueness in his avoidance of a stylistic definition: he talks D ERXWEHLQJ ³ LQD J RRGP RRG´ ZKLOHF RPSRV LQJ W KH UH E \ D YRLGL Q J H [ SH ULP H QWDWLRQ 98 He ZD QWHGWRVW D \ D Z D \ IU R PW H F KQLTXHVWKDWPDNH PXVL F ³ D WRQDOD QGXQVL Q JD EOH´ 99 and is a little more specific about his feelings regarding serialism, when in 2011 he compares ³ WRW D OVHU LDOLVP ´ WR³I D V F L VPRU6 WDOLQL VPL Q PXVL F ´ 100 Even though Orbán avoids placing his music in any mainstream or unifying context, his stylistic shift does, in fact, belong to a larger scale process in music around the world. As early as 1966, György Ligeti (1923-2006) expressed his concerns with serialism; specifically, WK D WL WZRXOG³OH D GWRDGRF WULQD LUH D F D GH PL F LVP ,´ D QGKH complained that serial composition had be F RPH³ D XGLEO \ LGHQWLFD OW RF KD Q F H F RPSRV LW LRQ´ 101 In the 1970s, Philip Glass (born 1937) LQD³ GH VLU H WRFRPPXQL F D WHWRD ODU JH U D XGLHQF H WKDQEH IR UH ´ D F F XV H GWKHSRVWZD U PRGHU QLVW VRIEH LQJ ³ PD QLDF V´ D QG ³ F UH H SV´ D VKH REVH UY H G F KD Q J H VLQW KH VW \ OHRI F R PSRV LW LRQW KD WZRXOGRYH UF RPH³ WKL V 97 Watkins, 49. 98 Ibid. 99 Ibid. 100 Orbán, interview by author, Budapest, August 2011. 101 Bryan R. Simms, Music of the Twentieth Century: Style and Structure (New York: Schirmer Books, 1986), 340. 38 38 WUH PHQGRXVGLVW D QF H E H WZH H QWKHSRSXOD UD XGLHQ F H D QG F RQF H UWPXVL F ´ 102 Both Glass and Orbán use strong language when referring to the musical avant-garde. $ORQJ ZLWK2U E i Q¶VGH VLU H WRZU LW H PXVL F RID ³ F R PP XQLFD WL YH Q D WXUH ´ 103 comes WKHF RPSRV H U¶ VVW \ OHVKLI WZLW KLQDEU RD GH U F RQWH[ WRIWUH QGVIU RPW KH ODVWT XD UWH URI WK H twentieth F H QWXU \ 7KLVU H IOH F WVW KH IL UVWF KD U D F WH ULVWL F RI. RGi O \ ¶V ³ LGH D O´R ID +XQ J D ULD Q composer: the obligation to maintain the highest and most up-to-date compositional WHF KQLTXHVD QGVW D QG D UGV 7KH RWKHU ³ .RGi O \ i D Q´ H OHPH QWL VWKH+ XQ J D UL D Q F KD UD F WHU R I WKHPXVL F +H UH ZH F D QO RRND WVHYH U D OGL II H U H QWF KD UD F W H ULVWL F VRI2 UE i Q¶V PXVL F WKH most important one having been defined by Bartók in hi V+D UYD UGOH F WXUH V ³ 7KH QH Z Hungarian music is always based on a single fundamental tone, in its sections as well as in its whole. ´ 104 Bartók then goes on to point out two other elements: polymodality and the use of pentatonic scales. Polymodality was not to be viewed as a universal rule; for example, Kodály used it less than Bartók in his musical settings. But certain use of chromaticism is a result of polymodality, and Bartók cautions against incorrectly attributing it to polytonality or atonality. The IROORZLQJ D QD O \ VH V RI2 UEi Q ¶VPRWHWVZLO OSURYH WKDW chromaticism emerging from polymodality plays a major role in the composition of his a cappella choral works. Bartók considered the use of the Hungarian pentatonic scale to offer a wider variety of options for harmonization: from very simple chords to highly complex 102 Simms, 403-404. 103 Watkins, 58. 104 Bartók, Essays, 370-371. 39 39 harmonies. The dominance of the third as a preferred consonance and the tonic-dominant relationship can be weakened by the use of pentatónia, the Hungarian musical term used to describe music functioning within pentatonic modes. The interval of the minor seventh is perceived as a consonance in the context of Hungarian pentatónia, since the seventh scale degree is of the same importance as the fundamental, the third and the fifth; the fourth would be most often a passing tone. 105 Bartók offers another important observation: ³ the µ2 OG ¶ Hungarian pentatonic system does not consist only of the use of certain pentatonic scales, but also of some form-giving structure and other SH F XOL D ULWLHV´ 106 H RZGRH VWKL V³ WUD QVODWH ´ LQW RWKHPXVL F D OO D QJ X D J H R I2 UE i Q" & H UWD LQL QW ULQVLF features of the melodic writing could be explained by the influence of pentatónia: the seventh is a legitimate consonance that would not require a resolution and subdominant harmony would be of a lesser importance. Orbán himself explains that his harmonic language should not be viewed as an extension of the late Romantic tonal harmony, but rather as a look back toward Renaissance modal music and polyphony. 107 The avoidance of leading tones also creates cadences that go against the expectation of the I-IV-V-I sequence. In other words, traditional chords should be viewed in a different context, as resulting from the melodic language rather that the rules of tonal functional harmony. Thus, the presence of elements that remind one of French Impressionism and Renaissance polyphony is easily explained in the New Hungarian school, including 105 Ibid., 371-373. 106 Ibid., 371. 107 Orbán, interview by author, Budapest, November 2006. 40 40 2U Ei Q¶VPXVL F $VSU H YL RXVO \ PHQWLRQHG % D UWyN F RQVL GH UH GWKH ) U H QF KVF KRRODNLQGU H G spirit to the Hungarian. To Orbán, reaching into other learned traditions like Impressionism, Jazz, or Renaissance is a natural way to achieve a harmonious blend of +XQJD ULD QF K D U D F WHU D QG PXVL F RIH VWDEOLV KH G: H VWHU QWUD GLW LRQV +H VH H V³ EOHQGLQJ ´ with styles t KD WDU H ID PL OL D UWRWKH D XGLHQ F H ¶V H D U ZKLOHD WW KH VD PHWLP H SU H VH UYLQ J RQH ¶V own tradition as the best way to achieve communication and originality. 108 This gives new life to old traditions and makes a lesser-known tradition easy to perceive by the audie QF H 7K D WL VZK \ Z H GH WHF WL QWKHPXVL F RI 2U Ei QWKH³ W D VWH´ RI ) U H Q F KPXV LF Renaissance, Jazz, and Hungarian music. The blend is perfect and the ear perceives it as an organic entity. What all these traditions have in common is that a V chord will not have the same drive to resolve as it would in tonal harmonic context; the leading tone will be present in the final cadences of a few of the motets analyzed here, and only in one of them, Ave Maris Stella, 109 as a V-I cadence (mm. 32-33). In Daemon Irrepit Callidus, 110 the sharp seventh is part of a chromatic scale and is of no harmonic importance (mm. 48-49). In Amor Sanctus, 111 it is part of a III ± I cadence in mm. 48-49 (the importance of the third scale degree in Hungarian music was noted above). Of the remaining motets from Orbán¶VOLV WRIF KRU D OZRU NVRQO \ RQ H Timor et Tremor, 112 uses a V chord in the 108 Ibid. 109 György Orbán, Ave Maris Stella (Chapel Hill: Hinshaw Music, MS). 110 György Orbán, Daemon Irrepit Callidus (Chapel Hill: Hinshaw Music, 2001). 111 György Orbán, Amor Sanctus (György Orbán: personal archive). 112 György Orbán, Timor et Tremor (Chapel Hill: Hinshaw Music, 2009). 41 41 final cadence (mm. 81-82), but the composer avoids the authentic cadence by leaving the last tonic chord without a third; three other motets feature the leading tone at the cadence in different harmonic context. Thus, out of twenty-five motets on the 2007 list, only five use the seventh as a leading tone at the end of the motet. Example 3.1. György Orbán, Ave Maris Stella, mm. 32-33, leading tone in bass of V-I cadence. Example 3.2. György Orbán, Ad Nocturnum, mm. 27-28, conventional use of leading tone in V-I cadence. 42 42 Example 3.3. György Orbán, Daemon Irrepit Callidus, mm. 48-49, sharp seventh is part of chromatic scale at final cadence. Example 3.4. György Orbán, Amor Sanctus, mm. 48-49, sharp seventh as part of III-I final cadence. , WZRXOGV H H P2U E i QD YR LGVD³ VWHU LO H ´ PXVL F D OL GLRP E \ XVL Q J D GLYHU VLW \ R I compositional methods. His music is not dominated by the rules of conventional KD UPRQ \ EXWQHLWKHU LVK H D YRLGL QJ WK H PIRU WKHV D NH RIEH LQ J XQLTXH 2U E i Q¶VPRWHWV D UH QRWDWRQD O D ³ IXQG D PHQWD OW RQH ´ D VG H ILQH GE \ % D UWyNLVDOZ D \ VSUH V H Q W 113 But it 113 Bartók, Essays, 370-371. 43 43 would be incorrect and limiting to apply only one set of rules to the analysis: the use of diverse compositional techniques allows for the music to keep its center without adhering H [ SOL F LW O \ WRW KH UXOH VRI F ODVVLFD OW RQD OKDU PRQ \ % D UWyN¶ V F ODVVLILF D WL RQRI H [ SUH VVL YH tools that come out of the Hungarian musical tradition is a helpful way to approach 2U Ei Q¶VPXVL F $ IWH UD OO WKL VWUD GLW LRQFU H D WHGWKH VRXQGH QYLURQPHQ WRI+ XQJ D ULD Q music in the twentieth F H QWXU \ \ H WO RRNLQ J IRU D S H UPH D WL Q J +XQ J D ULD Q³ IOD YRU´ ZRXOGEH also incorrect. The devices Orbán uses in his music are varied in such a masterful way that it is nearly impossible to know which one might be his favorite or to find any single device that dominates his style at any moment. There is, however, one unquestionably Hungarian feature in his music: his setting of the text. The rules of Hungarian prosody have a major impact on the way Latin has been pronounced in Hungary, especially regarding its syllabic accentuation. Hungarian prosody is defined by both stress and by duration of syllables. For example the difference in duration between stressed and unstressed syllables is less prominent than in English and German. Moreover, because the stress always falls in Hungarian on the first syllable of the word, musical text settings in Hungarian cannot start with a pickup. In order to use a pickup, the composer (or the folklore singer) has to add an exclamation ZRU GLQW KH EH J LQQL QJ 7 KLVL VWKHF D VH IRU H [ D PSO H ZLWK.RGi O \ ¶V Székely Keserves 114 or 2U Ei Q¶V Sanzonett LQZKL F KKH F KRRVH VWRV H WW KH ZRU G³ KD ´ LI D V a pick up. 115 114 Zoltán Kodály, Vegyeskarok (Budapest: Editio Musica, 1972), 46. 115 György Orbán, Második Kóruskönyv (Budapest: Editio Musica, 1989), 1:14. 44 44 Example 3.5. Zoltán Kodály, Székely Keserves, mm. 1-4, use of a pick up word to help accentuation. Example 3.6. György Orbán, Sanzonett, m. 1, use of the uncharacteristic and rare Hungarian pick up on word ³ KD ´ LI . 45 45 Of the twenty-five motets appearing on the aforementioned 2007 list, only one, Amor Sanctus, 116 begins with a pick up note. Moreover, three of these motets ² Ave Maria in D, 117 Ave Maria in A, 118 and Pater Noster in C 119 ² have text settings in which the word stress dominates the setting and the word accents consistently fall on a strong beat, with the weak syllables leading into them. There are phrases that start with a pick up within his Pater Noster in C to serve that very purpose Ave Maria in A is a predominantly syllabic setting based on a chant from the so-called Hungarian Codex. 120 Example 3.7. György Orbán, Pater Noster, mm. 10-12, use of unaccented syllable as a pick up. 116 György Orbán, Amor Sanctus (György Orbán: personal archive). 117 György Orbán, Ave Maria in D (Chapel Hill: Hinshaw Music, 1995). 118 György Orbán, Ave Maria in A (Chapel Hill: Hinshaw Music, 1996). 119 György Orbán, Pater Noster in C (Kecskemét: Ars Nova Editio, 1995). 120 Watkins, 78. 46 46 Example 3.8. György Orbán, Ave Maria in A, mm. 6-8, use of unaccented syllables leading up to the downbeat. The setting to the rhythm of a quarter note followed by two eighth notes comes from the opening of the hymn. 121 The setting Ave Maria in D is melismatic, but still keeps great clarity in the text by always arriving on a strong beat on the stressed syllable of a word and the most important syllable of a phrase as shown in the following two examples. Example 3.9. György Orbán, Ave Maria in D, mm. 7-8, melismatic setting arriving on accented syllable of word. 121 Géza Papp, ed., Régi Magyar Dallamok Tára (Budapest: Akadémia Kiadó, 1970), 2: 215, example 112. 47 47 Example 3.10. György Orbán, Ave Maria in D, mm. 8-9, melismatic writing arriving on stressed syllable of word and falling away on non-stressed syllable. Ave Maria and Pater Noster are the two most familiar prayers of Christendom. 2U Ei Q¶VVH WW LQ J VRI these allow for the text to be followed easily and for the character of intimate recitation to be maintained as the text is sung. Before proceeding to the analytical part of this thesis, a point should be made about the approach to the analysis. For those interested in the numerical tonal harmony D QD O \ VLV : D WNL QV¶GLVVHU WDWLRQIU RPRII H UV D WKRURXJ KVH WR ID OO works composed prior to that year. To explain the novelty of the approach offered in this paper, let us quote Kodály: The change of melodic style also inevitably influenced the harmonic world. The new connections between certain notes, which came about as a result of their ³ VH TXH QF H ´ WKH LUEH LQ J S OD \ H GRQH D IWH UWKH RWK H U D OVRDVVXP H GD YD OL GLW \ ZKH Q they were sounded together. Chords that formerly we would have felt to be incomprehensible without their resolutions have now become satisfying. 122 Kodály testifies to the end of the domination of functional harmony that was based on the YH UWLF D OKL H U D UF K \ R IWKH YRLFH V$F F R UGLQ J WRKL P³KD UPRQ \ EH F D PHYLF WRULRXV´LQD ³ ILJ KWE H WZH H QWK H µYH UWLF D O¶D QG µKRU L] RQWDO¶ principles employed since the sixteenth F H QWXU \ ´ 123 .RGi O \ VD ZWK H PXVL F RI%D UWyND VD ³ U H QD LVV D QF H RIPH ORG \ D Q G 122 Kodály and Bónis, Selected Writings of Zoltán Kodály, 90. 123 Ibid., 89. 48 48 UK \ WKP ´ 124 , WV H H PVP RVWD SSURS ULD WHWRXVH .RG i O \ ¶VZ RUGVD VD VWD UWLQJ point to the analysis of the motets not only because Orbán calls himself a follower of Bartók and .RGi O \ EXW D OVREHF D XV H .RGi O \ ¶ VGH VF ULSWLR QILWVSHU IH F WO \ LQW RWKHVRXQG ZRU OGRI Orbán. 2U Ei Q¶VPRWHWVP D \ EH V H H QD VWKHQ H [ WO RJ LFD OVW H SLQ the rebirth of Hungarian style in which melody and rhythm play as vital a role as functional harmony. It is no coincidence that Orbán points to Renaissance music ² composed before the vertical organization of music started its gradual path to dominance ² as one of his primary sources of inspiration ( D V SRLQW H GRXWEHI RUH LQW KL VSD SH UED V H GRQWKHD XWK RU¶ VLQW H UYLH ZV with the composer). It was this dominance of harmony in the nineteenth century, with its negative effect on melody and rhythm, which sent many composers on a search for new sources of inspiration in exotic places or into the folklore of their own lands. 125 Thus, the musical language of Orbán following his style shift in the 1980s should not be viewed as ³ QH R - URP D QWL F ´ A very insightful description of Orbá Q¶VPH ORGL F V W \ OHLVSURYLGH GE \ - XQJ ,O&K oi in his dissertation: The melodic style of György Orbán reflects the eclectic nature of his compositional style, blending elements of tonal and non-tonal (modal and pentatonic) construction. None of the melodies encountered in the three Masses under consideration here can be classified as "Classic" or "Romantic" because of this episodic mixture of styles. 126 124 Ibid. 125 Ibid. 126 Choi, 72. 49 49 Choi continues with the observation that the leading principle not only within a composition, but also when comparing different works by Orbán, is variety. Varying styles from composition to composition is a significant feature of his motets and his reluctance to put them in a cyclic context is a testimony to that. 127 This musical flexibility serves the text and just as the messages of the texts are different, so are the VW \ O H VRI F RPSRV LW LRQ2U Ei QVD \ V³ 7K H WH[ WKDVLW VRZQU K \ WKP D QGVSL ULW ´ 128 In this context, the stylistic choice made for each composition would be defined by the F RPSRV H U¶ VI H H OIR UWKLVV pirit. According to Choi, In terms of melody, this variety takes the form of a constantly changing focus, juxtaposing melodies that are chant-based (modal), pentatonic and tonal with no clear, overriding preference for one approach over the others. The clearest summary comment is that such variety lies at the heart of all of Orbán's melodic construction, with the contrast between short, rhythmic motives that are typically conjunct in their motion and lyrical, disjunct melodies. 129 Based on the principles d H ILQH GE \ .RG i O \ G H VF UL EH GLQ2U Ei Q¶VR ZQZ RUG VD QG by Choi, the harmonic language of Orbán is defined by the character of his text-bound melodic writing, and its main features are flexibility and diversity. Orbán is a composer ZKRVH ³ D JH QGD ´ LVW RD YR LG restrictions of any kind. Thus, he does not stay away from conventional harmonic progressions when the character of the setting calls for them. Nevertheless, he always gives them a twist that leads away from the original functional expectation. A few examples here are in Ad Nocturnum; 130 in which he decreases the structure-defining conclusive power of the harmonic progression in mm. 27-28 and turns 127 Orbán, interview by author, Budapest, August 2011. 128 Ibid. 129 Choi, 72. 130 György Orbán, Ad Nocturnum (Kecskemét: Ars Nova Editio, 1994). 50 50 it into a transitional event, and also in mm. 32-34 of Ave Maria in D, 131 and mm. 37-38 of Ave Maria in A. 132 Example 3.11. György Orbán, Ad Nocturnum, mm. 27-28, conventional V-I candence in which the D Major chord will change direction in m. 76. Example 3.12. György Orbán, Ave Maria in D, mm. 32-34, the D major chord at the beginning of m. 33 could be the last chord of the motet, yet it is followed by more chords before the conclusive D major chord. 131 Orbán, Ave Maria in D (Chapel Hill: Hinshaw Music, 1995). 132 Orbán, Ave Maria in A (Chapel Hill: Hinshaw Music, 1996). 51 51 Example 3.13. György Orbán, Ave Maria in A, mm. 37-38, unexpected plagal cadence in A major. Example 3.14. György Orbán, Ad Nocturnum, mm. 76-78, the D Major chord does not resolve to G Major as in mm. 27-28. In Ave Maria in D, the cadence from m. 32 to the downbeat of m. 33 is followed by a sequence of chords (C7-G4/3b resolving into D) where the application of bi-modal principles makes the preceding V-I progression less definitive. This cadential sequence 52 52 is favored by Kodály, who used it several times in his choral piece Jézus és a kufárok (Jesus and the Traders) in the same key of D: m. 4 into m. 5, m. 19 into m. 20, and as an ending of the entire section in m. 20. 133 Example 3.15. Zoltán Kodály, Jézus és a kufárok, mm. 19-20, the use of bi-modal principles weakens final cadence . Ave Maria in A uses a plagal cadence in mm. 37-38, but it comes very unexpectedly and not as a part of a predictable sequence of chords. This treatment neutralizes WKH³ GD Q J H U´ of standard modal writing before the occurrence of the cadence. It is difficult to define the style of a composer who carefully avoids definition and prefers instead to rebuke mis F RQF H SWL RQ2U Ei Q¶V F RPSRV LW LRQDOSU RF H VVL VRQH RI avoiding stereotypes and not one of adhering to pre-conceived ideas. His inspiration is drawn from the text and the desire to communicate it in the most effective way to larger 133 Kodály, Vegyeskarok, 190-191. 53 53 audiences. This process is selfless, free of religious dogma and with a noble purpose. 134 The successful performance of the motets is contingent upon following these same principles. 134 The turni Q J S R LQ W I R U WK LV E HL Q J 2U E iQ ¶ V G HQ LDO R I V HU LDOLV P LQ WK H V DVS R LQ WHG R X WH DU OLHU 54 54 C H APT E R 4 A N A L YSES O F L A T IN A C APPE L L A M O T E TS C O MPOSE D B E T W E E N 1989-1992 This chapter wil OSURYLGH GH WDLOHGD QD O \ VH VR IWZ H O YH RI2 UE i Q¶V / D WL Q0RW H WV Orbán chose to put them in a group based on their chronology, while at the same time asserting adamantly that they no longer possess cyclic features whatsoever. These twelve Latin a cappella compositions are different from the others because they are composed in the years 1989 ± 1992 and some of them were initially conceived as a cycle; other choral works composed within that time period are Ave Maria in D and Pater Noster in C. Each motet text calls for a highly individualized setting and the twelve motets (unlike Pater Noster and Ave Maria D U H QRWDPRQJ WK H ³ VWDQGD U G´ / D WL QUH S H UWRLUH QRU G RWKH \ K D YH strong ties to liturgical services, having more the character of a personal prayer or depicting worldy (non-sacred) and therefore very human temptations as in Daemon Irrepit Callidus. They are texts of universal value, not only Christian but also KXPDQLVW LFD QGD UH QRWQ H F H VVD ULO \ D SURF O D PDWLRQRIRQH ¶VI D LW KD J D LQXQO LNHWKH Ave Maria and Pater Noster). A text like Ave Regina, for example, could be viewed in the light of a natural and universal human fear of darkness, just as with Ad Nocturnum; Ave Maris Stella is a hymn dedicated to those who live surrounded by the sea. The analyses of these twelve motets serve to create a summary of the features of the musical idiom of 2U Ei Q¶V a cappella writing, a task waiting to be fulfilled until now. The diversity and expressivity of the chosen poems gave Orbán the perfect ground to explore a diversity of techniques and to use an individual approach to each setting, unrestricted by liturgical rule while also preserving its spiritual inspiration. 55 55 The analyses also will provide translations as close as possible to the grammar and the word order of the Latin text, in other words, literal translations as opposed to poetic translations. Sources for a poetic translation will also be given with each motet for UH IH UH QF H : D WNL QV¶GLVVHU WDWLRQP D \ EH XVH G D VD VRXUF H IR UWKH SRH WL F WU D QVODWLRQV EXW the word-by-word translations are often not reliable. Commentary is provided under ³ Background; ´ where the source of the text and its literal translation will be given, followed by any pertinent information available regarding any and all aspects of the genesis of the work XQG H U³ 0XVL F D O6 H WW LQ J ´ a description of the individual features of each motet and subjective opinions of the author will be provided; and under ³ Structure,´ analysis that follows the linear structure of the work will be outlined and discussed. Motet: Ad Nocturnum Nocte surgentes vigilemus omnes, At night getting up, let us be vigilant, all, Semper in psalmis meditemur Always with psalms let us meditate Atque viribus totis Domino canamus, And with all strength, to God let us sing Dulciter hymnos Sweetly hymns. Ut, pio regi pariter canentes So that, to the Holy King together singing, Cum suis sanctis mereamur aulam With his saints we would deserve the Palace Ingredi caeli, simul et beatam To enter of Heaven, and also blessed Ducere vitam To leave a life. Praestet hoc nobis Deitas beata May stand in front of us here the Deity blessed Patris ac Nati, pariterque Sancti Of the Father and the Son, and the equally Holly 56 56 Spiritus, cuius reboatur omni Whose Glory is being resounded (re-echoed) Gloria mundo. By the whole world 135 Background This text comes from the Roman Breviary, for the Sunday Matins on the fourth and all following Sundays after Pentecost. In Liturgia horarum, which is the Breviary revised by the Second Vatican Council, the hymn is used for the Office of the Readings 136 on Tuesdays during the second and fourth week of the Psalter 137 during Ordinary time. 138 The instruction in the Liturgia horarum is for Ad Nocturnum to be used ³ 4XDQGR 2IIL F LXPOHF WL RQLVG LFLWXU QRF WXYH OVXPPRP DQ H ´ when the Office of the Readings is observed at night or very early in the morning. 139 Another hymn is to be used if the Readings take place during the day. This is relevant given that Orbán chose the WUD GLW LRQDOWL WO H ³ Ad Nocturnum ´ F OH D UO \ LQGL F D WL Q J H vening use), since this hymn has EH F RPHSRSXOD ULQ3 H UF \ 'H D UPH U¶ VWUD QVO D WL RQD G D SWHGI RUWKH PRUQLQ J S UD \ H U LQW KH $QJ OL F D QF KXU F K³)DWKH U ZH SUD LVHWK H H QRZWKH QLJ KWL VRYH U´ 135 All word-by-word translations were provided by Neda Kandimirova in July 2013 for the express purpose of their use in this paper. 136 Formerly referred to as Matins. 137 7 K H Q H Z ³ V F K H P D´ R U DU U DQ J H P HQ WR I W K H S V DO P V L Q I R X U Z H HN O \ J U R X S V 138 ³ 1R FWH 6 X U J H Q WHV´ DF FH V V HG - X O \ http://www.preces- latinae.org/thesaurus/Hymni/NocteSurgentes.html 139 ³ % U HY LDU LR % U HY LDU \ R Q / L Q H 7 LHP S R 2U G LQ DU LR 3 HU $ Q Q X m - Liturgia Horarum by Bernard Marsh & 5 DI DH O & HU HF HG D ´ DF FH V V HG - X O \ http://www.almudi.org/images/Portals/0/docs/Breviario/fuentes/breviario.asp?tiempo=6 57 57 Musical Setting The dynamic levels indicated correspond to the message of the text. The general soft dynamic is in agreement with the nocturnal theme: the hymn is sung at the darkest, scariest part of the night, right before dawn. The words that describe the act of singing to counteract darkness and fear are the ones that KD YH ORXGHU G \ QD PL F V³LQSVD OP LV PHGLWHPXU ´ PP - ³ GXOFLWHU K \ PQRV ´ (m. 19 and following), ³ SD ULWH U F D QH QWHV ´ (m. 32). The middle section of the motet is a prayer for finding a place among the blessed in Heaven. It is set mf to ff in the part describing Heaven and retreats to a humble subito p when referring to life on e D UWK D WW KH ZRU GV³ GXF H U H YLW D P .´ The next dynamic climax is in m. 59, where the music arrives at ff IRU WKHZ RUG³ G H LW D V´ ² the crescendo on ³ SUD H VW D WQREL V´ UH IO H F WL Q J WKHPD M H VWL F appearance of God. The character changes back to a more humble and intimate one with a subito pp in m. 60. The only loud moment from this measure on LVR QWKHZ RUG³ *ORUL D ´ LQP P -77. The dynamics of the motet IROORZWKH SUD \ H U¶ VVKL IWV EH WZH H Q D QL ntense plea for help and an expression of humility in the face of God in the darkness of the night. The melodic language and the texture follow the same pattern. At the word ³ RPQHV ,´ WKHI XOO F KRLUP LUU RUVWKH WH[ WE \ MRL QLQJ WKHVLQJ OHVRSU D QROL QH , n the entire first section until m. 29, the motet has a call and response texture, which illustrates the tradition of monastic Office singing. The homophonic sections in mm. 6-10 and 16-19, which are set low in range, may be understood as the idea of nigh WW LP H ³QR F WH YLJ LO H PXV´D QG ³ QRF WH' RPL QRF D QD PXV .´ The juxtaposition of the hushed homophonic sections in mm. 1- ZLWKW KH VRSUD QRV¶ chant-like music may represent the dichotomy between the lonely, frightened individual at night (perhaps a monk praying this hymn) 58 58 versus the complete darkness of the night surrounding him. $W³ GXOFLWHU K \ PQRV ,´ D OO IRXU voices participate equally and in a higher tessitura in an illustration of the singing process. The motet starts with a Lydian tetrachord (F4 ± B4), then expands the scale into a Dorian hexachord, ending on a D in the soprano while the choir adds a G major harmony. This introduces the modal ambiguity of the motet, presented in both the melodic and the harmonic writing: the overall mode could be defined as G Mixolydian, but D is present as well, as the center of both Dorian mode and harmonic minor. Example 4.1. György Orbán, Ad Nocturnum, mm. 1-6, modally ambiguous opening melody in D. The ever-changing time signatures also contribute to the unsettling feeling of this nocturnal musical prayer: 5/8, 6/8, 7/8, 8/8, 2/4, 3/4, 4/4 all abound, changing according to the dictates of the text ³ 3 UD H VWHWKRF QRELV ´ LVW KH WH[ WZKLFKVWD \ VLQD steady, constant, and grounded 3/4 at the conclusion of this work (mm. 79-84), arriving at a final relief I URPWKHSU D \ H U¶ VR ZQI OL J KW \ KH D UWEH D WV . The general trend in this motet is the avoidance of cadential moments that involve the leading tone (except for one in m. 28). The adding of accidentals that lead into a certain tonal direction, then taking them away before the progression has become too 59 59 conventional, defines the entire composition. Sharps are introduced at moments of build- up and then are taken out at sections of resolution ² the opposite of the usual process in tonal harmony where the interplay of tension and resolution is present until the very last F KRUG , Q2 UEi Q¶VRZ Q ZRU GV³ WKHI X UWKH VWP RGXODWLRQKDSSH QVD WW KH F OL PD[ ´ 140 in tonal music. In this case, the greatest amount of accidentals (C#, F#, G#, D#), foreign to the overall G Mixolydian mode, are added in the climactic middle section. Example 4.2. György Orbán, Ad Nocturnum, mm. 46-47, furthest modulation from G- Mixolydian. $F F RUGLQ J WR2U E i QWKH ³ WRQL F ´ RIKLVPRW H WVZK LO H PDNLQJ LW VH OI clear throughout the composition GRH VQ¶WQH F H VVDU ily appear at the beginning or at the end. Due to its modal ambiguity, this motet serves as a perfect example. In describing the character of this motet, Orbán uses word-painting: creating sudden rises and drops in dynamic and sudden textural shifts depict the uneasiness of the soul, awakened at the darkest hours of the night. The lack of a definitive final tonal center could stand for the state of mind divided between fear and hope. 140 Orbán, interview by author, Budapest, August 2011. 60 60 Example 4.3. György Orbán, Ad Nocturnum, mm. 83-85, added A weakens G cadence. Structure A B A mm. 1-29 mm. 30-59 mm. 60-85 The opening features a descending line in the soprano in Hypomixolydian mode. The melody is built up by two motives, each a measure and a half in length. The first one features the pitches B, A, and G; the second one, D, E, F, and G. This second motive will result in a departure from the G-centered mode, as will be shown. After the Mixolydian modal harmonies in mm. 6-9, the centrifugal tendencies between D and G start to emerge and create two tonal centers. In m. 19, the soprano switches to an ascending melody, the onset of which coincides with the cadence in G. In m. 21, the harmony and melodic movement in the lower parts are in Dorian mode, and the arrival in m. 23 is the apex of ambiguity: the bass performs a cadential V-I leap D-G, as if to bring back the G-centered mode; at the same time, the other three voices form a V6/4 harmony in D. 61 61 Example 4.4. György Orbán, Ad Nocturnum, mm. 21-24, cadence in G (m. 23) coincides ZLWKV RSUD QR¶VXVH RI& VLJ QD OL Q J D 'PRGH . The chord should not be treated as V4/2 in D (or II7, as Watkins suggests) because of the fourth leap in the bass. Orbán is a master of voice-leading and vocal tuning; with that in mind, a correct understanding of the harmonic context in this and the remaining motets is crucial for the tuning of chords, especially when tuning to more than one center of pitch is expected. The bass continues to support the G mode with a C ♮ in m. 24 (counteracting the insistent uses of C ଈ in the soprano in this opening section) and the alto imitates it with a delay of one beat. Starting m. 24, the tenor mirrors the melodic movement of the soprano (asserting C ♮ as well). In m. 28 all voices arrive at a G major chord, which is the only definitive appearance of the key of G in the motet. The middle section starting in m. 30 of the motet is dominated by the tonal center D. The phrase endings in mm. 34, 36, and 40 reinforce the V. The bass has the strongest role in defining the harmonic identity: by moving from A-E (mm. 41-42) to A-D (mm. 42-43) and repeating this formula until the downbeat of m. 47, the bass asserts the center D. The climax of the motet (acco UGLQ J WR2U Ei Q ¶VGH ILQLWL RQD ERYH Z RXOG EH LQP P - 62 62 47, where not only is the dynamic ff, but also a G ଈ is introduced. This would be one of the most remote possible modulations from the tonal center G. The composer brings the tension down by gradually removing all accidentals (which in G Mixolydian are foreign and thus helped create tension) starting from m. 48 through m. 50. The transition into the final section of the motet is in mm. 51-59 on a repetitive B major harmony. It can be viewed as V of vi in G even though it never cadences on E. In m. 50-51, the alto part descends from F and E to Dଈ , creating an element of melodic surprise ² another reason for the appearance of the B major harmony. The third reason for creating a temporary tonal center of B becomes clear in m. 60: it provides a smooth transition into the closing section in m. 61, which is a variation of the opening of the composition. The intensity of the middle section is balanced by the simpler texture of mm. 60- 66: the bass and the soprano sing the same melody and the middle voices have long, sustained notes. In m. 67 the soprano arrives on a D while the bass arrives on a C and becomes a foundation for the C major harmonies under the Dorian pitch center. Example 4.5. György Orbán, Ad Nocturnum, mm. 64-69, the C Major chord in D Dorian cadence imbueds restlessness. 63 63 In this way, the centrifugal drive (the motion that drove us farther from the home key, G Mixolydian) that has started in m. 9 of the work is counteracted. The motet is being gently led back to its Mixolydian center G. The harmonies here result from the melodic drive: the direction of the soprano following a more predictable line towards soothing and a final ending, while WKHE D VVFRQWLQ XLQJ ZLWKW KH ³ word pai Q WL QJ ´ $V D OZD \ VLQ2UEi Q ¶VYRF D O ZU LW LQJ WKL V could illustrate his individual reading of the text: the prayer has not fully erased the fear in the soul. The melody in m. 70 leads the mode further away from the Dorian zone by using the Bb. F ♮ and C ♮ are actively featured in the harmony (with the bass returning there several times, beginning in m. 71). In mm. 74-76 the tenor brings back the soprano formula from measure 25-27, which concluded the opening section of the motet. The F ଈ appears one more time, but only to be counteracted by the F ♮ in the bass in m. 77. Instead of reinforcing G major through its leading tone, Orbán neutralizes the tonal drive in favor of modality. This final harmony should not be treated just as a tonic with an added second. It is a reflection of three different centers of the first opening motive of the motet: B, A, and G. 7KLVL VD J D LQD F RQILU PDWL RQRI .RGi O \ ¶VGH V F ULSWLR QRIWKH QH Z rules of harmony, wherein the connections between notes in their sequence validate their vertical combination. 141 Motet: Amor Sanctus Amor Sanctus, amor mundus Love holy, love pure Amor festus et iucundus Love joyful and delightful Cuncta fugat vitia; Chases away all sins; 141 Kodály and Bónis, Selected Writings of Zoltán Kodály, 90. 64 64 Amor plenus plene gaudet, The full love fully rejoices Osculari Deum audet To embrace God it dares Cum omni fiducia. With full confidence. Amor gemit, amor orat, Love sighs and pleads, Amor plengit, amor orat, Love cries, love laments, Pascitur suspirio; (love) Feeds on sighs. Amor qui caret lacrimis Love that lacks tears Nec suspirat ab intimis $QGGRH VQ¶WVL J K IU RPGH H SLQVL GH Caret desiderio. Lacks desire. Amor mundo vult conteri, Love from the world wants to hide, Mundus est ei oneri The world is to it a burden, Lux ipsa fastidio The light itself is a disgust. Cum differtur, amor crescit When separated, love grows, Minuere eum nescit To make it smaller, it (separation) cannot, Sed auget dilation Separation rather increases it. Background Bernard of Clairvaux (1090-1153), also known as Bernardus de Claravalle, is the author to whom De amore divino rhythmus (Poem on the divine love) is usually attributed. 142 $VEH F RPHV F OHD ULQWKH F RQWH[ WRIWKH SRH PW KH D GMHF WL YH ³ GLYL QH ´ GRH V QRWUH IH UK H U H WR³ORYH RI *RG´ EXWL VXVH d to define love as being of divine nature. The 142 Mihály Babits, Amor Sanctus, szent szeretet könyve, középkori himnuszok latinul és magyarul, fordította és magyarázta Babits Mihály (Budapest: Magyar Szemle Társaság, 1933), 98. 65 65 full poem has eleven stanzas, of which Orbán sets to music stanzas one, seven, and eight (Watkins lists incorrectly stanzas three, four, and seven). 143 A translation of these three stanzas is offered below. A few lines that are not set to music are offered here as well, in order to achieve a better understanding of the meaning of the poem. The first is the ending of verse three: Per amorem fit anima Through love becomes the soul Christi sponsa carissima Most loving spouse of Christ Et nubet divinitus. And joins in union divinely. 144 The second is the beginning of verse four: Patrem honoret filius: The son respects his father; Sed sponsa, quod est dulcius, But the spouse does what is sweeter: Sponsum suum diligit. She loves her husband. To the author, 2U E i Q¶VVH OHF WL RQRI VWDQ] D VUH YH D OV that he chose only those stanzas where the message is most condensed. The stanzas set by him are less descriptive of the types of love, but speak powerfully of the ways love affects people. In his own ZRU GV³WKH \ ZH UH PRVW H [ SUH VVL YH RIORYH D QGWKH PRVW F KD UD F W H ULVWL F RIWK H 0LGG OH$ J H VH QWL PHQW7KH SRH PL VD VWDWH PHQWRI WKHKL J KH VW IRU PRIORYH D KRO \ D QG SXUH ORYH´ 145 143 Watkins, 69. 144 Babits, 98. 145 Watkins, 69. 66 66 Musical Setting In 2011 Orbán pointed out WKH³ QH UYRXVKD UPRQLF F KD Q J H V´ LQW KLVP RWHW 146 They are determined by the melodic structure of the opening soprano line where the composition ¶V two tonal centers, D and G, are established. Uneasiness and modal ambiguity seem to go hand in hand in Orb i Q¶VZ U LW LQJ FRPSD UH WK H ³ SD i QW LQJ ´ D QGWKH two tonal centers D and G in Ad Nocturnum WRW KH ³ QH UYRXVQ H VV´H [ SUH VV H GZLWKW KH same two centers, in Amor Sanctus. The disjunct, fidgity, and almost instrumental nature of the melody on flighty, quick moving sixteenth-note rhythmic figures in changing meters (3/4, 4/4, 2/4, 3/8) also contributes greatly to the feeling of unsettling nervousness. The melody grows from small cells, and the third of the scale (which would carry the major or minor definition) is used as a passing or adjacent note, such as a lower or upper (sometimes chromatic) neighbor note, and serves to take away from the definitive nature of the scale. Example 4.6. György Orbán, Amor Sanctus, mm. 7-13, flighty, playful, and modally undetermined melodic material. 146 Orbán, interview by author, August 2011. 67 67 Example 4.7. György Orbán, Amor Sanctus, mm. 1-6, both D and G modes are represented. 7KH ³ QH UYRXVQH VV´LVH Q F RGH GLQW KH PRGD l instability of the melody, which may stem from the instability inherent in the text: the selection of verses is about love presented as anguish. The composition of the motet mirrors the way the description of love unfolds through the poem: the first verse praises love as the ultimate divine asset. The first verse is set to music sung as a single soprano line in which the modal ambiguity opens a door to complex emotions. Up to verse seven, the poem talks about the blessings of spousal love. The following two verses are dedicated to love as suffering (passion) and the conflict between love and the world. These are the emotions that trigger the uneasy musical setting of the rest of the motet. Structure I. Stanza II. Stanza III. Stanza Coda mm. 1-13 mm. 14-27 mm. 28-43 mm. 44-49 The first stanza, sung entirely by the soprano section, is marked by nervous, jerky rhythmic figures and t KH PHORG \ ¶VVS D Q J URZ V from a second to a fourth and into a hexachord. The brief appearance of the major mode that is the appearance of F ଈ on ³ PXQGXV ´ LQP , is neutralized by avoiding the use of F4 ( ♮ or ଈ for the rest of the 68 68 section. In m. 8 the F5 is introduced to outline the modal structure of the opening that consists of a D-centered hexachord (D4-Bb4) and a G-centered heptachord (G4-F5). For the second half of the first verse, mm. 7-13, the two modes (D and G) and their representative scales (the hexachord and the heptachord) mix together; m. 7 avoids featuring G4 (the second modal center), F4 and C5 which are necessary to define the major or minor modes in D. The G heptachord in m. 8 fails to resolve on G, as do the melodic figures in mm. 9 and 10. This goes against the expectation created by mm. 5 and 6, where the same pitch formula (D4-E4-A4-Bb4-A4) resolves on G. The oscillation between B and Bb in m. 11 again works to postpone the modal and tonal definition of the section. The first verse ends on a D while the intervallic drive pulls towards G; this is reached and considered convincing only by 2U E i Q ¶VVWXEERUQ repetition of D4. In the setting of verse two, the anticipation for a G goes unfulfilled until m.15. ³ $PRU J H PL WDPRU RU D W´ is set with phrase endings in G (m. 15 and m. 18). The use of Bb /B ♮ and Ab /A ♮ as part of the polymodality creates chords with jazz flavors, since WKRVHSLW F KH VD OVRV H UYH D V³ EOXHQRWH V´ LQ*D QG 'F H QWHU H GPRGHV6 LP LO D ULVWKHLPSDF W of C ଈ /D and F ଈ /F ♮ in m. 21. The Eb that appears in mm. 16 and 24 is a part of the G centered major/minor scale. The principles of bi-modality result in an aural kinship with jazz and Orbán goes along with it. The D-G major/minor ambiguity is present on the level of a single melodic line, for example in mm. 17-19 in the alto part, where both Ab and A ♮, and Bb and B ♮ exist as a unique set of ³ EO XH QRWHV´ (for the centers G and D respectively). This horizontal coexistence 147 once again impacts the harmony 148 when Ab and Bb ³ F ODVK´ RQWK H GRZQEH D WRI P 147 Kodály and Bónis, Selected Writings of Zoltán Kodály, 90. 69 69 When the tonal drive becomes too strong, Orbán chooses to avoid the expected cadence, as in m. 27. The soprano part is set to a Dorian mode line from m. 20 to m. 27 and cadences on a D. In contrast, the tenor part is set to a strong G major/minor one with an end on G in m. 27. The C ଈ and the F ଈ in the alto part (mm. 23-25), in a simple tonal environment, would result into a cadence in D major. The ending C ଈ in m. 27 functions as a seventh in D (thus making the chord in m. 27 bi-functional) but to the ear, it is also a blue note in G (C ଈ Db). The bass seems to stay faithful to the G minor zone until m. 27, where it offers a harmonic base for a V chord in D, complemented in this role by the C ଈ in the alto part. The chord in m. 27 follows the G9 in m. 25, and A11 in m. 26, and is a mix of tonic and dominant in D; while sounding a lot like a V in D, this chord carries the ambiguity of the two tonal centers (D and G) because of how D, G and C/C ଈIXQ F WL RQ in the keys of both D and G. 148 Ibid. 70 70 Example 4.8. György Orbán, Amor Sanctus, mm. 21-27, illustration of the bi-modality (D and G). The last verse of the motet begins in m. 28 and turns away from tonal clarity in WKHVD PHZ D \ WKDW ³ ORYHW XUQVD ZD \ IU RPW KH ZRU O G´ LQW KH WH[ WIH D WXULQJ ) ଈ / ♮, C ଈ / ♮, Eb/ ♮, Bb/ ♮ and its enharmonic A ଈ and G ଈ . D reestablishes itself as the tonal center of the motet while keeping its bi- PRGDOQD WXUH , QWK H SKUD VH ³ OX[ LSVDI D VWL GLR´ (starting m. 32), G makes an appearance in mm. 33 and 35. The repeated D in the bass line plays different harmonic roles: as a tonic, the D appears on the second beat in mm. 34 and 36 71 71 and as a dominant in mm. 33 and 35. The tonal drive in the upper voices is not established by tertian harmonies, but by their melodic writing. Example 4.9. György Orbán, Amor Sanctus, mm. 28-36, lack of tonal clarity in mm. 28- 32 then reestablishing G as center through melodic formulas in upper voices. The next four measures (mm. 37-40) feature D as a tonic in the bass but it occurs on the second beat, which weakens its cadential power. The harmonies sustain the modal ambiguity and, even though their structure seems homophonic, the tenor and the alto have their own melodic formulas that define the harmonies, not the other way around. The soprano maintains the Dorian mode just as in mm. 20-27. The seventh scale degree is carefully avoided in the soprano and saved for repeated use in the bass. 72 72 Example 4.10. György Orbán, Amor Sanctus, mm. 37-43, D center established through melodic writing. G makes a temporary appearance again on the downbeat of m. 41 and on the pick- up to m. D IWH UZ KLFKL W³GLVVRO YH V´ LQW KH VL[ WHH QWK -note runs in m. 42. By the very end, the harmonic choices are a result of the interplay of major/minor mode in the horizontal writing of the voices. The final two measures conclude the motet in the same style: the use of III in place of a V is facilitated by the doubled functions of each pitch in the keys of D and G: A ଈ /Bb LVD³ EO XH QRWH ´ LQ* D VZH OO D V& ଈ ; C ଈ and F ଈ are leading 73 73 tones in D and G, respectively; F ଈ as a mediant in D that could serve as the root for a chord-substitute for V in tonal context. Example 4.11. György Orbán, Amor Sanctus, mm. 47-49, III-I cadence (F ଈ -D majors). 2U Ei Q¶VZ ULWLQJ D SSOL H VW KH EL -modal principles of Hungarian music as pointed out by Bartók 149 and the principle of harmony as a result of horizontal relationships as described by Kodály. 150 The resulting harmonies often exude a jazz flavor, but never really fit one single stylistic definition. This harmonic language perfectly illustrates the s SLULWR IWKH WH[ WW KD WVSHD NVRIORYH ¶VPD Q \ I D F H V Motet: Ave Maris Stella Ave Maris Stella, Hail, Star of the Sea Dei Mater alma, *RG¶ V0RW KH UNLQG Atque semper virgo, And eternal virgin Felix coeli porta. Blessed gate of Heaven. 149 Bartók, Essays, 365. 150 Kodály and Bónis, Selected Writings of Zoltán Kodály, 90. 74 74 Sumens illud Ave You who received that Ave Gabrielis ore, ) URP* D E ULH O¶VPRXW K Funda nos in pace, Secure us in peace, Mutans Evae nomen. You who changed the name of Eve. Solve vincla reis Break the chains of sinners, Profer lumen caecis, Give light to the blind, Mala nostra pelle, Our evils chase away, Bona cuncta posce. For all good things pray. Monstra te esse Matrem, Show that you are the Mother, Sumat per te preces May hear through you the prayers Qui pro Nobis Natus, He who born for us Tulit esse tuus. Took to becoming your Son. Virgo singularis, Virgin one and only, Inter omnes mitis, Among all (most) meek, Nos culpis solutos Us, from sin relieved, Mites fac et castos. Meek make and pure. Vitam praesta puram, Life show us pure Iter para tutum; Road prepare safe; Ut videntes Jesum So that seeing Jesus Semper collaetemur. Forever we rejoice. 75 75 Sit laus Deo Patri, Praise be to God the Father Summo Christo decus, To the Highest Christ ± glory; Spiritui Sancto, (and same) to the Holy Spirit, Tribus honor unus. Amen. To the Three the same honor. Amen. Background This motet was composed for a choir in Taiwan, and Orbán confessed that this F RPSRV LW LRQKDGWXU QH GRXWW REH D OL WW OHPRU H ³ V \ U XS \ ´ WK D QKH ZRXOGKD Y H OL NH G 151 The text was chosen intentionally for this island country, as it is surrounded by the ocean. 152 The hymn text was originally attributed incorrectly to Bernard of Clairvaux, but the hymn predates him. The poetry was found in the St. Gall manuscript from the ninth century and it has been the most popular Marian Vespers text since the Middle Ages. Musical Setting The hymn text has seven strophes, each of four hexasyllabic lines. Each line is VH WW RD VKRUWPXV LFD OP RWL YH (D F KYH UVH LVEDVH G RQWKHVD PH³ WKHPH ´ LQ GLII H UH QW voices, often passed from one voice to another. Watkins perceives the motet as an ³ H [ SD QGH G$I RUP ´ 153 A deeper analysis, however, shows that the motet possesses a definite A-B-A feel, with the most interesting motivic, textural, and harmonic changes occurring around the point RIWKH ³ J ROGHQPH D Q ´ RUPP -27 (verse six). 151 Ibid. 152 György Orbán, interview with the author, August 2011. 153 Watkins, 84. 76 76 Orbán said the melody or motive is not unlike an ever-permeating quasi passacaglia with a twentieth-century twist. 154 He conceived the passacaglia as a Hungarian folk song with four musical lines: x First line: two-beat pick up and first beat of m. 1, x Second line: beats three and four of m. 1 and first beat of m. 2, x Third line: beats three and four of m. 2 and beat one of m. 3, x Fourth line: beats two, three, and four of m. 3 and beat one of m. 4. Example 4.12. György Orbán, Ave Maris Stella, mm. 1-4, four-line folk tune as a quasi passacaglia. In the motivic setting, the theme starts in verse five (mm. 19-23) a third higher in the tenor. Measures 19-20 and all of verse six (mm. 23-27) marks the places of PD[ LP XPGHYLD WL RQIU RP WKHWKH PH¶ VRUL ginal pitch and line. Verse six is built upon the melodic formula used for the fourth line of the original theme. Another element that shapes the setting of the motet is the voicing. Verses one, two and three are set for three parts; the soprano part is added at the end of verse three to H ODERU D WHRQWK H H QGLQ J OL QH , QYH UV H VIRXU D QGIL YH WKHWKH PH³ PL J U D WHV´ EH WZH H QWKH different voices ² it is passed from tenor to alto in m. 14, and to soprano in m. 16; in m. 154 Orbán, interview with the author, August 2007. 77 77 21, the theme goes from tenor to soprano and bass simultaneously. This mirrors the PHD QLQJ R IWKH SU D \ H UWK H J LIWR IPH H NQ H VVDQGP H UF \ LVW REH VSU H D GI URPWKH³ RQH D QG RQO \ YLU J LQ´WR³ D OO SH RSOH´ , QWKHOD VWY H UVH WKH D OW RWHQRU , and bass outline the words ³ ) D WK H UWKH 6 RQ , D QGWKH +RO \ 6 SLULW´Z KLO H WKHVR SUD QRVL QJ VWK H UH S ULVH RI WKHRU LJ LQDO theme with an added melisma at the beginning of the last line. The third musical element that shapes the setting is the harmonic language: just as with the other two (motivic change and voicing), it outlines the three-section structure of the motet. Verse four brings a complexity to the harmonic style and verse seven carries the feel of conclusion by applying simple progressions. Measures 22-27 carry the most intense harmonies that coincide with the most ardent words of the prayer, wherein the believer implores the Virgin to intercede with Christ for help to overcome sinful urges. Based on all three elements of the setting, verses four, five, and six create a middle section B of the motet (the start of each verse is indicated in the score with a Roman numeral). Structure A B A vv. I, II, III vv. IV, V, VI v. VII mm. 1-13 mm. 14-27 mm. 28-34 The verses establish D major as the key center, with a Lydian color given by the G# featured in the theme. The extended cadence of verse three modulates from D into B minor in m. 13, only to return to a D-centered series of chords with increased involvement of seventh chords. Orbán uses a ii-I (E minor to G Major) cadence in m. 7 going into m. 8; vii-I (C#° to D major) in m. 11 going into m. 12; and vii-III (C#° to F# major) in m. 12 to 13. E is present in both E minor and C#°, and the chords plays the 78 78 ambiguous role of ii6 (E minor) and of vii (C#°), allowing for them to function smoothly as both an exit from D and a dominant leading into D. The use of diminished chords and the modal ambivalence between Ionian and Lydian mode allow for smooth shifts from tonal center D to G and A. Example 4.13. György Orbán, Ave Maris Stella, mm. 7-8, ii-I cadence. Example 4.14. György Orbán, Ave Maris Stella, mm. 11-13, vii-I, vii-III cadences. As the role of the seventh chords grows, the last chord in m. 18 (ii4/3) shares the function of a dominant in D with a series of chords that follow in m. 19 (vii9, V7) only to ³ ID LO ´ WRU H VROYHLQW RWKHH [ SH F WHG' PDMRU 7KH O RZH ULQ J RIWK e third in the keys of A 79 79 and D (in a dominant-tonic relationship) introduces C ♮ and F ♮. The resulting harmonies feature again a diminished chord (the penultimate one in m. 19) and a seventh chord (the last one in m. 19). Example 4.15. György Orbán, Ave Maris Stella, mm. 18-19, despite the well-prepared D mode cadence, Orbán shifts away from D. The musical idiom of the motet is dominated not by triads but by seventh chords. In this context, F ଈ serves as a turning point towards G as a new tonal center in m. 22. F ♮ in mm. 19-20 is a part of a progression with jazz flavor where the lowered third is used to modulate to a key where it serves as a low seventh: i(7)/III(7)-IV(7), which is reinterpreted as a v(7)/VII(7)-I(7). The expectation shifts briefly towards Bb major in m. 20, but the use of B ♮ on beat four of m. 20 indicates that the G is the aim. There is one short glimpse of G7 with F ♮ on the last beat of m. 20, thus making the use of the chord almost ecliptic. It is replaced by G7 ଈLQP Orbán thus avoids leading the harmony too openly into the direction of jazz. 80 80 Example 4.16. György Orbán, Ave Maris Stella, mm. 19-22, jazz flavors with the proliferation of seventh chords. The G ଈ /G ♮ ambiguity of the mode, established from the very opening of the composition, allows for the coexistence of an E major chord, outlined in the lower voices in m. 23, and a G major triad outlined by the starting and ending pitches of the descending sixteenth-note sequence in the soprano in mm. 23-25. This descending motive is borrowed for the setting of verse six from the ending line of the main theme. 81 81 The return of the A as a V in D dominates the verse; the lowered third in A (C ♮) appears again on the third beat of m. 24 and prepares the return of the key of D using a progression of the kind featured in mm. 19-20 (see Example 4.31). Example 4.17. György Orbán, Ave Maris Stella, mm. 23-25, interplay between descending sixteenth-note motives in D and G, and E and A majors to support V in D. An understanding of the harmonic context of the chords is crucial for understanding dissonance here. The melodically driven appearance of F ଈL QPKDV its 82 82 harmonic justification in the Jazz-influenced sequence of seventh chords, where lowered thirds and sevenths serve as turning points of modulation. This is where polymodal melodic writing finds its fitting setting in non-triad based harmony. In the tuning of the chords, the turning pivotal tone (in this case the lowered third turned root for VII in the new key) should be solidified in the chord of its origin. For example, the A (the root of the Am7) does not appear until the last sixteenth note of beat three in m. 24, on the sylla EOH³ S D ´ LQW KH VRSU D QRQHYH UWKH OHVVWKH F KRU GRQEH D WW KUH H R IPLVW REH WXQHG to A, not to C. The last verse of the motet is harmonized in a rather straightforward style similar to the opening section (verses 1-3) and this solidifies the A-B-A feel of the composition. The chord progressions are as follows: m. 28: I-IV-V; m. 29: II6/4-v6-v6-I; mm. 30-31 (first half): iii°6 (vii6 in G) -IV (I in G) - ii6-IV7; mm. 31 (second half) -m. 34: IV9 (or V9)-iii6-IV6-V6-I5-IV5-I. Example 4.18. György Orbán, Ave Maris Stella, mm. 28-31, conventional functional harmonic progression is employed. 83 83 7KLVDQD O \ VLV VXSSRUWV2U Ei Q¶VRZ QVW D WHPH QWVU H JD UGLQJ KLVV W \ OHWKDW is the musical setting stems directly from the text; that there is more than one style of composition upon which the composer draws his musical language; that some kind of ³ VRQD WD´ S ULQF LSO H LVDOZ D \ VS UH VH QW ZLWKDQH [ SRVL WL RQRI PXVL F D OP D WHU LDOD PL GGOH section with more intense character, and a reprise or recapitulation that restores the balance). The origin of the harmony is in the melodic setting, just as in the previously analyzed works 7KH SOD F H PHQWRI WKHPRVW VLJ QL I LFD QWP XVLFD OFKD Q JH VRU ³ H YH QWV´ occurs D URXQG WKH³ J ROGH QPHD Q´ SRLQW of the motet. Motet: Ave Regina Ave Regina Coelorum Hail, Queen of Heavens Heroina angelorum. Heroine of angels. Salve, Radix, Salve Porta Hail, Root; Hail, Gate, Ex qua mundo lux est orta. Through which to the world light is born. Gaude virgo gloriosa, Rejoice, virgin glorious, Super omnes speciosa, Above all beautiful, Vale, o valde decora Hail to you, o most fair, Et pro nobis Christum exora. And for us the Christ implore. Background The composition is a setting of the two verses of a twelfth century Marian antiphon, which, along with Te Lucis Ante Terminum (another one of the motets analyzed here), comprise part of the Compline service. , WL OO XVWUD WHV2 UEi Q ¶VD ELGL Q J LQW H UH VWL Q texts that reflect the human fear of darkness and its demons. The intensity of textual 84 84 expression is fertile s RLO IRU 2U Ei Q ¶VD ELO LW \ WRGHSL F WO LJ KWDQGGD UNQH VVF D OP QH VVDQG fear. In Te Lucis Ante Terminum, he uses the classic juxtaposition of C and C# to illustrate light and darkness; in De Vitae Vanitate, he uses a static middle section to convey the futility of ambition. Orbán does not employ tone painting per se, but the structure of his motets serves to intensify the message of the text. Each work is based on a certain motivic, textural, and harmonic structure set in accordance with the message of the text. The drive of the motet is created by introducing changes to these elements. Depending on whether the change is more subtle or drastic, the listener is either smoothly led to a new idea in the text, or thrown into a section of intense modulation that carries a stronger emotion. The composition is based on RQH RI+ XQ J D U \ ¶VPR VW popular Marian devotional chants. 155 The melody is compound in structure; to quote Orbán: a patchwork made up of three distinct and irreconcilable styles; after finishing a musical thought, the composer must have had another, better idea, and proceeded with it without merging the different styles. 156 The first line of the melody begins with both Latin and Hungarian text and then continues only in Hungarian. Of the three lines, Orbán uses only the first, which is divided into two phrases: Ave Regina Coelorum, Heroina Angelorum. These two motives will serve as a cantus firmus throughout the composition. 155 Papp, 323, example 215. 156 Orbán, interview with the author, August 2011. 85 85 Example 4.19. Anonymous, Ave Regina Coelorum, Orbán makes use of the first line. It is of some interest to note Orbán did not like how the cantus firmus ended in the source material. He thought that different historical styles were combined in a way that melodic and stylistic cohesion was not achieved. He, therefore, composed a better musical ending as seen at the end of this motet in mm. 53-59. His ending sought to highlight and add expressive elements to the beginning of the cantus firmus. Musical Setting In resemblance to medieval verse-and-response structure, Orbán has divided the text differently from its original two-verse structure. For the sake of analysis, it will be easier to think of the poem as consisiting of eight lines. Lines 3-6 are set as a response to lines 1-2 (starting m. 6) that is repeated again in lines 7-8 (starting m. 29). The motet H QGVZLW KD ³ PHGOH \ ´ RI YH UVH VRQH D QGWZRO LQHV -2-7-8. This is not only the order of the lines but also their musical setting ² the verses and the responses are distinguished as sections, both melodically and harmonically. At the same time, the overarching structure is a three-section form (A-B-A 1 ) defined by harmony and texture, where the second verse-response group is the middle section (mm. 25-48) and the combined verses at the end are the closing section (starting m. 49). 86 86 Structure A B Coda mm. 1-24 mm. 25-48 mm. 49-59 This work VKD UH V D F RP PRQIH D WXUH ZLWKDOD U J H QXPEHU RI2 UE i Q¶VPRWHW VW KH chant-like single melody opening. The modal opening seems to imply a tonal center G in D PL QRUPRGH , QGH H GWKHF D G H QF H VLQP PDQ GRQWKHZ RUGV³ U D GL[ ´ D QG³ SRUWD ´ D U H in G minor. This symbolically reflects the text ² *PLQRUEH F RPHVWKH ³ UR RW´ (radix) and ³ JD WH´ (porta) of the motet 2QF H WKH ³ J D WH ´ is open, G minor is replaced with other keys. The chord on the second beat of m. 9 plays the ambiguous role of Ab7 and Dº6. This chord springs from the use of G in the bass; the modulation into C major in m. 10 is most logical. A second cadence in C, mm. 11-12, features the low sixth and seventh in C. It has a modal character and ambiguity, and resolves into a chord with a missing third in m. 7KH ELUWKRIWKH ³ OL JKWRIWKH ZRU OG´LVW KXVL OO XVWUD WHGLQD OHVVVW UD L J KW IRU ZD UG way, preserving the idea of mystery. Example 4.20. György Orbán, Ave Regina, mm. 9-12, resolution to an open-fifth C chord word- SD LQW LQ J WKHP \ VW H U \ RI ³ OL J KWRIWK H ZRU OG .´ 87 87 7KH VH F WL RQ³ JD XGH YLU J R ´ LVDQH [ SUH VVL RQRI MR \ L Q& PDMRU PP -14) and Eb major (mm. 16-19). The modulation from C to Eb is achieved very smoothly through the expression of the individual voices. Example 4.21. György Orbán, Ave Regina, mm. 14-17, major chord arpeggiations used to depict ³ 5 H MRL F H 9L U J LQ .´ The use of Bb, which has been introduced at the very beginning of the work as a part of the G minor mode, supports the smooth transition. The varying use of Bb in this section of the motet is one of the driving elements of the harmonic changes. Its exchange with a B ♮ strik H VXVDWWK H ILU VW³ J D XG H YLU J R ´ ; its return in m. 15 makes for a smooth exit from C major. The kinship of the keys of C and Bb is in the shared pitches between C13 and Bb5. In this way, the last chord in m. 11 (Bb5 followed by C) and the first chord in m. 15 (Bb9 = C13, preceded by C) are akin. The downbeat of m. 15 plays a pivotal role in establishing the key that eventually will end the motet: Eb major. The Eb major section (mm. 16-19) leads to an Ab13 chord on the downbeat of m. 20, after having outlined an Eb7 chord in the soprano line. The 88 88 ED VVO LQHLQPP LUU RUVWKH ED VVRQW KH VD PHV \ OO D EOHVRI ³ J ORULRVD ´ D VLQ P Because of this, the expectation is for a Db chord on the downbeat of m. 20 (analogous to the Eb in m. 15). Example 4.22. György Orbán, Ave Regina, mm. 19-21, establishing the final key of Eb before a temporary excursion to Bb minor. Instead, Orbán continues by establishing a temporary zone of Bb minor. Through the principle of unfulfilled expectation employed there, the composition gains new momentum. The final goal is to arrive back to Eb major in m. 25, but this happens only after the use of a v (m. 23, downbeat) and iv (m. 24, downbeat). The use of a minor dominant and a minor subdominant adds to the mysterious character of the work. In m. 25, the cadence on Eb major following a Db chord (the last beat of m. 24) is analogous to the cadence of the flat VII, which resolves to I in mm. 11-12. 89 89 The next section of music begins in m. 25 with the opening chant motive of the motet. The composition WKXVHQWH UVLQWRDVH F WL RQ ZKLF KIXQ F WL RQVD VD ³ GH YH ORSP H QW´RI WKHD OUH D G \ S UH VH QW H GPD WHU LDOIU RPW KH ILU VWV H F WL RQ7KH ILU VW³VXEVH F WL RQ´ LVW KH VH WW LQJ of the second verse (see above) in the verse-response structure (lines 7-8). In it, the motive of the opening two lines is harmonized in Eb major (mm. 25-26) and the harmony expands to feature Eb13 (m. 27, beat three). Example 4.23. György Orbán, Ave Regina, mm. 27-30, t KLV³VXEVH F WL RQ´ LVGR PL QD WHGE \ the use of Bbm7, Eb7, Db7, and diminished G chords. These chords are all united by the use of Db as a pivotal tone for modulation in and out of Eb major; Db plays the same role that Bb performs in the key of C in the previous section of the motet. In m. 29 on the second beat, a plagal cadence ends on a C minor chord. Thus, the harmonization of the opening chant theme of the motet changes from Eb major to C minor and features an extension of the soprano part in m. 28. 7KH UH WXUQR IWKH UH VSRQV H ³ VD OYH radix. . . .´ LQP I H D WXU H VD QH [ D F W transposition of the soprano melody from mm. 6-12. From the second beat of m. 32 to m. 90 90 35, the harmonization is exactly the same as in mm. 9-12, except this time in the key of F major. The difference is in the opening measures of the section from the end of m. 29 to the downbeat of m. 32. Instead of a C minor chord on the second quarter notes of mm. 30 and 31 (that would have been a transposition of the G minor chord from mm. 7 and 9), Orbán uses a harmony in an undefined key ² it could be C minor without the root or Eb major without a fifth. The two chords on the pickup to m. 32 (Bb) and the downbeat of 32 (C) are Bb and C: IV-V in F major. They are in the same subdominant-dominant relationship as the chords in mm. 8-9 (F-Gm, IV-v in C major), but with a major dominant chord. 7KH PXVL F D OW KH PHWKD WL VD VVRFLD WHGZ LW KWKHWH [ W³JD XGH YLU J R J ORULRVD ´ R IWKH response here appears in F major. The influence of the Eb tonal zone is still very strong and demonstrates itself in m. 37. The harmony is more complex when compared to the simple V-I in m. 15. The chord on the downbeat of m. 37 (pitches Bb3-Db4-Eb4-Ab4) could be a Bbm13, Db9/6 or Eb13. These are the three centers that come out of the Eb7 chord through the use of the pivotal tone Db. 157 Not surprisingly, the new temporary key center F is also represented with a seventh chord, both harmonically (on the downbeat of mm. 42 and 45) and melodically (passed from bass to tenor and soprano in m. 40 and in the bass part of m. 42). 157 In the same way that C, G minor, and Bb major are akin through the pivotal Bb in the first section of the piece, all their roots are featured in the C7 chord. 91 91 Example 4.24. György Orbán, Ave Regina, mm. 40-42, the new key of F minor is established. The pitch Eb, the seventh in F7, is now the new pivotal tone for the new three-key zone: F-Cm-Eb. Again, C minor appears both melodically and harmonically in mm. 37- 38. Measures 43-47 mark the return of the Db-Bb minor zone through the active use of the pitch Cb ² a low five in the key of F and the seventh in Db 7KLVZD \ ERWK³] RQH V´ coexist and come together at m. 48: the third chord in m. 47 is Bbm7, followed by Gø7 (both sharing pitches with Db13). Gø7 serves as a viiø7 dominant to the Ab minor chord that comes on the downbeat of m. 48. It is followed by Fø7 that resolves into Eb major in m. 49 as part of a plagal cadence. 92 92 Example 4.25. György Orbán, Ave Regina, mm. 45-49, fast chord changes diminish the impact of the chords, causing only a rhythmical impact. The minor key centers of the work are reinstated on slow moving chords in the Coda, beginning at m. 49, while the cantus firmus melody doubled in the soprano and tenor and receives an alternate, original and very expressive ending from Orbán. G minor is used in m. 50, Bb minor in mm. 51 and 53, and C minor in m. 52. The final cadence of the motet, from the second half of m. 54 to the end, is plagal: ii-IV-I. The reinstatement of the temporary minor key centers at the end of the motet reveal that the modulations in the composition have sprung from its opening: G, Bb, and C are the starting, ending, and the top high notes of the chant, written in half notes. To summarize, the motet opens in G minor/Eb then continues in three key zones, each consisting of three keys connected by a pivotal tone. They are as follows: C/G minor/Bb ± Eb/ Bb minor/Db ± F/C minor/Eb major. In this way, the composition comes to a full circle and ends in Eb major. The importance of the seventh scale degree (emphasized by the use of seventh chords and its use as a pivotal tone for modulation) is 93 93 consistent with its role as a defining pitch in the Hungarian pentatonic scale, equal to the third and the fifth. 158 Motet: Daemon Irrepit Callidus (From ³ $QRQ\ PL+XQJDU LDI IHF WXVL Q- H VXPVXSH U RPQLDDPDELOHP ´ ) I. Vis tibi dicam, Jesu mi, Emi amorem animi, Quo accensus incalescit, inardescit? Quidquid amabile amabile mundus dat, Cor Jesu minus aestimat. II. Terra thesauris allicit, Flore spirants exserit, Monstrat flores, monstrat fronds, urbes montes. Quidquid amabile amabile terra dat, Cor Jesu minus aestimat. III. Mare corallum jactitat, Se diligendum praedicat. Uniones et syrenes, fonts omnes. Quidquid amabile amabile mare dat, Cor Jesu minus aestimat. IV. Flabilis aura sibilat: ³ DY H VLQPH F LUFXP Y RODQ W 4XLGTXLGYLY LW SH UPH VSL UDWHWVHJ\ UDW´ Quidquid amabile amabile aura dat, Cor Jesu minus aestimat. V. Ignis ad haec ingreditur; Is ita cr alloquiturs: ³ 6XPY LW DOHP GDQVDUGRUHP GDQVDUGRUHP ´ Quidquid amabile amabile Ignis dat, Cor Jesu minus aestimat. VI. Caro venatur sensibus, Sensus adhaeret dapidus; Inescatur, impinguator, dilatatur. Quidquid amabile amabile Caro dat, Cor Jesu minus aestimat. 158 Bartók, Essays, 371-373. 94 94 VII. Daemon Irrepit Callidus callidus, Allicit cor honoribus, Ponit fraudes inter laudes, cantus, saltus, Quidquid amabile amabile Daemon dat, Cor Jesu minus aestimat. VIII. Adde mundorum milia, Mille millena gaudia: Cordis aestum non explebunt, non arcebunt. Quidquid amabile amabile Totum dat, Cor Jesu minus aestimat. 159 The following is a translation in the verse order set by Orbán: VII. Daemon irrepit callidus, The shrewd demon creeps in, Allicit cor honoribus, Lures the heart with marks of honor, Ponit fraudes inter laudes, cantus, saltus, Mixes lies in with praise, song and dance. Quidquid amabile amabile daemon dat, What the demon gives may be lovely, Cor Jesu minus aestimat. But it is less precious than the heart of jesus. VI. Caro venatur sensibus, The flesh is hunted by sensuality; Sensus adhaeret dapidus; Gluttony sticks to our senses; Inescatur, impinguator, dilatatur. The flesh fills up, becomes fat, expands. Quidquid amabile amabile caro dat, The flesh may give pleasure, Cor Jesu minus aestimat. But it is less precious than the heart of jesus. VIII. Adde mundorum milia, Add together the thousands Mille millena gaudia: And thousands of joys in the world. Cordis aestum non explebunt, non arcebunt. They will never satisfy nor keep at bay the fires of the heart. 159 Babits, 95. 95 95 Quidquid amabile amabile totum dat, The universe may be very enticing, Cor Jesu minus aestimat. But it is less precious than the heart of Jesus. 160 Background This work employs an anonymous medieval Goliardic text from an eight-verse hymn found in "Anonymi Hungari affectus in Jesum super omnia amabilem" ³ $QRQ \ PRXV +XQ J D ULD Q ¶VD GRUD WL RQIR U- H VXVZRU WK \ RIORY H D ERYH D OO ´ 2U Ei QIRX QG the translation of the poem amongst M LKiO \ % D ELW V¶VPD OO H USRH WL F WUD Q slations. Babits (1883-1941) was one of the most significant Hungarian poets in the early twentieth century. He majored in French and Latin and subsequently produced a significant volume of translated poems from the Middle Ages. Most of them are texts by Goliards, who wrote Latin verse using stress-based prosody, rather than in Classical quantitative meter. Daemon Irrepit Callidus LV2UEi Q¶VSH UKD SVP RVWZH OO -known choral work in the United States. As with many Goliard poems, the subject of sacred and secular mixes within a given poem. Here, the juxtaposition of good and evil represents the two opposing ideas of sacred and secular. This vivid composition is written from the standpoint of human imagination and fear. As part of the recurring theme of seeking protection from the forces of darkness, Daemon Irrepit Callidus can be placed in a group with the settings of hymns for Vespers, Compline, and the nighttime hours of the Office. In terms of form, the PRW H W¶V simpler and repetitive structure makes it closer in style to De Vitae Vanitate. 160 György Orbán, Daemon Irrepit Callidus (Chapel Hill: Hinshaw Music, 2001). 96 96 Musical Setting The struggle between good and evil is represented vividly in the presence of a stubborn, ostinato like eighth-note pulse, in the fast tempo indication (Allegro), and in the extensive use of chromaticism. The manic and unsettling chanting on the oscillating minor second eighth-note figures seems to evoke some sort of exorcism or tribal encantation; its punctuated rhythms in the first 3/4 section of the motet, as well as the use of the fusion of Lydian and Mixolydian modes (reminiscent RI% D UWyN¶ V Cantata Profana 161 ); and the use of the Gypsy or Double Harmonic Minor Scales can all be understood as expressive musical tools to GH SLFW³ H YLO ´ It is interesting to note that both of these scales possess two tritones, whereas every other scale or mode (excluding the Locrian mode) only has one tritone interval. G minor scale with raised fourth and seventh scale degrees: Ab Lydian scale with flat seventh scale degree or Lydian-Mixolydian fusion scale: While the original poem is comprised of eight verses, Orbán chose to set only the final three to music and not in their original order: verse seven D VWKH F RPSRV LW LRQ¶VI LUVW verse, verse six as the second verse, and verse eight as the last. Orbán chose to conclude 161 ³ 2 Q 0R G HV´ DF FH V V HG $ X J X V W http://www.jomarpress.com/nagel/articles/OnModes.html 97 97 the composition with the third line of the last verse, ³ cordis aestum non explebunt ´ (they will never satisfy the heart). This serves to re-emphasize the main idea of the motet: worldly possessions will ³ QH LW KH U IXOI LO OQRUSXWRX WW KH GH VLUH RIWKH K H D UW ´ Structure The form of the composition resembles a modified rondo. The term is used loosely here, referring chiefly to the fact that the motet has recurring, refrain-like passages (A/a) punctuated by episode-like interludes (B, C, and D). The F RPSRV LW LRQ¶V 49 measures may be sectionalized as follows: A mm. 1-10: Utilizes the first three lines of verse 1 B mm. 11-14: Written on the last two lines of verse 1 A mm. 15-16: Repeats the third line of verse 1 C mm. 17- 20: Verse 2 commences: lines 1 and 2 D mm. 21-24: Third line of verse 2 A mm. 25-30: Last two lines of verse 2 D 1 mm. 31-42: Lines 1-2 and 4 of verse 3 A mm. 43-46: Line 5 of verse 3 Coda mm. 47- 49: Line 3 of verse 3 The main theme, called A in the following, is comprised of two musical building blocks; the first of these may be found in the tenor and alto throughout mm. 1-10. It is a stubborn two-note chromatic ostinato pattern on eighth notes in thirds. The other building block is more melodic, sung by bass and soprano in octaves, and uses an exotic G harmonic minor scale, the Hungarian, Gypsy, or the Double Harmonic Minor scale, in which the fourth scale degree is raised by a half step: G-A-Bb-C ଈ -D-Eb-F ଈ -G. The soprano-bass melody is delivered in only four measures total (2+2) ² interjected in mm. 3-4 and mm. 7-8, during and in between the unceasing tenor- D OW RRVW LQDWR7KH PHORG \ ¶ V first two measures may be understood as a musical question (arsis) ending in Bb, and its 98 98 second two measures can be viewed as a musical answer (thesis) concluding on the tonic G. The overall effect of these first ten measures is very dynamic and sets the mood for what is to follow. Example 4.26. György Orbán, Daemon Irrepit Callidus, mm. 3-4, the melody in the soprano and bass in octaves with the ostinato in the alto and tenor in thirds; musical question (arsis). Example 4.27. György Orbán, Daemon Irrepit Callidus, mm. 7-8, musical answer (thesis) in soprano and bass melody. 99 99 Section B is shorter, only four measures, and is the first installation of the textual refrain: ³ 4XLGTXLGDPD EL OH' D H PRQGDWFR U- H VXP LQXVDH VWL PDW´ The lower three voices become soft, equal in weight, and they chant the text canonically on an Eb major chord; descending afterwards to a G in octaves. This short section invokes the sound of hocketing voices. The triplets bring the image of the flapping wings of a beating human KH D UWD VLW SLQHVI RU- H VXV ¶KH D UW In m. 15 (the beginning of section ³D ´ ), the soprano joins in with the alto and tenor as if to wake us from our slumber with a ff. The three voices move simultaneously on eighth notes, resulting in a chromatic see-saw motion between G minor and F ଈ minor chords. 162 The hocketing Eb major chord follows immediately in the soprano, alto, and bass, and a sensuous, meandering melody presents itself in the tenor (mm. 17-20) as an addition to the trio of hocketing voices. It is a musically exciting moment that corresponds to ³ WK H flesh is tempted by sensuality ´ (caro venatur sensibus); 2U Ei Q¶V sensitivity to the meaning of the text is much in evidence here. In addition, the change from 4/4 to 3/2 in m. 15 creates a sense of instability and unpredictability. In the same section C, mm. 17- ZH ZLWQHVV2U Ei Q¶VI D YR ULWH WRQDOD PEL J XLW \ the melody sounds as though it is in Bb major, while the hocketing voices spell an Ab9 chord with the seventh of the chord oscillating between a G ♮ and a Gb. This increases the overall sense R ILQVWD ELO LW \ $ ³ GLDEROLFD O waltz ´ LQ ensues in mm. 21-24 (section D RQWKH ZRU GV³ , WRY H U J UR ws, encroaches, it stretches ´ (inescatur, impinguator, 162 This measure is the developed form of the original alto-tenor ostinato from the beginning of the piece. 100 100 dilatator). In this macabre fusion of Lydian and Mixolydian scales in Ab, 163 the soprano is given an ascending melody in accordance with the text; by the end of m. 24, the melody has spanned an octave in range. Meanwhile, the alto, and tenor stay connected in a duet providing eighth-note offbeats as in the accompaniment of a waltz. Example 4.28. György Orbán, Daemon Irrepit Callidus, mm. 21-24, notes of the melody with D ♮ in the soprano form an Ab Lydian and Mixolydian fusion scale. The return of section A in m. 25 goes back to G minor with a reduced texture and subdued mood; the bass and then the alto sing the familiar melody from m. 3 softly, while the soprano and the tenor sing the ostinato pattern in sixths. The interjection of the ostinato between the recurrences of the melody that used to be two measures long (mm. 5-6) are now reduced as well: in the 3/2 time signature, it is only one measure long. The 163 Lajos Bárdos, Selected Writings on Music (Budapest: Editio Musica, 1984), 88ff. This scale is identified by Bárdos as one of the Heptatonia Secunda scales created by rotating half and whole steps: 1 is used for K DO I V WHS V LV X V HG I R U Z K R OH V WHS V 7 K LV V FD OH ¶ V I R U P X OD LV -2-2-1-2-1-2. 101 101 alternation of the 4/4 and 3/2 time signatures creates an interesting asymmetrical sense of WL PHWKL VSURJ UH VVL RQLV GH YH ORSHGI X UWKH UE \ WKH RVWL QD WR¶VF KURPD WL F RVF L OO D WL RQLQW RD full-fledged chromatic run by the soprano, alto, and tenor in m. 30. 7KH ³ GLDEROLFD OZ D OW ] ´ UH WXUQVZLWKP RUH F RPSO H [ LW \ W han before. The musical material in mm. 21-24 expands into an eleven-bar variation in mm. 31-41 (section D 1 ). The bass sings a melody on an A-Bb-C trichord, the rhythm of which naturally emphasizes beat two of each measure, another asymmetric element. 164 The soprano shadows the bass melody on short eighth notes while the tenor and alto sing staccato notes off of beat one, and on beats two and three much like in mm. 21-24 before. 164 Orbán, interview with author, August 2007. Orbán noted that this trichord melody is not unlike a ³ V S L Q Q LQ J ´ P R WLY H L Q Z K LFK R Q O \ W K H U K \ W K P E U LQ J V V WU X FW X U H , U R Q LFDOO\ E X WS HU K DS V LQ WH Q WLR Q DO O \ 2U E iQ chose to blur the metric accents in this melody.) The spinning motive reminded him of fiddle players in Transylvanian wedding bands of old who had to play long hours at weddings. By 4 a.m., having exhausted WK HLU U HS HU WR LU H R I P HOR G LHV DO OWK H \ K DG OHI WWR S OD \ Z HU H ³V S LQ Q L Q J ´ P R WL Y HVE DVHG R Q W K H WX Q H V DOU HD G \ performed or they just improvised. 102 102 Example 4.29. György Orbán, Daemon Irrepit Callidus, mm. 31-36, bass melody (spinning motive) uses trichord while other voices provide an accompaniment. With all of the bustling rhythmic activities taken together, the natural downbeat is somewhat blurred, and at this point the composition sounds like a passionate instrumental trio from a tango bar in Buenos Aires. At m. 37, the bass melody merges with the soprano and while the note values become shorter, the sense of melody is still aurally perceivable. This pizzicato F KRUD O³RU F KH VWU D WL RQ´ RIWKH WZR -by-two voiced texture (B/S against A/T) goes back to the use of triplets on the last line of the poem. It is only now in the motet (mm. 40-42) that all the voices are granted a quarter note of rest together, as if they are all exhausted from the struggle. 103 103 % XWEHI RU H WKHU H LVDQ \ IL QD OUH OD[ D WL RQWKHYRLF H V ³ rise XS´ again. The tenor-alto duo reclaims their initial ostinato while the bass and soprano sing the main theme of the composition two octaves apart at ff. The musical impetus at this point is very strong; a two-measure chromatic passage in all four voices suddenly ends on a G minor triad with an open fifth and the composition is over as if it ran out of energy. This is probably the only of examined motets in this paper where direct text- painting is employed. Rhythm, texture, tempo, and dynamics determine the structure and drive of the motet rather than harmony, polyphony, and melodic writing, making the work XQLTXHD PRQ J 2U E i Q¶VYRF D OZR UNV: KD WW KLV composition has in common with the other motets is that the nature of the music emerges from the nature of the text, with its strong, and provocative imagery. Motet: De Vitae Vanitate Qui humanae legis, You who of the human life Vitae folium Reads the book Quod natura scripsit What nature wrote Audi scholium. Hear the lesson. Debilis et fortis Weak and strong (Omnis) olim sevae mortis Everyone one day to the cruel death Fient spolium. Will be prey. Illa Codrum, Croesum He Codrus, Cresus, Illa servum, liberum, Slave and freeman, Macrum et oboesum Lean and fat, Herum et famulum, Master and servant 104 104 Uno sternit ictu, With one stroke takes down, Finito conflictu, And after the final struggle Fert in tumulum. Brings them to the tomb. Cerne vix enatum Look at the newborn Cerne flosculum Look at the little flower Ut supremum figas So that you catch Illi osculum. Its last breath. In hoc brevitatis In this shortness Vitae vanitatis For the nullity of life Sume symbolum. Grasp the symbol. Background This anonymous hymn text, also featured in the Babits collection, 165 has an unstable scheme of rhyme and stress, with a mix of syllabic and syllabo-tonic organization. 166 The original text, as it appears in Babits, differs from the one featured in : D WNL QV¶GLVVHU WDWLRQ WK H ODWWHU GRH VQRW RXWO LQHWKH GXUD WL RQRI WKHK \ PQO LQHVRU WKH SRH P¶VU K \ PHD QGPHW ULF VWUXF WXUH Musical Setting This motet provides interesting insight into Orbán ¶VF RPSRV LW LRQDOSU RF H VV Orbán himself defines the harmonic language of the motet as being derived from the 165 Babits, 154. 166 A type of accentual versification based on the regular alternation of strong, or stressed, syllables and weak, or unstressed, syllables. See Great Soviet Encyclopedia, s.v. ³ 6 \ OODE R WR Q LF 9HU V LI LFD WLR Q ´ http://encyclopedia2.thefreedictionary.com/Syllabotonic+Versification. 105 105 melodic writing in a Renaissance manner, according to Watkins. 167 While it is hard to TXH VWL RQ2U Ei Q¶VRZ QVW D WHPH QWVR PHH ODERU D WL RQLV QH H GH GWR explain the processes that drive the harmony of the motet. This is especially necessary for the sake of appropriate tuning. Watkins defines the mode of the work as Dorian, 168 although the presence of Bb WKURXJ KRXWDOOW KH VWDWH P H QWVRIWKH³ WKHPH ´ VSH D NV differently. As often happens in 2U Ei Q¶VSRVW -avant garde writing, the tonal center of the composition does not demonstrate itself at the opening nor throughout the entire motet until the very end. Nevertheless, it is always implied, 169 and the choice of harmony creates anticipation for the fundamental note without it actually appearing. The motet is definitely polymodal; if presented as a scale, its D-centered mode would look like this: Other accidentals occur as part of modulation to other tonal centers. The mode fluctuates between major and minor and is not Dorian. We can find ³ VSLQQ H U ´ P RWL YH s, such as in Daemon Irrepit Callidus mm. 31-36 in the bass, in this composition as well. 170 The first of these (motive 1) is two measures long and occurs in mm. 1-2, 5-6, 37-38, and 41-42. It is comprised of only three notes: G-A-Bb with the A as tonal center. The second of these spinner motives (motive 2) is 167 Watkins, 112. 168 Ibid. 169 Orbán, interview with author, August 2011. 170 Orbán, interview with author, August 2007. 106 106 one measure long; it is presented first in m. 9 in the soprano, then used immediately in m. 10, this time transposed. Example 4.30. György Orbán, De Vitae Vanitate, mm. 1-2, Motive 1. Example 4.31. György Orbán, De Vitae Vanitate, mm. 9-10, Motive 2. Motive 2 is also used from mm. 45-57, where it acts as an ostinato in canon in the tenor and bass. Similarly to motive 1, motive 2 has only three pitches: F#-A-Bb (used throughout in the alto, tenor, and soprano). Its transpositions include A-C-Db in m. 10 (soprano) and B-D-Eb in mm. 46-57 (bass). The author sees similarities in the use of the ranges of these motives to that of Poulenc, but more importantly to her own folk tradition, where the use of limited pitch range dates back to the most ancient times before WKH0D J \ D UV¶ D UU LY D O to the Carpathian Basin. 171 However, the author feels that this restriction in pitch range does not dim LQL VKW KH PR WL YH V¶H II LFL H QF \ in fact, quite the opposite. 7KLVW H F KQLTXHXQGH UVF RU H VWKHSRH WU \ ¶ V PHVVD JH and drives home the point: life, like the motive under discussion, is short and restricted. 171 László Vikár, Folk Music, lecture series, Zeneakadémia, Budapest, Hungary, 1988-1992. 107 107 2U Ei Q¶V F RQIL UPD WL RQRI KLV³5HQD LVV D QF H - OL NH ´ F RPSRV LW LRQDOSU RF H VVVKR XOGEH in no way misconstrued as relating to his melodic writing or the resulting vertical relationships between the parts. Just as in Renaissance music, the harmonies result from the nature of the melody, its span and its intervals, but the sound of this motet is very far IU RPW KD WRI5HQD LVV D Q F H PXVL F $VXVXD OZLW K2U Ei Q¶VPRWHWVW KH VWUXF WXU H RIWKH WH[ W defines the setting of the music. Structure A B A v. 1 v. 2 v. 3 mm. 1-12 mm. 13-36 mm. 37-60 7KH SRH P¶VSRZ H UI XOP H VVDJH PDNH VXSIR ULWV unstable scheme of rhyme and stress scheme. The opening line sets a metric structure matching the one of the popular hymn Ave Maris Stella. 2U Ei Q¶VPXVL F D OV H WW LQJ I ROO RZVWKHSR H P¶VWKUH H -verse structure D QGWKHPH WULF VH WW LQ J IRO ORZVW KH SRH P¶VLUU H J XOD ULW \ 9H UVH RQ H LVV H WW RW R accommodate the trochaic meter combined with spondee at the end of every other line ³ IROLXP ´ ³ VF ROL XP´ ³ V SROL XP´ ). In the sixth line, he adjusts the text to fit a more regular pattern: the soprano part is set to ³ 'H ELO LVHWIRU WL VRO LP VH YD H PRUWL V´ with the word ³ RPQL V´ that interferes with the regular meter sung in the harmony. 172 The second verse is set in 2/4, as it does not feature the spondeic line and does not require values longer than half notes. Logically, the rhythm features mostly eighth and sixteenth notes. The third verse brings back the spondee and with it the 4/4 meter and the longer durations. The A-B-A structure of which Orbán is so fond is already hinted at in the SRH P¶VWKUH H Y H UVH VG H IL QH GE \ WK H LUPH WHU 172 ³ 2 P Q LV ´ L V Q R WI HD WX U HG LQ W K H WH[ WD V J LY H Q E \ % DE LWV 108 108 Further on, the melodic and harmonic language of the composition reinforces the A-B-A relationship between the sections. The chant-like opening of the motet is UH PL QLVFH QWRI2 UE i Q¶VH D UOLH UPRWHWVH WW LQJ VLQW K H NH \ RI' Ave Maris Stella features a mix of major and Mixolydian mode as its central key; De Vitae Vanitate has a major/minor feel to the opening theme. G#, which has a powerful influence in the harmonic language of Ave Maris Stella, plays a very active role in the establishment of the alternative tonal center for the middle section. While Orbán says that the harmony is to be viewed solely as a result of the melodic and polyphonic writing, 173 the repetitive use RIF H UW D LQSL WFKH VLQW KH PHORG \ U H IOH F WVV LP LO D UKD UPRQL] D WL RQWKURXJ KRXW 2U Ei Q¶V F KRUD O writing. The use of 7-9-11-13 chord progressions is observed again as in Ave Regina: in mm. 7-8, this is Bm11 - D13 (with added sixth on the last eighth note) - A. The F#7 F KRUG RXWO LQHGLQWKHVRSU D QRLV WKH³ EULG J H ´ EH W ZH H QWKHWZR F KRUGVLQ P The harmony on beat three of m. 7, resulting from the melodic line in the soprano and the vertical relationships of the low voices, can also be treated as E-G ଈ -B(b)-D-F ଈ -A-C ଈ or E13, with a flat fifth on the last eighth note. This harmonic ambiguity allows for the cadence to be perceived as IV-I. 173 Orbán, interview with author, August 2011. 109 109 Example 4.32. György Orbán, De Vitae Vanitate, mm. 7-8, Bm11-D13 (with added sixth on the last eighth note) -A. The first two bars of the three-line ending of verse one (mm. 9-10) are in an ascending minor third sequence, featuring seventh chords on the downbeat and the last beat, and augmented triads on beat three. The aural expectation shifts between major mode on beat three (in the keys of A and C respectively, with added sixths) to a minor resolution on beat four (with a missing root, an added sixth again and considering D ଈ = Eb). The outlined chord in the soprano in m. 11 is a half step lower than the one in m. 7, but the chord progression in the measure is very similar. The first two chords have a very strong feel of a V2-I7 in A: E9-A7b5. The chord on the last beat of m. 11 has a D in place of F (compared to m. 7) in order to provide smooth voice leading to the third of the A major chord in m. 12; otherwise, it is the same chord. 110 110 Example 4.33. György Orbán, De Vitae Vanitate, mm. 9-12, ascending minor third sequence featuring seventh chords. The entire B section is built on short motives in which the descending second plays a major role. The motives ascend sequentially and the repetitive nature of the section, lacking in harmonic drive, corresponds to the idea of futility conveyed by the text. 111 111 Example 4.34. György Orbán, De Vitae Vanitate, mm. 23-30, short two-note motives devoid of harmonic direction, yet exude energy and forward momentum. The reprise in m. 37 starts with the opening motive of the work and is followed by a D major chord and the ambiguous D13/E13 chord that was used in mm. 7 and 11. In m. 43, the descending motive from m. 7 of the opening verse returns with modified harmonization: it is a clear Em13, followed by A7b5 in m. 44, with an added sixth on the last beat. When compared to its appearance in m. 7 and in m. 11, the descending seventh chord motive has the more definitive drive towards A (v-I) in this ending section (m. 43). The tension it creates does not get resolved, but rather is dissolved by the following use 112 112 of the motive from m. 9: after its statement in the original key in mm. 45-46, it is WUD QVSRVHGD IL IWKEH ORZ 7KH UH VWRIWKHPRWHWU H S H D WVW KH ILQD O³VXPH V \ P EROXP ´ D VWKH ³ PDQWU D ´ R IWKH composition on these two pitch levels: A and D (which could be interpreted as a dominant-tonic relationship). It is interesting that this transposition of the motive affects also its own shape; starting with m. 54, the motive features the descending leap A-D within itself. The final cadence is III-I, a relationship encoded in its melodic motivic writing; in the second and the fourth line of the composition, ascending and descending A chord resolve into F ଈ and, at the end, into D. Example 4.35. György Orbán, De Vitae Vanitate, mm. 53-54, motive 2 is reworked to include a fifth leap possessing a harmonic component missing in the original form. Motet: Mundi Renovatio Mundi Renovatio Renovation of the world Nova parit gaudia; New joy brings to life; Resurgenti Domino With the rising Lord Conresurgunt omnia. 113 113 All things come back to life. Elementa serviunt, The elements obey him Et auctoris sentiunt And of their creator they feel Quanta sit sollemnia. How great are the solemnities. Ignis volat mobilis, The fire flies swiftly Et aer volubilis, And the air lightly, Fluit aqua labilis, The water runs fleetingly Terra manet stabilis: The earth stands still: Alta petunt levia, The high things soar up lightly, Centrum tenent gravia, Firmly hold the heavy ones Renovantur omnia. All things are renewed. Coelum fit serenius, The sky becomes clear Et mare tranquilius; And the sea tranquil; Spirat aura levius, The wind blows lightly Vallis nostra floruit. Our valley blossoms. Revirescunt arida, The withered things grow green again Recalsecunt frigida The frozen ones warm up Postquam ver intepuit. When the spring comes warm. Background Mundi Renovatio uses the text of an Easter sequence by Adam of St. Victor (d. 1146). The text is a celebration of life and the revival of nature. Orbán uses the first WKUH H RIWKH SR H P¶VVL [ Y H UVH V 174 174 Babits, 112. 114 114 Musical Setting Orbán sets the second and the third verse first, followed by verse one, and ends with a repeat of the first four lines of verse two. He also inserts the word ³ JD XGLD´ into the setting of verse one onward. 175 The motet is a mix of strophic form with refrain and an A-B-A 1 structure (more specifically, A-A 1 -B-A 2 ). Example 4.36. György Orbán, Mundi Renovatio, mm. 1-6, presentation of the main melody in bass, tenor, and alto respectively. 175 It is of interest to note that Orbán added the self-deprecating expression auctoris debilis (the authors are fools) on the fourth beat of m. 36 and on beats two and three of m. 37. This may be equated to the gesture of a painter who paints him or herself in the background of a painting, or to film directors who insert themselves into their own movies, as did Alfred Hitchcock. 115 115 The composition features jazz undertones with its prevalent use of thirteenth chords. The repetitive one eighth-note and two sixteenth ± note patterns in the refrain emphasize beats two and four in 4/4 time, providing a jazz-like swing to the rhythm as do sections where offbeats (eighth rest followed by an eighth note) are used in the accompanying voices. All these devices supply lightness and a sense of boisterousness to the work, as is implied by the text, which refers to - H VXV¶U H ELUWKD QG to the renewal of spring. 176 Structure A A 1 B A 2 v. 2 v. 3 v. 1 v. 1 (repeat of lines 1-4) mm. 1-10 mm. 11-20 mm. 21-32 mm. 33-42 The opening uses a one- S D UWWKH PHW \ SLFD ORIPRV WRI2 UEi Q¶VPRWHWV7KH musical setting of the seven-line verse has the following melodic S D WW H UQD LQ&ED ¶E¶ D D ¶ c. Each letter corresponds to a musical motive and a line of text. The key of C minor with a strong Dorian flavor dominates the setting of verse one, section A (mm. 1-10). Verse two ± A 1 ± has a similar structure with variations of the motives a (in G in tenor, PED ¶ LQ& LQVR SU D QR D QGD OW RPE¶ ¶ PZ LW KSLFNXS D ¶ ¶ PD ¶¶ P 16) c. Both ³F´ sections of A and A 1 are identical, thus acting as a refrain. Orbán repeats the last line of verse two as a refrain in m. 17. This comes at the expense of cutting part of line five and the ent LUH VL[W KOL QH RIWKH SRH P³ D ULGD U H F D O H VF XQWIU L JLGD´ 176 During the author ¶ V LQ WHU Y LH Z 2U E iQ P H Q WLR Q HG WK DW L Q P K H F K R V H WR J L Y H WK H P D LQ WK H P H D U HD O imitation because tonal imitation would be too ordinary (such as would be found in the Baroque period). +H ³ E OD P HG ´ WK L V WU HD W P H Q WR Q V S U LQ J ¶ V X Q E U LG OHG LP S HW X R X V Q HV V 116 116 The composition reflects a strong jazz and blues influence and makes use of the multiple functions of a Cm13 chord and of the b/ ♮ variation of the second, third, fifth, and sixth scale degrees in the key of C. Examples 4.37. György Orbán, Mundi Renovatio, m. 7, downbeat features CM13. Example 4.38. György Orbán, Mundi Renovatio, m. 8, downbeat features Cm13. 117 117 Presented as a scale, it appears as: c, d, eb, f, gb, g, ab, a, bb. The Cm13 can be: C-Eb-G (or Gb)-Bb-D (or Db)-F. Harmonies that come out of a kinship with this chord are: F minor 7, Eb major and minor, Ab7, Db7 (with a major seventh), and Bb major. Section A establishes a Dorian C mode with an A ♮. Based on the chordal kinship mentioned above, the progression that leads to the key R I&LQW KH UH I UD LQ³ F ´ LQP P 9-10 is Ab-Bb-Db-C. In a way, the Db7 chord at the end of m. 9, rather than standing on its own, serves as a substitute for the tonic C. This is implied by the dominant ± tonic relationship between the keys of Bb and C as VII-I, though in m. 9, the center C is presented only in the soprano (though very assertively). Example 4.39. György Orbán, Mundi Renovatio, mm. 9-10, by the end of m. 10 the harmonies settle around a C-center. 118 118 After a cadence in C major at the end of m. 10, verse two starts with the main theme in G Dorian. It is in a I-V relationship with the main key of C and is not a part of the chords that come out of the Cm13 (G Dorian uses E ♮). The short-lived G zone (only LQ³D ´ RI$ 1 ) does not produce a new set of harmonies the same manner as the section in C does. Instead, Eb asserts itself right after the reinstatement of the original theme in C in m. 13. This is facilitated by the use of Ab (making the mode no longer C Dorian), and the fact that Eb shares most common pitches with the C minor 13 chord. This kinship of Eb D QG& D OO RZVI RUWKH V ZLIWU H WXUQRI WKH UH I UD LQ ³ F ´ LQL WVRUL J LQDONH \ RI & LQP Measures 17-20 are an exact repetition of mm. 7-10. The middle section B starts in m. 21 with a statement of the melodic theme in F minor in bass for two lines before it moves to the key of Eb major in m. 23. These two tonal zones in mm. 21-24 are united by the repeat of the two-bar soprano line at the same pitch. This provides us with another example of the use Orbán makes of the harmonic kinship of keys that stems from an extended chord: both F minor and Eb major come out of the Cm13 chord. Based on the motivic setting of the lines of verse three, its structure is: a-b (in F, mm. 21-22)-a-b (in Eb major/minor, mm. 23-24), followed by a setting of the remaining three lines (mm. 25-32) in a rhythmic augmentation of 2:1 compared to the previous settings. 119 119 Example 4.40. György Orbán, Mundi Renovatio, mm. 21-24, the two keys, which form the Cm13 chord (F minor, mm. 21-22 and Eb major, mm. 23-24) are united by the repeat of the two-bar soprano line at the same pitch. 7KH ³ OHD SLQ J´ QD WXUH R IW KH OL QH VH VWD blished with the opening theme, is preserved in this rhythmically augmented sub-section (mm. 25-32) where harmony, not melody, is WKHPD LQGULYH7 KLVV XEVH F WL RQF XOP LQDWLQJ D URX QGWKH³ J ROGHQPH D Q ´ RI WKH motet in m. 31, strays as far as possible from the zone of Cm13 by introducing C major and F major harmonies, while at the same time utilizing the harmonies akin to Cm13. One line of the text is set, starting m. 25, to the chords C major, Eb major, G major, which are used again in different order in m. 26. The next line (mm. 27-28) is set in F Lydian mode, which shares the pitch A ♮ with the original C Dorian of the opening. 120 120 The repeat of the same line (mm. 29-30) is executed in the Eb major zone, using the F ଈ (= Gb I URPWKH³ EOXH ´ Y H UVLRQRI WKHVF D OHRI & V H H WKHEH J LQQL Q J RIWKLV PRW H W¶V analysis). The last line of the verse in mm. 31-32 gradually brings back the Cm13 chord. Example 4.41. György Orbán, Mundi Renovatio, m. 31-32, FM, Cm7, Dm, and Cm7 in m. 31 lead into the harmonies in m. 32 that oscillate between Cm9/6b5 and Ab7. The last section of the motet starts in m. 33 with the return of the original theme at its original pitch. The harmonic rhythm is slow and is led by inversions of Cm7 and F7; this section is driven mainly by the melody and not the harmony. The melody outlines a clear C Dorian mode, most strongly affirmed in the parallel descending lines of soprano D QGED VVL QP: KLO H YH QWXULQJ LQW RD G H F H SWL Y H O \ ³ WULYL D O´D SS H arance of IV-V in mm. 39-40 (with the F and G harmonies), Orbán still spices up the ending of the motet with a little blues flavor from the Ab chord in m. 40, beat three and the Bb7-C5 sequence in m. 42. In fact, the G7-C5 (V-I) cadence at the end of m. 41 is the conventional and 121 121 convincing final cadence of the motet: the last two sixteenth notes of the composition feature the pitches of the same macro-chord: C13/6. Thus, they are merely an extension and reassertion of the tonic, already achieved at the end of m. 41. Example 4.42. György Orbán, Mundi Renovatio, mm. 41-42, the last two sixteenth notes of the composition feature the pervasive macro-chord throughout the motet: C13/6. Motet: Pange Lingua Pange, lingua, gloriosi Tell, my tongue, of the mystery Corporis mysterium, Of the glorious body, Sanguinisque pretiosi And of the precious blood Quem in mundi pretium That for the world as price Fructus ventris generosi The Fruit of a noble womb, Rex effudit Gentium. The King, poured over the people. Nobis datus, Nobis Natus To us given, to us born Ex intacta Virgine, From an untouched Virgin Et in mundo conversatus, And in the world abiding, 122 122 Sparso verbi semine, Once the seed of the word was spread, Sui moras incolatus The hindrance of his dwelling Miro clausit ordine. He ended with a miraculous arrangement. In supremae nocte coenae In the night of the last supper Recumbens cum fratribus Reclining with his brothers Observata lege plene After the law had been observed Cibis in legalibus, With foods as prescribed, Cibum turbae duodenae As food to the crowd of twelve Se dat suis manibus. He gave Himself with his own hands. Verbum caro, panem verum The Word-Flesh true bread Verbo carnem efficit: Converted into flesh through word; Fitque sanguis Christi merum, And became the blood of Christ unmixed wine Et si sensus deficit, And if reason fails (to understand), Ad firmandum cor sincerum For affirmation to the pure heart Sola fides sufficit. Faith alone suffices. Background Pange Lingua gloriosi corporis mysterium is a hymn by St. Thomas Aquinas for the feast of Corpus Christi. The composer indicates specifically that the Latin be sung with German pronunciation. This is important especially in light of the sixteenth-note RVWL QD WRRQW KH ZRU G³ SD QJ H ´ RQD U H SH D WHGSLWFK WKDWI XQF WL RQVD VD UK \ WK PL F H QJ LQ H RI the composition. 123 123 Musical Setting 'XU LQJ RQ H RIWKH D XWKRU¶ V interviews with Orbán, 177 it became clear how much his musical writing is influenced by the folk musicians he heard in Transylvania. While talking about this particular work, he pointed out that folk musicians, at weddings in particular, had the difficult task of playing for hours with no discernable repetition. Orbán mentioned that a wedding would often last much longer than a Wagner opera and that the players could get punished if they used too much repetition, thus explaining why improvisation became a necessary skill. At the end of such a performance session, one could barely recognize the original melody. 178 The improvisatory nature of Pange Lingua is inspired by this tradition. The lyrical melodies that carry the text are folk-inspired in what Bartók would call D ³ Q H ZVW \ O H ´ RI +XQ J D ULD QPXV LF 179 The modal flavor of the composition shifts between major and minor, Lydian and Dorian; there is a prominent use of the typical Hungarian IV-I or I-V melodic fall at the cadence points as it can be observed in the main theme of the motet, mm. 2-5. 177 Orbán, interview with author, August 2011. 178 Kodály and Bónis, Selected Writings of Zoltán Kodály, 90. 179 Bartók, Essays, 95. 124 124 Example 4.43. György Orbán, Pange Lingua, mm. 2-5, falling fourth at cadence provides Hungarian flavor in main theme. The work ¶V complexity results from the use of modal and tonal harmonization, contrasting textures of melody and ostinato, and the folk-inspired rapid melodic leaps. Because of the complexity of this motet, it was selected in 1998 as the mandatory composition for the Béla Bartók Choral Competition in Debrecen WKH D XWK RU¶ VKRP H town). Structure A (exposition) B (development) A 1 (reprise) Coda v. 1 v. 2 v. 3 v. 4 mm. 1-20 mm. 21-36 mm. 37-70 mm. 71-96 mm. 97-106 (primary theme) (secondary theme) As always with Orbán, the structure of the motet is based on the text and on his RZQSH QF KD QW IRU ³ VRQ D WD - OL NH ´ IR UPV 180 The sections of the motet correspond to the verses of the poem while at the same time being part of a larger A-B-A 1 structure, reaching a pinnacle at the point of farthest modulation around the golden mean of the composition. Each verse is set to a different key zone ² another typical device of 2U Ei Q¶V D VLV F OHD U IU RP WKHD Q alyses above. Verse one is centered on Eb, G minor, and Bb. In a manner not unusual for the Hungarian pentatonic writing (as pointed out several 180 Orbán, interview with author, August 2011. 125 125 times above), the fourth scale degree (Ab) is avoided, thus creating a folk-like flavor for the work. This results in the modal ambiguity of later sections of the motet, wherein A appears both as Ab and as A♮. Pentatonic writing allows for modal and tonal ambiguity and easy transitions between keys. In this case, not using the pitch A (that would be the ³ SRLQ WRIF RQWHQWLRQ´EH W ZH H QWKHN H \ V RI( b, G minor, and Bb) allows for a tri-centered first section. With Eb in the bass, mm. 2-4 speaks to the key of Eb major; m. 5 cadences on G in the melody. Starting with m. 10, the appearance of F ଈ in the ostinato is counteracted by the F ♮ in the melodic voices. Measures 9-12 are in a G-centered mode, defined by a melodic span of a seventh; the melody outlines the first, third, fifth, and seventh scale degrees (G-Bb-D-F natural). 126 126 Example 4.44. György Orbán, Pange Lingua, mm. 9-12, melody is in G emphasizing the third, fifth, and seventh scale degrees, note the falling fourth at the end. The F ଈ from the ostinato voices never resolves into G and the harmony in m. 16 makes it clear that it is actually used in the context of the key of Eb, as a sharp second scale degree. The augmented second between Eb and F ଈ becomes part of the exotic flavor of the motet when the two pitches are used in proximity in mm. 11 and 12. Another melodic device derived from folklore (see above) ² the fourth leap C-G from the cadence of the main melody ² is reversed in m. 17. Combined with the Gm7 chord in the soprano, it helps to change the key center to F. 127 127 Example 4.45. György Orbán, Pange Lingua, mm. 17-18, use of reversed fourth leap in soprano. C cannot become the key center through the ascending melodic fourth leap in VRSUD QRLQP PW REH F D XVH D ³ +XQ JD ULD Q F D GH QF H ´ LVGHI LQHGE \ G H VF H QGLQJ movement. Instead, the soprano leap serves to facilitate the shift to F with the descending V-I leap in mm. 18-20 (featured also in the main melody in m. 4). At this point, one expects for a melodic descending IV-I leap to establish the new key (following the pattern of the main melody in mm. 4-5 of a V-I followed by IV-I). This indeed happens in m. 21 in the bass part. 128 128 Example 4.46. György Orbán, Pange Lingua, mm. 21-22, F mode is solidified by descending fourth in bass in m. 21. It should be noted here that Bb and F are equally legitimate temporary key centers in a composition that has Eb as a main key center, since the fifth and the seventh are of equal importance in the Hungarian musical system as defined by Bartók. Starting in verse two at m. 23, the melody is centered on F, judging from the descending IV-I cadence in the melody in tenor in m. 26. Harmonically, the composition features Bb7 harmonies, starting with beat two of m. 23. This drives verse two into an arrival to Db major in m. 26. It comes as a result of the modal ambiguity of the Bb7 chord (M/m based on the movement of the alto ostinato in mm. 24-25. 129 129 Example 4.47. György Orbán, Pange Lingua, mm. 23-26, F mode melody in tenor over Db major cadence in bass in m. 26. The Db chord also easily coexists with the keys of F and Eb, sharing two pitches with the triad of F minor and being built on the low seventh of Eb major in a system dominated by the use of seventh chords. In support of this statement, please note the harmonization of lines three and four of verse two (mm. 27-30): the chords are Db9 and Fm7, with a featured Cb (flat fifth in F or seventh in Db) in m. 29. The final cadence of these two lines, though, is in Eb in m. 30. 130 130 Example 4.48. György Orbán, Pange Lingua, mm. 29-31, modulation back to Eb. The transition into the next verse occurs on lines five and six of verse two and maintains the ambiguity of a Bb tonal center, outlined by the descending IV-I leap in the bass, and of an Eb center, defined by the persistent use of Eb7 and Eb7/6 chords in the harmony. The bass line, with the fourth leap, accompanies a descending melody with a span of a fourth and with a minor third, which are typical elements for the improvisatory style of the Hungarian gypsy violinists. The Bb Dorian mode results from the harmonization that features a G ♮ in the alto. In light of chapter 3 discussing the style of Orbán, the relationship between Eb and Bb, though IV-I, is not one of a plagal or a subdominant ± tonic character. It happens within a modal system with pentatonic traits and requires a descending movement in both the leaping accompaniment and the melodic parts as well as in a small span of the melody. Measures 32-36 of Pange Lingua are a perfect illustration of a composition demonstrating the new style of Hungarian music described by Bartók. 181 181 Bartók, Essays, 95-102. 131 131 Verse three begins in m. 37 in the same manner as verse two, with a descending fifth, both melodically in the bass and harmonically from Eb7 to Ab7. Here Orbán H PSO R \ VWKH³ SLYRW D OW RQ H ´ WHF KQLTX H VH H also Ave Regina) and uses the seventh in Ab (Gb) to create the modal and tonal instability of verse three. Example 4.49. György Orbán, Pange Lingua, mm. 37-40, utilization of Gb creates modal instability. Eb major and minor (mm. 40-47) change into Bb in mm. 48-49 then rapidly to G minor at m. 50. G minor, strongly presented with seventh chord harmonies, dominates until m. 55, where the influence of Ebm7 is heard again with the use of Gb and Db in the alto and tenor. The G-C leaps in the soprano and bass do not belong to this harmony; they are part of the motet ¶V attempt to find its way back to the original key of the theme. The persistence of the Eb minor zone in m. 56 in alto and tenor makes the return of the IV-I descending melodic cadence on G (the Gb being too strong an influence) impossible. Instead, the soprano and the bass arrive on F in m. 57. This brings the composition back to the zone of Bb ± F with a V-I descending melodic cadence in F. 132 132 Example 4.50. György Orbán, Pange Lingua, mm. 54-57, strong V-I cadence in F in m. 57. The chord sequence in mm. 59- ID F LO LW D WHVWKH ³ GLVW UD F WL RQ´ IU RPW KH U H WX UQRI the original key (defined with the C-G descending cadence) by the use of Cb and Gb. The chords built on G, F, Eb, Bb, and Ab have been already featured in the motet as temporary centers and their modal ambiguity helps to push the motet in different directions ² a perfect device for a structure based on improvisation. 133 133 Example 4.51. György Orbán, Pange Lingua, mm. 59-62, improvisatory descending chord sequence. Measures 63-70 bring the return of the opening two lines of the poem. 182 The bass outlines two centers, F (mm. 63-66: Bb-‐‑F) and Ab (mm. 67-69: Db-‐‑Ab), achieved through the fourth leap. At the same time, the harmonic function VRQW KH VH ³ WRQL F ´ centers are Dm7 in mm. 63-66, Bb7 in mm. 67-68, Db5 in m. 69, and Db7 in m. 70. Db7 serves as a bVII6/5 with a dominant function in the key of Eb that leads to the start of the last section of the work. 182 In mm. 63-66, we may observe the germination of the rhythmic formula of Nobis Natus. 134 134 Example 4.52. György Orbán, Pange Lingua, mm. 63-64, F mode in melody and in bass. Example 4.53. György Orbán, Pange Lingua, mm. 67-70, Ab mode achieved by descending fourth. The last verse, also a reprise A 1 in the A-B-A 1 form, begins in m. 71 and brings back the original melody in its original pitch from the opening of the motet, with a slight change of intervals (starting with I-V instead of I-II) and using eighth-note rhythm in place of sixteenth notes at the end of the first measure. The ostinato voices differ from 135 135 WKHRSH QLQJ D QGWKHVRSU D QRLQW URGXF H VWKH ³ PL VVL QJ fourth´ A ♮. This sends the section into a Lydian Eb mode that is replaced by G major in m. 74. Example 4.54. György Orbán, Pange Lingua, mm. 71-74, melody altered by larger opening interval in reprise. 136 136 Just as in mm. 10-11, mm. 77- D UH D ³ SOD \ ´ R n Eb major (outlined melodically in the bass in m. 77) and G minor, presented in the chords in m. 78 and in the melodic movement of the upper parts (soprano and tenor outline a G7 chord and the alto fills in the third). Measures 80-83 actually harmonize the descending IV-I leap C-G from the opening theme, using C7 (m. 79) and C5 (mm. 80-83) resolving into Gm7 chords. 2U Ei Q¶V F KRLFH WRO LQJHU RQWKH&SDU WRIWKH , 9 -I cadential formula in mm. 84-86 and leave it unresolved leads to a halt on the C-harmony in m. 87. Example 4.55. György Orbán, Pange Lingua, mm. 81-83, harmonization of descending fourth C-G. The chord progression that follows uses Eb9 and Cm11 (m. 88), Ebm7 and FbM7 (m. 89), followed by a series of transitional 6/4 chords in m. 90 (Eb, Db, and Cb). Their goal seems to be to counteract the C-G cadential formula so forcefully presented in mm. 80-86. To this end, G and C are replaced with Gb and Cb all the way from m. 91 to m. 137 137 96. Db9, Cb5, Db7, Ab7, and again Db7 (in different inversions) is the sequence of chords in these six measures, leading into Eb major in m. 97. Example 4.56. György Orbán, Pange Lingua, mm. 91-97, extensive use of flat third (Gb), sixth (Cb), and seventh (Db EH IRU H WKHPRWHW¶ VF RQF OXVL RQLQ( b major. Eb is established as the key for this last section of the motet by the use of the descending fourth cadence in mm. 92-93 in soprano; instead of C-G, this time it is Ab- Eb. Thus, the harmonic cadence in mm. 96-97 is not to be deemed plagal (as stated above regarding the other IV-I cadences in the motet), despite the subdominant-tonic 138 138 relationship of the chords. While the harmonies in m. 96 oscillate between Db7 and F°7, the Ab-Eb descending leap in the bass is what defines its cadential nature and is to be YLHZ H GLQO LJ KWRIWKH ³ + XQJ D ULD Q , 9 - , IR UPXOD ´ H PSO R \ H G D WDOOFD G H QWL D OP RPHQWVRI the motet. Evidence of this formula being the drive of the motet, rather than conventional harmony, is seen in the very last cadence of the work. At first sight, it appears to be a conventional V9-I progression. The third of the dominant chord though is missing; the ninth (C) is held longer along with the seventh (Ab) and the root (Bb), which is placed in the middle between the seventh and the ninth. The actual group of tones that resolves into the final Eb major chord is Ab-Bb-C. Ab is needed to fulfill the Hungarian IV-I GH VF H QGLQ J F D GH QF H RXWO LQHGEH WZH H QWKHED ULWRQH D QGED VV & ³ VH F UH WO \ ´ SU H VH UYH VWKH& - G cadential move, guilefully committed to alto and baritone; and the Bb is the pitch of the original ostinato. Thus, the ending cadence is a summary of the components from the opening that drive the composition forward: the cadential formula IV-I in its two centers (G and Eb) and the ostinato. Pange Lingua is a perfect illustration of the elements of Hungarian music at work as defined by Bartók: The pentatonic scale, besides melodic impulses, gave us harmonic suggestions. The tonic-dominant relations, very conspicuous in the common major and minor scales, already are less distinct or a blurred in the modes. But in the pentatonic scale they simply disappear, because there is no dominant at all in the commonly accepted harmonic sense of the word. Four of the five degrees, that is the fundamental tone, third, fifth, and seventh are almost equal in their weight. 183 183 Bartók, Essays, 371. 139 139 Motet: Nobis Natus Nobis Natus uses the same text as Pange Lingua but uses all six verses of the hymn by St. Thomas Aquinas. Here are the two verses that are not featured in Pange Lingua: Tantum ergo Sacramentum Such great Sacrament Veneremur cernui: Let us worship prostrate Et antiquum documentum And may the old covenant Novo cedat ritui: Yield to a new rite: Praestet fides supplementum May the faith stand as a reinforcement Sensuum defectui. For the deficiency of senses. Genitori, Genitoque To the Father, Son Laus et jubilatio, Glory and praise, Salus, honor, virtus quoque Hail, honor, might as well Sit et benedictio: Be to them and blessing: Procedenti ab utroque To the one who proceeds from both, Compar sit laudatio. Same be the praise. Musical Setting While Pange Lingua is an open celebration of the Hungarian musical tradition, Nobis Natus offers a more subtle use of its inherent techniques. The texture and the rhythm of the two works are completely different. They both feature a main theme that begins in one of the voices, but while drive in Pange Lingua is created by the ostinato rhythm of the accompanying parts, in Nobis Natus, the theme itself carries the rhythmic 140 140 momentum. In both compositions, but more so in Nobis Natus, harmony is a secondary tool, completely dependent on the horizontal writing of the modally-treated parts. As noted earlier, one may REVH UYH WKL VPRW H W¶VPDLQWKHPH in its germinating form (upon which this entire motet is based) in mm. 63-66 of Pange Lingua. However, it was 2U Ei Q ¶VLQWHQWLRQW RJ RD V ID U as possible the opposite direction with Nobis Natus, since the two works are based on the same text. 184 The structure of the main melody is again that of the Hungarian folk song: four musical lines, as already observed in Ave Maris Stella. Here the structure is as follows: x Line one: tenor mm. 1-2, x Line two: alto mm. 3-4, x Line three: soprano mm. 5-6, x Line four: soprano mm. 7-8. As so often occurs in the Hungarian folk song tradition, line four is an echo of line three. Structure A B A 1 Coda v.1 v. 2 v. 3 v. 4 v. 5 v. 6 mm. 1-7 mm. 8-20 mm. 21-26 mm. 27-36 mm. 37-44 mm. 45-57 mm. 58-64 Again, the motet is structured according to the verses and in an A-B-A 1 frame. This is easier to achieve in Nobis Natus ¶ six-verse structure, as each section consists of two verses. The composition opens in a key center of F with a melody that has features of pentatonic writing and a Dorian hexachord. The octo- and heptasyllabic structure of the poem is similar to the octosyllabic structure of traditional Hungarian verse. One could argue that the absence of pickups in the entire motet is a tribute to the traditional settings 184 Orbán, interview with author, August 2011. 141 141 of Hungarian poetry. At the same time, the rhythmic pattern that permeates the entire motet is one that resembles the trochaic mode of the Notre Dame School. 185 The work is modal not only in its rhythmic aspect: the span of the melody is a Dorian hexachord, the minor second is avoided, and the second scale degree appears only as a short passing or adjacent tone. Example 4.57. György Orbán, Nobis Natus, mm. 1-2, first of the four musical lines of the quasi folk song featuring an F Dorian hexachord. In all the varied appearances of the main melody that constitute the motet, there is not a single one wherein the half step interval is outlined by an arrival on a long note. The outlining of the third and the descending IV-I cadential formula (see Pange Lingua), both as a leap and in a melodic descent, are devices that come from Hungarian pentatonic music, as pointed out many times in this paper. The choice to fill in the pentatonic scale with a major sixth, thus turning it into a Dorian scale, is how Dorian became the preferred mode in Hungarian music historically. Bartók saw the use of Dorian mode in new Hungarian music growing out of the old pentatonic style. 186 The key changes in the motet are achieved in a manner that resembles hexachord mutation. Instead of the placement of mi-fa (half step between scalde degrees 5 and 6) 185 2U E iQ P HQ WLR Q HG WK D WK H Z DV ³ F K DQ Q HOL Q J ´ S HU K DS V V X E FR Q V FLR X V O \ R Q H R I + X Q J DU \ ¶ V I R U H P R V WH DU O \ music interpreters of medieval choral music, László Dobszay, in his recordings. 186 Bartók, Essays, 96. 142 142 that defines the hexachord and whose change drives the mutation, this function is performed here by the placement of the ascending minor third (do-me or a la-do on true Hungarian la-minor solfège syllables or preferred Hungarian use of solfege syllables). On line three of the first verse in the alto part, a mutation happens to the center C, defined by the moving of la-do to C-Eb. Orbán reaffirms the tonal center F by using the descending IV-I leap twice in the following lines: m. 5 and m. 7 in the soprano part. Measure 8 is both a final cadence of verse one in F and the beginning of verse two. Example 4.58. György Orbán, Nobis Natus, mm. 5-8, repeated descending Bb-‐‑F leap in soprano confirms F tonal center VRSU D QR¶VPD WH ULD OFRQVWL WXW H VWKL UG and fourth musical lines in the quasi folk song. Measures 8-17 preserve the key center but not the mode of the opening. The sixth scale degree is not featured in the regular old Hungarian pentatonic scale, but when added to it, it can create a variety of modes. In verse two, Orbán chooses to use the low sixth, 143 143 Db, which changes the Dorian mode from the opening into Aeolian. The repetitive pattern in the bass in mm. 10-14 (Db-F) outlines this new mode. The other degree missing in the pentatonic scale, the second, also opens the door for ambiguous modal treatment: in m. 16, Orbán uses Gb in the bass and turns the F mode into Phrygian. The diversity of choices is presented in three of the voices: the soprano sticks to a F-la pentaton, the tenor uses F Aeolian mode, and the bass affirms the F Phrygian mode. Example 4.59. György Orbán, Nobis Natus, mm. 14-17, momentary tonicization of F mode in Phrygian at the downbeat of m. 16 through the use of Gbin the bass. 144 144 The cadence on F in m. 17 does not begin a new verse: the next four measures are transitional, repeating the last four lines of verse two. The placement of the transition corresponds to the structure of the text: semantically, verse three is a continuation of lines three to six of verse two. Measures 19 and 20 use variations of the opening theme of the motet. The bass line is based on the two opening measures in the tenor part with an F center. The key center C is in the alto part and is defined, just as in mm. 3-4, by the placement of la-do between C and Eb. The two tonal centers, F and C, sound together, resembling the simultaneous use of a mode and its hypo-mode (here Dorian and Hypodorian) in Renaissance music. In the same manner as in the first two lines of verse, the ending on the fourth scale degree at the end of m. 20 can be viewed as a Hungarian half cadence on the two fourths (Bb and F) for the keys of F and C, respectively. 187 The ³ SRVW SRQH GUH VROXW LRQ´R I% b down to F does not happen until m. 28 in the bass: this creates a drive for a development section B that starts in m. 21. 187 The full melodic cadence would be the descending IV-I or Bb-F and F-C. 145 145 Example 4.60. György Orbán, Nobis Natus, mm. 19-20, observe the thematic variations of the quasi folk song melody in the alto and bass. Section B (m. 21) is set to verses three and four and begins with moving the key center a whole tone lower from the F ± C zone. The soprano uses the mutation of the pentatonic pentachord (the placement of la-do) to change into the key of Bb: la-do now falls between Bb and Db P 7KH D OW R¶VD V F H Q GLQJ PRW LRQDU ULYH V D W% b and the bass at Eb. As a result of the modal writing in the melody, the harmony at the end of m. 22 is Eb major/minor. 146 146 Example 4.61. György Orbán, Nobis Natus, mm. 21-22, beginning of the B section in Bb ± Db zone. In m. 23, the harmony starts to gain more independence from the horizontal writing and this results in jazz-flavored chords: mm. 23-24 feature an Eb7/6 outlined between the shape of the melody in alto and bass and the intervals in the tenor. The ascending minor third (la-do) is placed between G and Bb, which leads to tonal and modal ambiguity: it is Eb major and G Dorian or Aeolian at the same time. The use of B ♮ in the tenor in m. 25 is an interplay between major and minor modality in the key of G the same way the Gb in m. 26 is an interplay between major/minor mode in Eb. 147 147 Example 4.62. György Orbán, Nobis Natus, m. 26, Eb major tonality blurred by use of Gb in tenor. In m. 27, the bass and soprano attempt to bring back the key center F by using a mix of pentatónia and modality: a descending line that outlines the seventh (pentatonic quality), the sixth and the fourth (mode-defining degrees) are used along with the Hungarian descending fourth leap. The middle voices fluctuate between a temporary center D in the alto in m. 28 (la-do now falling between D and F) and the reinforcement of Gb in the tenor in mm. 27-28; this enhances the modal instability. In mm. 29-30, a center Eb (major/minor), established through harmony, competes with center F (Phrygian), established through the fourth leap. 148 148 Example 4.63. György Orbán, Nobis Natus, mm. 27-28, modal instability achieved by the combination of pentatonic and modal elements. The chord in m. 32 is the result of three different key centers: the bass and the tenor have arrived on a Gb, the alto on a D (after maintaining this center for three measures), and the soprano has made an unexpected arrival on C through an abrupt Hungarian IV-I cadence (F-C). Harmonically, this is more of an anticipation of the Ebm9/6 chord in m. 34 than an independent appearance of the key of Gb. In m. 36, Gb is used as a pivotal tone that connects the Eb harmony in m. 35 to the Ab9 chord. 188 188 See more on the use of the seventh scale degree as a pivotal tone in the analysis of Ave Regina. 149 149 Example 4.64. György Orbán, Nobis Natus, mm. 29-32, the arrival of the cadence notes in m. 32 is a result of a linear rather than a vertical or harmonic development and foreshadows m. 35. Example 4.65. György Orbán, Nobis Natus, mm. 34-37, Gb pivot note connects Ebm9/6 in m. 35 to the Ab9 chord in m. 36 and serves as a flat second scale degree to the F mode in m. 37. 150 150 In m. 37, A 1 starts in the key of F, which is facilitated by its kinship with the Ab harmony in m. 36 (Fm7 featuring the same pitches as Ab7/6). The influence of the Eb mode throughout the section is strong: starting as a temporary center in m. 23 then again in m. 41 the Eb returns to dominate the entire reprise section by a stubborn repetition of the major third between Eb and G until m. 44. In m. 47, G major makes an appearance, as if attempting to escape from the Eb key zone: the music nonetheless returns to the flat key zone with the appearance of Gb major in m. 49. Example 4.66. György Orbán, Nobis Natus, mm. 45-46, beginning of verse 6 in Eb with F emerging. Compared to the rest of the composition, the music of the reprise is more tonal, and traditional harmony-based. The original key makes a return using the opening theme in mm. 51-52 (in the bass) and mm. 53-54 (in the tenor). The harmonization is in the Bb- Db key zone; the Ab major chord in m. 51 is in a dominant-tonic relationship with both keys. Due to the nature of the extended harmonies, the Ab harmony could serve as a 151 151 bridge between F minor, Eb major/minor, Db major, and Bb major/minor. It may also serve as a point of smooth departure from any of these keys. For the reprise of the motet, Orbán chooses to depart from the key of F and avoids its reaffirmation. The modally-set melody in the alto and the tenor in m. 53 is harmonized in Db major and Bb minor. In m. 54, the harmonization is Eb7 and Bb5/6. Db harmony is featured in mm. 55-56 in both the vertical structure and in the bass line (emphasizing the first, seventh, and fifth scale degree). Simultaneously, the soprano outlines a Dorian Bb hexachord. The gravitational forces of the different key centers lead to a bi-tonal resolution in m. 58: the Db line in the bass resolves into Eb major, presented melodically; the upper parts end on an F major triad, a result of the voice-leading of motives sprung from the main theme of the composition in F. F reasserts itself in all parts on the downbeat of mm. 59, 60, and 61. The harmonies of G, F, and Eb that constitute the A1 section of the motet are presented simultaneously with a bi-tonal arrival on F and G on the downbeat of m. 62, followed by a progression of major passing 6/4 chords on Eb, F, and G. 152 152 Example 4.67. György Orbán, Nobis Natus, mm. 55-59, bi-tonal resolution in m. 58: the Db line in the bass resolves into Eb major, the upper parts end on an F major triad. Just when it seems that a final arrival is in order on the downbeat of m. 63, the momentum of the ascending third leap la-do (placed D-F in alto and tenor, and A-C in soprano and bass) leads to an extremely unexpected finish on an E major chord ² a break from the key zone of Eb that has so stubbornly asserted itself in the reprise of the motet. 153 153 Example 4.68. György Orbán, Nobis Natus, mm. 58-64, the Coda and an unexpected chord of E major to finish the motet. Motet: Te Lucis Ante Terminum Te Lucis Ante Terminum ante terminum, To you, of the light before the end, Rerum creator poscimus. Of all the creator, we pray. Ut pro tua clementia So that for your mercy Sis praesul et custodia. You are our patron and guard. 154 154 Procul recedant somnia, May far away retrieve the dreams Et noctium phantasmata, And of the night the visions, Hostemque nostrum comprime, And the enemy of ours restrain, Ne polluantur corpora. So that not violated remain the bodies. Praesta, Pater piissime, Stand up (for us), Father most holy Patrique compar Unice, And of the Father equal, One and Only, Cum spiritu paraclito, With the Holy Spirit, Regnans per omne saeculum. Reigning thoughout all ages. Amen. Background 7KH WH[ WZD VRULJ LQDOO \ L QF RUU H F WO \ D WW ULEXWH GWR6 W$PEURVH D VWKHK \ PQ¶ V primary source dates from the eighth or ninth centuries, A.D. Its classical metric scheme, though, suggests an earlier origin. 189 It is sung at the close of day at Compline. This version of the text is found in both the Monastic Breviary and the Roman Breviary. One RIWKH K \ PQ ¶VPRVW QRWDEOH VH WW LQJ VLV E \ 7KRPD V 7D OO LV Musical Setting In WKH D XWKRU¶ V 2007 interview with the composer, Orbán shared his fondness for this motet. 190 It differs from the majority of his other motets in its harmonic language. $VLQP RVWRI2U Ei Q¶VP RWHWVW KH KD UPRQ \ D J D LQ UH sults from the melodic writing. What GLVW LQJ XLVKHVLW ZLWKL QWK H ERG \ R I2 UE i Q¶V a cappella works is that the vertical writing 189 ³ 7 H / X FL V $ Q WH 7 HU P L Q X P - Catholic Encyclopedia - & DW K R OLF 2Q OL Q H ´ DF FH V V HG $ X J X V W http://www.catholic.org/encyclopedia/view.php?id=11350. 190 Orbán, interview with author, August 2011. 155 155 uses extended tonal harmony, very much in the style of the late Romantic period. Melodic leaps are sparse in the composition and mostly within the same harmony; enharmonic modulation is widely used. The composition is in C major and its structure is A-B-A 1 . The opening four measures could be deemed as the beginning of section A or as D QLQW URGXF WL RQ2U Ei QX VH VUH F X UU LQ J KD UPRQLHVW KD WVHU YH D V³ SLO ODU V´ R IWKH VWUXF WXUH ² a device that he favors in a number of his motets. These recurring chords here are: C5, at the cadences that frame sections A and A 1 , and C7 (or C9) in section B. Other highlights of the setting of this motet include the use of F ଈ to intensify the emotion at the ZRU G³ SRVF LP XV ,´ D QGWKHXVH RI& ଈ as a temporary center in section B. In the same way the key of C symbolizes the light (lux) in section A, C ଈ is used in section B to illustrate the text, ³ QRF WL XPSKDQWD VPD .´ Measures 32-36 may be understood as either the beginning of section A 1 or as a transition to it, moving A 1 to the repeat of the original material in m. 37. Textually, m. 32 is the beginning of verse three; musically, it appears to be a transition. This may be YLHZ H GD VD PXVL F D O³H QM D PEP H QW´Z KH U H LQW KH V \ Q WD[ RIWKH WH[ WDQGWKH VWUXF WXUH RIWKH music do no WFRLQF LGH3O D F H GD WW KH ³ J ROGHQPH D Q´ WKL VSD VVD J H F RQWDLQV WKHJ U H D WHVW intensity of the entire composition. From the zone of C ଈ (mm. 21-22), the motet makes its most significant harmonic shift to E (m. 29-35) and eventually returns to C for the reprise (m. 37). Measures 37-47 are a mirror image of mm. 5-15. The very ending of section A 1 is what separates it from A: there is a deceptive cadence in m. 48 and three extra measures are added to bring back the tonic. Te Lucis Ante Terminum pays tribute to the style of Liszt (with its use of the augmented sixth chords), and Wagner (with the use of augmented chords); one can also 156 156 hear WKHLQI OX H QF H R I9 H U GL¶V Quattro Pezzi Sacri (mm. 32-33), and, admittedly by Orbán, even the Beatles (mm. 22-23)! 191 This motet is an example of Orbán ¶VI H D UOH V VXVHRI D wide variety of expressive tools, and his musical open-mindedness. Example 4.69. György Orbán, Te Lucis Ante Terminum, mm. 32-33, chord progression UH VH PEO H VWKDWRI9 H UGL¶ V Quattro Pezzi Sacri (V4/ ³ UH VROYL Q J ´ WRDQRWKH UWKLUG inversion seventh chord). 191 , Q WK H DX WK R U ¶ V LQ WHU Y LH Z 2U E iQ Z D V U HI HU U LQ J WR WK H % HD WOHV ¶ ODWHU P R U H S R OLV K HG V WX G io recordings. 157 157 Example 4.70. György Orbán, Te Lucis Ante Terminum, mm. 22-23, recalls the chord progression that of Michelle My Belle by the Beatles. Structure Introduction A B transition A 1 v. 1 v. 2 v. 3 mm. 1-4 mm. 5-1 mm. 17-31 mm. 32-36 mm. 37-52 Section A opens with four measures that do not depart from the key center C. The use of an augmented sixth (m. 2) and of seventh chords with added sixths (m. 3) will assert itself again later in the composition. The added sixth chords are used for the C (tonic) zone in m. 19 and m. 29, and the G (dominant) zone in m. 3, m. 36, and m. 47. Orbán avoids the conventional use of the chord featuring the augmented sixth in m. 2 as a French or German sixth by the use of B ♮ instead of C in the alto part. The chord is followed by a dominant and tonic, and its function is the same as of a German sixth F KRUG 7KH YRLF H OHD GLQ JWKRXJ KLVZKD WGHWH UPLQH VWKHF KRUG¶ VXQ F RQYH Q WL RQD O structure. 158 158 Example 4.71. György Orbán, Te Lucis Ante Terminum, mm. 1-4, C major opening bars with unconventional spelling and voiceleading in augmented sixth chords in mm. 2-3. The F ଈ 9 chord in m. 7 is a result of the smooth and expressive voice leading that is characteristic of this motet. The double function of F ଈ as a flat fifth in the key of C, and the enharmonic exchange between A ଈ and Bb in m. 8, make possible the immediate return of C7 in m. 9. The repetitive use of Bb, both as a seventh in a C7 chord and as a flat third in G, plays a major part in the setting of the text. The moments of departure from it increase the tension in the music at moments of growing sensitivity in the text. 159 159 Example 4.72. György Orbán, Te Lucis Ante Terminum, mm. 21-25, Bb is replaced by a B ଈ in m. 21 in the bass, and by a B ♮ as part of the diminished G#6 chord in m. 22, beat three; along with the C ଈ F KRUG RQWKHGRZ QE H D WRI P , this reflects the uneasiness of WKHWH [ W³VSH F WHU VRIWKH Q LJ KW .´ Further on, the C7/5ଈ chord on the third beat of m. 23 is a transposition of the G7/6b chord on the third beat of m. 15. The difference is that while the dominant-tonic resolution in m. 15-16 is immediate, in m. 23 it takes an extra bar to arrive at F major as the new tonic, and the EMb5/6 chord in m. 24, beat three, is enharmonic to C7/5ଈ , again providing for an easy harmonic shift. Introducing G ଈ provides for smoother voice leading in bass 1, and alto 1 at the arrival in m. 25. This little hint of E major inserts itself again in the opening to the reprise at mm. 32-36. Section B is an example of how the replacement of the repetitively used Bb in the piece with a B ♮ in m. 22 can trigger a new key center (E) that is remote from the tonic (C). In m. 29, B ♮ is a part of the Cm7 ଈ /6 on the downbeat that is replaced 160 160 enharmonically by B7 on beat three. This chord in different inversions dominates the next three measures until it resolves into E in m. 33. Example 4.73. György Orbán, Te Lucis Ante Terminum, mm. 28-31, Cm7 ଈ /6 in different inversions dominates until an E Major resolution in m. 33. Using his favorite way of counteracting the conventional harmonic resolutions, Orbán never lets E major assert itself: it remains obscured by the suspended sixth on the downbeat of m. 33. The same sixth is featured repetitively in the melodic movement of the parts throughout mm. 33-35; the chord also appears as E7 ଈ in m. 35 and E9ଈ on the downbeat of m. 36. 161 161 Example 4.74. György Orbán, Te Lucis Ante Terminum, mm. 33-35, assertive E major seventh chords (emphasizing the third scale degree of C) moments before the arrival of C major. The last chord in m. 36 is exactly the same as the one in m. 3 and m. 15, just before the arrival of C major. In all three cases, the soprano part uses the same pitches (D ଈ is in place of Eb in m. 36). Measures 2-3 and mm. 14-15 are identical, and the same chord progression is featured at the reprise in mm. 46-47. The slight variations of this cadential formula at the ends of each section provide momentum for the transition into the next section. Motet: Urbs Celestis Background Orbán chose excerpts from this rather long poem by Hildebert de Lavardin to create three sections of the motet. (The correct name of the author is Hildebert de 162 162 / D Y D UGLQQRW³ +LOGHE H UWL ´ ZKLF KLVW KH J H QLW LYHF D VH IRU PL QF R UU H F WO \ XV H G E \ : D WNL QV D VWKHSRH W¶VILU VWQDP H ) 192 The first one is: Urbs Celestis, urbs beata Town from Heaven, happy town Super petram collocata, Build on top of a rock Urbs in portu satis tuto: Town in heaven very safe: De longinquo te saluto. From far away I greet you. The middle section of the motet uses text that in the original poem precedes the above excerpt. This section provides us with a description of the utopian town: In hac urbe lux sollennis, In this town light is solemn, Ver aeternum, pax perennis; Spring eternal, peace forever; In hac odor implens caelos: In it scent fills up the skies: In hac festum semper melos. In it festive music always (sounds) Non est ibi corruptela, There is no corruption, Non defectus, nec querela, No depletion, no complaining, Non minuti, non deformes: No weak, no deformed. Omnes Christo sunt conformes. All to Christ are similar. The last section uses part of the closing text of the poem: Te saluto, te suspiro, I greet you, I sigh for you, Te affecto, te requiro. I long for you, I miss you. Quantum tibi gratulentur, 192 Watkins, 159. 163 163 How much they thank you, Quam festive conviventur. How happily they live together (Those who are inside you). : D WNL QVUH IH UVWR2U E i Q¶ VRZQD F F RXQWW KD WW KH VR QJ I H D WXU H VD +XQ JD ULD Q folklore tune that he knew from his childhood in Kolozsvár 193 and remains a well-known folksong to this day, as the author learned it in her childhood. 194 $F F R UGLQJ W R: D WNL QV¶ interview with Orbán, the combination of this tune with the text about a utopian town carries an ironic message, because the harsh reality of life in Transylvania was far from utopian. 195 It is obvious that the picture of the heavenly town cannot be more remote from the place where Orbán grew up. Besides irony, one may still find the sentiment of desire for a different reality, one that is familiar only to the person who has been forced to leave their birthplace in search of a better life. Structure A B A 1 v. 1 v. 2 v. 3 mm. 1-13 mm. 14-28 mm. 30-42 Musical Setting The octosyllabic structure of the Latin poem perfectly fits the structure of the Hungarian tune, designed to serve the most popular syllabic organization of Hungarian folklore poetry. (One of the best examples of its use in art music is Bart yN¶ V %OXH EH DUG¶V Castle). The original tune outlines an octave D4-D5 in the opening, a measure that 193 Watkins, 159. 194 According to Orbán, his birth town was infamously corrupt. Legend has it that King Matthias Hunyadi & R U Y LQ X V + X Q J DU \ ¶ V P R V WU HY HU HG N LQ J R I WH Q Y LV LWHG .R OR ]VY iU G LV J X L V HG DVD S DX S HU LQ R U G HU W R OHDU Q what was really transpiring there. 195 Watkins, 159. 164 164 descends from B4 to F ଈ 4, a phrase that uses a descending sequence A4-F ଈ 4, G4-E4, F ଈ 4- D4, and a cadence that features the three pitches A4-E4-D4. Example 4.75. Anonymous, Kolozsváros olyan város, serves as the basis of the motet. Orbán arranges the first line of the text to fit the opening range of the tune and the outlined D major triad. The second line is set to the diapason of the second phrase of the folk tune, B-F ଈ ; the third line is based on the descending tertial cadence (A4-F ଈ 4 for ³ XUEVLQSRU WX´D QG * -E4 for ³ satis tuto ´ ). The closing gesture puts emphasis on the descending fourth A4-E4 by lingering on E4 rather then the tonal center D4. Example 4.76. György Orbán, Urbs Celestis, mm. 1-2, first line of the melody as paraphrased mm. 1-2 165 165 Example 4.77. György Orbán, Urbs Celestis, mm. 4-13, second and third lines of the melody are transformed. The descending fourth leap from V to II carries with it a distinct Hungarian folklore flavor. In terms of the harmonic language, this helps to avoid the conventional IV-V-I cadence, as the second scale degree is used as a diversion from a strong tonic ending in a lowered III-ii6-I9 progression. The lingering presence of the tonal center D can give the harmonies a different meaning: they all may be viewed as inversions of the D13 harmony, the D11 making a defining appearance on the downbeat of m. 9. When the D-centered pitches of the melody are added to the sound of the lower voices, the chords in mm. 10, 11, and 12 receive a rather ambiguous meaning conceived as a mix of jazz, modality, and folklore. 166 166 Example 4.78. György Orbán, Urbs Celestis, mm. 11-13, the accompanying voices form a ii6-flatIII-ii6-I9 plagal cadence mixing jazz and modal harmonic elements. The middle section of the motet has a tonal center of F ଈ and the mode varies between major and minor. The sixth and seventh scale degrees in the F ଈ mode are also subject to the same variance, this way achieving the bi-modal effect of which Bartók speaks so fondly. In m. 18, the tonal center temporarily moves to G ଈ , with an outlined G ଈ 13 in the bass line in m. 20, which plays the ambiguous role of a C ଈ 9 as well. This allows for the appearance of the G7 in m. 22 that has also the double role of being a part of the C ଈ 9/b5. Thus, the role of the G-centered harmony is to reinforce the C ଈ 9 that will function as a dominant chord in the key of F ଈ . This is what happens in mm. 22-25, where the definite role of G ♮ as a flat fifth in a C ଈ chord is unquestionably established. It is interesting to note that the C ଈ might also VH UYH D VWKHQRWH RIWKH ³ G H YLO ´ (the master of deception) the forbidden note with which the G forms another forbidden interval of the middle ages thereby depicting and underscoring the deceptiveness of the statement ³ there is no corruption ´ (non est ibi corruptela). 167 167 Example 4.79. György Orbán, Urbs Celestis, mm. 22-25, C ଈ 9/b5 chord to serve as a dominant to F ଈ , the third scale degree of D Major. The middle section of the motet in m. 28 ends on an F ଈ 9 chord, changing from major to minor in m. 27, and returning to major before the return of the key of D in the last sec WL RQLQP 7KH UH SULVH ³ F RPHSU LP D ´ LVXQG H UWKH LQIOXH QF H RI WKHPLGGO H section, which demonstrates itself in the use of G ଈ ² the raised fourth and a flat fifth of the key of D. G ଈ is actively featured in the middle section of the reprise and this mirrors the use of the flat fifth in the C ଈ -dominated harmony in mm. 22-25. The fluctuation between major and minor mode is demonstrated in this recapitulation of sorts by the use 168 168 of F and F ଈ , and also by the flat and the natural sixth scale degree. The resulting harmonies, again with the strong presence of D7, 9, and 13, keep carrying not only the modal ambiguity of the composition, but also its jazz flavor. The featured G ଈ adds to the PRGDO³ IOD YRU ´ RIWKH VH F WL RQ ² bH WZH H QLW V³ EOXH QRWH´ QD WXUH D QGUR OH as a fourth in a Lydian mode, it turns the ending third section of the motet into its pinnacle. Example 4.80. György Orbán, Urbs Celestis, mm. 30-33, the recapitulation is presented in D major with flat third (F ♮) and sixth scale degrees (Bb), and with sharp fourth (G ଈ ) to enhance the section with jazz and modal flavors. Half cadences of E7, V4/2 of V chord (dominant function), in m. 32 and in m. 35 (E13) on the text expressing yearning for that safe haven of eternal bliss, the utopian home-town, ar H H [ H PSO D U \ R I2 UE i Q¶VH [ F H OO H QWD ELO LW \ WRL OO XVWUD WHWKH SRH WU \ WKURX J K PXVL F 7KH PRP H QWRIF OL PD[ GRH VQ¶WKD YH WREHORXGRIWHQLWL VIXOORIWK H WHQVLRQRI hidden desire and is expressed best through the harmonic language. This is also another exa PSO H RI2 UEi Q¶VXV H RIWKH J ROG H QPHD Q D VWKHSOD F H WRSU H VH QWW KH PR VWL QWULF D WH harmony. The sonata principles that Orbán referred to repeatedly in his own interviews 169 169 are seen here not only in the reappearance of the thematic material of the opening, but also in the changes in the reprise that result from the modal and harmonic events in the middle section. The last two lines at the very end of the motet starting in m. 36 are marked piú lontano. The descending third sequence, cited from the original folk tune, is heard as if from a distance, and the harmony strays to the zone of Bb ² the most remote modulation in the motet. This happens through the transformation at the end of m. 37 of the first inversion of the Dm13, also perceivable as B13 with a flat fifth, into a V in Bb. The occurrence of B13 is important even if demonstrated only by one single B in the soprano line in m. 37, since it reappears at the end of the motet to emphasize the meaning of the text. The temporary Bb center is represented as a Bb major/minor 11, with a featured Eb/ ♮ (raised fourth or flat fifth). The end of m. 39 could be perceived as a D minor chord with a flat fifth or, more logically (since triads are sparse in the musical idiom of the composition), as an inversion of Bb7, where the root of the chord is anticipated (in m. 38), or of a B°7, with its root delayed all the way to the last measure of the work. Bb and B ♮ are completely equated in the bi-modal language of the motet; their use in mm. 40 and 41 is a reminiscence of the middle section (especially mm. 14-21). These two measures accommodate the D- centered drive of the composition by using D major/minor13. Urbs Celestis ends with a reiteration of the feeling of removal from the place of longing (the utopian hometown) by ending on a different key center, B (presented as B11). 170 170 Example 4.81. György Orbán, Urbs Celestis, mm. 36-42, the last melodic presentation in the motet, harmonized in D minor mode, ends on Bm11. Motet: Veni Sancte Spiritus Veni, Sancte Spiritus, Come, Holy Spirit Et emitte caelitus And send from heaven Lucis tuae radium. Of your light the ray. Veni, pater pauperum, Come, father of the poor, Veni, dator munerum Come, giver of gifts, 171 171 Veni, lumen cordium. Come, light of hearts. O lux beatissima, Oh, light most blessed, Reple cordis intima Fill up of the heart the inmost part Tuorum fidelium. Of your faithful. (Fill up the inmost part of the heart of your faithful) Background The text has been attributed to Pope Innocent III or to Archbishop of Cantebury Stephen Langton, two of the foremost names of the early thirteenth century church. The sequence (in Dorian mode) is one of four approved by the Council of Trent. With his setting of the text, Orbán joins the company of a number of great Renaissance composers, including Dunstable, DuFay, Josquin, Palestrina, and Lassus, to name a few. Like Dunstable, Orbán uses only the text and not the actual sequence melody for his setting. Of the ten verses of the sequence, Orbán sets to music verses one, two, and five. Musical Setting Earlier in his career (in 1984), Orbán composed a setting of another text for Pentecost, the hymn Veni, Creator Spiritus. Veni, Sanctus and Veni, Creator Spiritus belong to the rather exclusive repertoire for Pentecost and have a history of being set simultaneously or as a pair. Orbán is very critical of his setting of Veni, Creator Spiritus D QGF RQVL GH UVLW³WRRSRO \ S KRQLF ´ 196 When he set Veni, Sancte in 1989 in a rather homophonic way, this was not only a return to the topic of the Holy Spirit, but also a step forward in establishing his a cappella style. Veni, Sancte marks a shift in style from his motets of the early 1980s to a number of motets that share similar features with it. Veni, Sancte WKXVE H ORQJ VWR D YLUWXD O³JU RXS´ of motets that includes Ad Nocturnum, Amor 196 Orbán, interview with author, August 2011. 172 172 Sanctus, Te Lucis Ante Terminum, and Urbs Celestis. Common features of these motets include the use of either hymnal or sequential texts, textures that feature sections of independent melodic writing, sections of homophony, and harmonic language that is based on the intervallic relationships in the melody. All five motets of this group also utilize a juxtaposition of relaxed tempi and moments of agitation that are created by dynamic changes and melismatic passages; the latter are used in moderation, and never prevail in the overall character of the composition. Simplicity and complexity, horizontal and vertical principles, and both syllabic and melismatic writing, are used in a well- balanced manner in all five motets. When compared to the earlier motets of Veni, Creator, Regis Regum, and Cor Mundum, these five works are indicative of the shift that Orbán made in 1989 towards establishing his signature diversity of expressive tools. Structure A A 1 A 2 v. 1 v. 2 v. 3 mm. 1-18 mm. 19-34 mm. 35-53 The setting of verse one is entirely diatonic and uses the bass part to carry the melody, a device favored by Orbán. 197 The two center pitches of the motet are C and G, and as seen many times in the motets analyzed above, Orbán employs modal as well as tonal ambiguity. Still in the key of C, the harmony in m. 6 and m. 11 shifts towards G major in the tenor part, cadencing on B. This explains the use of the iii6 and iii6/4 chords in both measures; in m. 14, the soprano supports the tenor, which arrives on a G after a minor third leap, in a manner typical of the modal writing of Orbán. 197 Ibid. 173 173 Example 4.82. György Orbán, Veni Sancte Spiritus, mm. 1-11, presentation of the chant- like main theme in the bass in C major; cadences in mm. 6 and 11 on B minor (iii) lend modal flavors. After a series of tertian leaps in the soprano, balance is restored by a cadence on C in m. 18. The center C is supported by the bass and the alto, while the tenor cadences on a G after a series of leaps that circle around to this second tonal center. The omission of the third in the chord in m. 18 is a result of the melodic writing that defines two different center pitches. Its modal character helps to dissipate the harmonic drive at the end of the section. 174 174 Example 4.83. György Orbán, Veni Sancte Spiritus, mm. 16-18, the A section cadences in C. The second verse that constitutes the middle section of the work, mm. 19-34, again uses chromaticism and bimodality. The flat third and seventh in the key of C serve as a basis for the chord in m. 21, whose root is Eb. The Db that serves as a seventh of WKL VF KRUG D OVRKDVWKHI X QF WL RQRI D ³ EOXH ´ fifth in the key of G; this function manifests LW VH OILQP ZKH UH WKH ³ WKHPH ´ RIWK H PRW H WDSS H D UVLQWKL VQH ZNH \ 7KL VSO D \ RI IOD W sevenths and thirds between the keys of C and G leads to a momentary Phrygian cadence in F in the chord progression in mm. 25-26, where the bass outlines a cadential line Ab- Gb-F. This may be seen as a preparation for the key of F in m. 48, and for the final plagal cadence in C. 175 175 Example 4.84. György Orbán, Veni Sancte Spiritus, mm. 19-28, second verse with Eb harmonies, tenor tonicizing G, and F Phrygian cadence in m. 28. 176 176 Example 4.85. György Orbán, Veni Sancte Spiritus, mm. 47-49, F cadence repeated in m. 48 preceding the C9 in m. 49 foreshadowing the final C major cadence. The pitches Bb and Ab are introduced in the bass line in mm. 19-26, and are part of the melodic C major mode cadence in mm. 33-34. The resulting harmonies change the character of the music for this first half of the middle section. Measures 27-31 stay true to C as the original melodic center. The melody in the soprano carefully avoids the seventh scale degree in mm. 28 and 30, not committing either to B or Bb. In m. 32, just as the alto is about to resolve the F ଈ into G, the part goes to a G ଈ instead ² an expression RI2 UEi Q ¶VGLV taste for conventional use of the leading tone. Again, his harmonies result from the tendencies in the voice leading and the melodic drive of each voice with its modal and tonal ambiguity. While the bass line makes a short shift to the key of D in m. 31, creating anticipation a V-I cadence in the key of G, this cadence never happens. Instead, all voices come together in mm. 33-34 in a melodic major C mode, with the avoidance of a leading tone. 177 177 Example 4.86. György Orbán, Veni Sancte Spiritus, mm. 33-34, conclusion of verse 2 with flat sixth and seventh instead of conventional leading tone. The third verse, D QGODVW VH F WL RQRI WKHPRWHWF RP H VD IWH UWK H SKUD V H ³ YH QL OXP H Q cordium.´ 7R2 UE i QWKL VLV WKHVH PDQWLFF OL PD[ RIWKH composition; it is set ff aperto, D QGLQW KH D IRU H PHQWLRQH GUH WXUQRI WKHN H \ RI& 2U Ei Q¶V F KRLFH KH UH RI D NH \ K H D VVRFLD WHVZ LW KOL J KWVH H PVYHU \ OR J LF D O ³ O OX[ EH D WL VVL PD´ RK EOHVVH GOL J KWI ROO RZV naturally ³ YH QLO XPHQ F R UGLXP´ (come, light of hearts). To stress one more time the central idea of the motet that Spirit is Light, Orbán continues f, which grows one more time to ff LQP 7KH ³ WKHPH ´ RIWKH PRW H WDSS H D UVLQ*VXVWDLQH GD V D N H \ IRU D OO SD UWV except for the second bass until m. 39; the V2 in G in m. 39 is a result of the second bass sustaining the center C while the upper parts gravitate towards tonal center G. 178 178 Example 4.87. György Orbán, Veni Sancte Spiritus, mm. 35-37, beginning of verse 3 with the chant-like theme in G although the key is never fully utilized and soon abandoned. 0H D VXUH IH D WXU H VWKH RSH QLQJ IL IWKRI WKH³ WKH PH´ WUD QVSRVHG D VWHSKL J KH U The melodic writing that follows distributes the melody between soprano (m. 41) and alto (m. 42), and makes use of the motet ¶V modal D PEL J XLW \ D QG³ EOX H ´ QRWHV 6 XSSR rted by the tenor starting in m. 41, the upper voices form harmonies that feature Bb/B ♮ and Eb/E ♮. 179 179 Example 4.88. György Orbán, Veni Sancte Spiritus, mm. 40-44, main theme transposed and divided between soprano and alto; the use of Bb/B ♮ Eb/E ♮, and F ଈ cause modal ambiguity. The drive towards the key of G is still strong, though, and the chord in m. 44 is of the same nature as the one in m. 39 (see above). The key of G finally arrives as a tonic in m. 45, in a minor mode, and with the melody doubled in soprano and tenor. In a number of his compositions, Orbán chooses to arrive at a key in the last section of the work, after delaying it through the middle section. The second bass moves from C to Bb and seemingly creates a conventional tonal cadence of V2 into i6. The harmony on the downbeat of m. 47 is akin to m. 25, thus connecting the middle and the last section of the motet. 180 180 Example 4.89. György Orbán, Veni Sancte Spiritus, mm. 45-50, the implied G mode, from the beginning of verse 3, arrives in minor in m. 45; through a plagal cadence (F-C) the voices lead back to C major in m. 49. The key of C major is supported in both sections despite the appearance of pitches that try to drive the music away from it. This becomes very clear in mm. 48-50, where the voices join to create both a melodic and harmonic drive leading to C. Again to avoid tonal conventions, Orbán uses the C-F repetitive leap in the bass line to create a plagal cadence at the end. As seen previously, Orbán uses the key of C to illustrate text that speaks about light. Since ³ Spirit as Light ´ is the main idea of this motet, the persistence of the key center C through the modal changes in the melody has a clearly symbolic role. Because of the strong impetus towards the key of G present in the entire composition but 181 181 especially in the last verse, the upper two voices arrive on a resolution in G in the final measures of the motet. There are two melodic drives: in C and in G. The resulting chord in m. 52 may be defined as C9, but is actually a bi-tonal chord in C, and G, where the key of C dominates (three of the pitches can be associated with tonic C tonic, compared to two with G). Bartók stated that the new Hungarian music could be bi-modal, but not bi-tonal, 198 and he strongly believed that one tonal center should prevail in a composition. In this case, O UEi Q¶VPRWHWLV LQGHH GEL -modal, where the different modes (major and minor) coexist on an equal basis. When it comes to tonality, however, there is a hierarchy present, and the key of C prevails. Since it is not the harmony but the melody that serves as WKHPD LQGULYHLQ2 UE i Q¶VPXVL F D VZH OO D V % D U WyN¶VD F F RUGLQ J WR.RG i O\ acknowledging the melodic tendencies in different voices may result in non-conflicting resolutions of tonal ambiguity (melodically achieved keys of C and G) that may be understood harmonically as an enhancement of the main key (e.g., C9 as a tonic at the end). 198 Bartók, Essays, 371. 182 182 C H APT E R 5 C O N C L USI O N The twelve motets analyzed in this paper SURYLGH D ZLQGRZLQWR2U Ei Q¶V compositional process. While it is not easy to pinpoint the defining stylistic traits of his choral writing, a comparative approach within this body of his work shows repetitive patterns and favorite devices. The first such characteristic device is the choice of keys. Four motets are in D: Amor Sanctus, Ave Maris Stella, Urbs Celestis, and De Vitae Vanitate. Ad Nocturnum is in D and G, Daemon Irrepit Callidus in G. Mundi Renovatio, Veni Sancte Spiritus, and Te Lucis Ante Terminum are in C. Ave Regina and Pange Lingua share the Eb-G minor key zone, and Nobis Natus stands alone in F. All motets use shifting or ambiguous modality, so pointing to a major or a minor mode would be limiting. The key center often presents itself in the direction of the work, and may be missing at expected cadential moments. Temporary key centers in these compositions are usually keys with flats in the signature. Favored keys for modulation are the flat mediants, which come from the influence of the Hungarian (minor third) la-pentatonic scale, D QGLW VLQW H UYD OO LFN LQVKL SZLWKW KH ³ EOXH´ VF D OH7 KH importance of the seventh scale degree, used by Orbán as a pivotal tone for modulation, is rooted in the theory of Hungarian music, and is mixed with thirteenth chords to create a specifically jazz-like flavor. Another characteristic device is the choice of text. There are seven motets with ecclesiastical texts: Veni Sancte, Ad Nocturnum, Ave Maris Stella, Te Lucis Ante Terminum, Ave Regina, Pange Lingua, and Nobis Natus. Four of these ² Ad Nocturnum, Ave Maris Stella, Te Lucis Ante Terminum, and Ave Regina ² use texts from the Vespers, 183 183 Compline, or Matins services that are prayers for protection from nighttime evils. Veni Sancte is a setting of a Pentecost sequence; Pange Lingua and Nobis Natus share the same text, designated either for Maundy Thursday or Corpus Christi (the Thursday after Trinity Sunday or eleven days after Pentecost). Orbán seems attracted to texts that reflect the deeper, mystical aspects of faith, and the protective powers of the Divine. The motet non-liturgical texts include Amor Sanctus, Urbs Celestis, Mundi Renovatio, De Vitae Vanitate, and Daemon Irrepit Callidus. The first two are poems by famous medieval poets with no liturgical concept. The third is a sequence by another significant poet, and is no longer in liturgical use. 199 The latter two are examples of less elevated medieval poetry: De Vitae Vanitate is an anonymous hymn in the style of Ave Maris Stella, but is less consistent in its use of meter, and is of lesser quality; Daemon Irrepit Callidus is of Goliardic provenance. The texts in this non-liturgical group deal with the ecstatic (Amor Sanctus), the celebration of life (Mundi Renovatio), the utopian (Urbs Celestis), and the trappings of our earthly nature (De Vitae Vanitate and Daemon Irrepit Callidus). Six of the twelve motets, composed between 1989 and 1992, are stylistically alike and could form a virtual group: Veni Sancte, Ad Nocturnum, Amor Sanctus, Ave Maris Stella, Urbs Celestis, and De Vitae Vanitate. With the exception of Veni Sancte, they all share the key center D. One could argue that the choice of key triggers a certain setting of a given composition. Starting with one-part chant-like incipits, all of these motets make very balanced use of melody and harmony. Chords with jazz, late Romantic, and Hungarian school flavor equally define the sound of this group of motets. 199 See respective analyses for detailed information. 184 184 Dispersed among these are compositions that have rather individual traits to their settings. Te Lucis Ante Terminum (1990) is in C and uses no chant incipit. The harmonic language has a stronger late Romantic flavor compared to the other motets. Also from 1990, Ave Regina begins with a one-part chant incipit, just as with the group of six works mentioned above. The difference lies in the complex structure of the composition: written in the key of Eb/G minor, it is built around the modulation between three key zones, each consisting of three keys, two major ones and a minor, connected through a ³ SLYRW D OW RQH ´ Pange Lingua I URP D OVRP D NH VXVHR IWKH ³ SLYRW D OW RQH ´ EXWL WVP D in distinctive trait is the Hungarian melodic and harmonic flavor. The motet could easily be F D OO H GD F H OHEU D WL RQRI WKHF RPSRV H U¶ V +XQ J D UL D Q LGHQWLW \ The one-part incipit is accompanied by an ostinato that distinguishes the composition from the others that open with a chant-like melody. On all levels, the work L VURRWH GLQZKD W% D UWyNF D OO VWKH³ QH Z VW \ O H ´ R I+ XQ J D ULD QIRONO RUH EXWDOVRZLW KH OHPH Q WVRIMD] ] KD UPRQ \ D F R PEL QD WL RQWKDW PDNH V2U Ei Q ¶VF KRU D OP XVLFVRXQLTXH and so universal. The most distinctive elements used are the cadential descending fourth, the improvisational melodic writing that borrows motives from traditional fiddle playing and the use of Dorian mode. Nobis Natus in F, written a year earlier on the same text, makes more subtle use of Hungarian features. It begins with a chant-like incipit, but the vertical setting that follows resembles Renaissance writing. Melodic writing dominates over harmonic writing, and modulations are a product of a mutation (the change of the placement of ut- meh or do-me) of the pentatonic pentachord. 185 185 Daemon Irrepit Callidus in G (minor), composed in 1990, and Mundi Renovatio in C (minor), composed in 1991, share textural features despite their different topics, and keys. The rhythmic drive is stronger than the melodic impetus, and the melodies are based on leaps that make the musical language of these two compositions very different from the smoother, chant-like writing of the rest of the twelve motets. Slower harmonic rhythm, motivic repetition in the span of two measures or more, and a strong presence of a major or minor-second oscillation at the moment of suspense, are characteristic of both motets. It is interesting that despite their different tonal centers, both works make use of the same harmonies, and temporary key zones: Eb, Bb, Ab; in both, the pitches F ଈ -Gb as well as C ଈ -Db make a frequent appearance. In fact, the use of these same harmonies is the common trait between those motets of the twelve analyzed that are in C minor, in Eb, and in G minor. The overarching chord that seems to control the harmonic processes in WKHVH WKUH H N H \ VLV & P WKXV & PL QRUE H F RPHVD ³ PDF URNH \ ´ WK D WFRPS ULVH VWKHRWKH U two key zones as well. 2U Ei Q¶VRQO \ PRW H WL Q) Nobis Natus, is akin to this group above more than to the other motets because of the very strong presence of Eb as a secondary key center. Eb dominates the second half of the work, and the motet ends on an E major chord as if a ³ F RPSURPL VH ´ E H WZH H Q ) D QG( b. The keys of F and Eb are akin through the pivotal pitch Eb, which is the seventh of the F7 chord. Aside from the two compositions in C major (Veni Sancte and Te Lucis Ante Terminum), the rest of the motets are either in D or LQW KH ³ PDF UR - NH \ ´ R I&PLQRU -Eb-G (minor), including there the closely related key of ) : KH WKHU GH OL EH UD WHRU QRWW KH NH \ F KRLFH VR IWKH ³ QRQ - ' ´ J URXS RXWO LQHD & -Eb-F and G Hungarian tetratone (lá-dó-ré-mi). 186 186 In conclusion, Orbán started writing the twelve motets that represent the body of this thesis as a group. Since they were never meant to be an actual cycle, they soon went into different stylistic, and textual directions. In a subtle, non-obtrusive way, they celebrate the spiritual messages of their texts using the most direct choral techniques that a PRGHU Q+XQ JD ULD QF RP SRVH UKD VD WKL VGL VSRVDO +RZ H YH U2 UEi Q ¶VPXVL F J R H VEH \ RQG the limitations of a single style: the diversity of the poems reflects the diversity of human feelings, and calls for a variety of settings that our modern age allows a composer to use. $WWKHVD PHWLP H WKHF R PSRV H U¶ VRZQF KRLF H RII D YRULWH H [ SUH VVL YH GH YLF H VLV D UH IOH F WL RQRI ZKRKH LVDV D KXPDQEH LQ J D VZ H OO D VD QD UWLVW 2U Ei Q ¶VSH UVR QD OL W \ D VD composer is best revealed in these simple yet unique settings of Latin language poetry: a cosmopolitan Hungarian composer of the modern era whose open mind and love for humanity allow him to connect with performers and audiences from around the world. 187 187 BIB L I O G R APH Y Print Sources Annals of the American Academy of Political and Social Science. Vol. 242, Supplement: Cumulative Index 1941-1945, Volumes 213-242. Fifty-Fifth Anniversary Index (Nov., 1945), pp. i, iii-vi, 1-180. Babits, Mihály. Amor Sanctus, szent szeretet könyve, középkori himnuszok latinul és magyarul, fordította és magyarázta Babits Mihály. Budapest: Magyar Szemle Társaság, 1933. % D OR J $QGU p ³ µ7 KRVH 8 QKH D UG$ UH 6 ZH H WHU . . . " ¶+ XQ J D ULD Q0XVL F D QG 0XVL F LDQVL n the 20th Century: An Incomplete History ´ , Q Music's Intellectual History: First Conference of the Répertoire International De Littérature Musicale, edited by = GU D YNR % ODå H NRYLü -325. New York: Répertoire international de la littérature musicale, 2009. % D NH U7 KH RGR UH ³ 2U Ei Q * \ | U J \ ´ , Q % D N H U¶ V Biographical Dictionary of Musicians, revised by Nicolas Slonimsky. 8th ed. New York: Schirmer Books, 1992. Bárdos, Lajos. Selected Writings on Music. Budapest: Editio Musica, 1984. Bartók, Béla. Béla Bartók Studies in Ethnomusicology. Edited by Benjamin Suchoff. Lincoln: University of Nebraska Press, 1997. Bartók, Béla, and János Demény. Béla Bartók - Letters. London: Faber and Faber, 1971. Bartók, Béla. Béla Bartók Essays. Edited by Benjamin Suchoff. London: Faber and Faber, 1976. % H H F KH \ * ZLO \ P³ =ROWi n Kodály, Vocal and Choral Compose U´ Musical Opinion 106, no. 1263 (January 1983): 101-105. Breuer, János. A Short History of Musical Life in Hungary. Budapest: Corvina, 1981. % UH X H U- i QRV³ & KD Q J H V LQW KH 6 WUXF WXUH RI+ XQ J D ULD Q0XVL F & XOW XUH ´ Hungarian Music Quarterly 1, no. 1 (1989): 4-5. Bowring, John. Poetry of the Magyars, Preceded by a Sketch of the Language and Literature of Hungary and Transylvania. London: printed for the author, 1830. Choi, Jung Il. ³ * \ |U J \ 2 UEi Q¶V0D VV& RPSRV LW LRQV -1999): An Analysis of Masses 1, 5, and 9. ´ Dissertation Abstracts International, 69-05. Thesis (D.M.A.), University of Illinois at Urbana-Champaign, 2008. 188 188 Cser, Ferenc, Roots of the Hungarian Origin; Contemplation on the Carpathian Origin of the Hungarian Language and People. Melbourne: a XWKRU¶ VRQO LQHH GLW LRQ . Debussy, Claude, and François Lesure. Correspondance. Paris: Hermann, éditeurs des sciences et des arts, 1993. (ĘV] H / i V] Oy Zoltán Kodály; His Life and Work. Boston: Crescendo, 1962. Fata, Márta, and Anton Schindling. Calvin und Reformiertentum in Ungarn und Siebenbürgen: helvetisches Bekenntnis, Ethnie und Politik vom 16. Jahrhundert bis 1918. Münster: Aschendorff, 2010. Frigyesi, Judit. Béla Bartók and Turn-of-the century Budapest. Berkeley: University of California Press, 1998. +D OiV] 3 p WHU ³ 2U Ei Q* \ | U J \ ´ , Q7K H 1H Z *U R YH 'LF WL RQD U \ RI0XVLF D QG0XVL F LDQV edited by Stanley Sadie. 2nd ed. London: MacMillan Publishers, 2001. Halász, Péter. "Hungarian Composers of the Last Five Decades (Draft). Hungarian Music Quarterly, 11, no. 1-2 (2000): 1-2. Hollós, Máté. $]p OHWPĦI H OH ]H Q H V]HU]ĘSRUW Up N EH V]pOJH WpVH N E H Q . Budapest: Akkord Zenei Kiadó, 1997. +RRNH U /\ Q Q³ , GH D VD E RXW+XQJ D ULD Q0XVL F LQ (D UO \ +XQ J D UL D Q0XVL F RORJ \ ´ 0 XVLF¶ V Intellectual History (2009): 565-580. Kodály, Zoltán. Vegyeskarok. Budapest: Editio Musica, 1972. Kodály, Zoltán, and Ferenc Bónis. The Selected Writings of Zoltán Kodály. London: Boosey & Hawkes, 1974. .U Ry*³ 1 H Z+ XQ JD ULD Q0XVL F ´ Notes - Quarterly Journal of the Music Library Association 39, no. 1 (1982): 43-43. Liszt, Franz, and Edwin Evans. The Gipsy in Music. London: W. Reeves, 1926. Orbán, György. Második Kóruskönyv. Vol. 1. Budapest: Editio Musica, 1989. Orbán, György. Ad Nocturnum. Kecskemét: Ars Nova Editio, 1994. Orbán, György. Amor Sanctus. György Orbán: personal archive. Orbán, György. Ave Maria in D. Chapel Hill: Hinshaw Music, 1995. Orbán, György. Ave Maria in A. Chapel Hill: Hinshaw Music, 1996. 189 189 Orbán, György. Ave Maris Stella. György Orbán: personal archive. Orbán, György. Ave Regina. Chapel Hill: Hinshaw Music, 1996. Orbán, György. Daemon Irrepit Callidus. Chapel Hill: Hinshaw Music, 2001. Orbán, György. De Vitae Vanitate. Frankfurt am Main: Edition Ferrimontana, 1994. Orbán, György. Mundi Renovatio. Frankfurt am Main: Edition Ferrimontana, 1994. Orbán, György. Nobis Natus. Kecskemét: Ars Nova Editio, 2001. Orbán, György. Pange Lingua. Kecskemét: Ars Nova Editio, 1998. Orbán, György. Pater Noster in C. Kecskemét: Ars Nova Editio, 1995. Orbán, György. Te Lucis Ante Terminum. Kecskemét: Ars Nova Editio, 2013. Orbán, György. Timor et Tremor. Chapel Hill: Hinshaw Music, 2009. Orbán, György. Urbs Celestis. György Orbán: personal archive. Orbán, György. Veni Sancte Spiritus. Kecskemét: Ars Nova Editio, 1994. Papp, Géza, ed. Régi Magyar Dallamok Tára. Vol. 2. Budapest: Akadémia Kiadó, 1970. Simms, Bryan R. Music of the Twentieth Century: Style and Structure. New York: Schirmer Books, 1986. 6 WHYH QV+D OVH \ ³ 7K H & KRUD O0XV LFRI .ROWiQ. RGi O \ ´ Musical Quarterly 54, no. 2 (Apr., 1968): 147-68. Stevens, Halsey. The Life and Music of Béla Bartók. London: Oxford University Press, 1978. Szabó, Miklós, László Eösze, and László Lukin. Contemporary Hungarian Composers of Choral Works. Budapest: Kórusok Országos Tanácsa, 1988. Szabolcsi, Bence. A Concise History of Hungarian Music. Budapest: Barrie and Rockliff, 1964. Szabolcsi, Bence, and György Kroó. A Concise History of Hungarian Music: Chapter on Modern Music by György Kroó. Budapest: Corvina, 1974. Tallián, Tibor. Béla Bartók: The Man and His Work. Budapest: Corvina, 1981. 190 190 7D OO LiQ7 LERU³ % p OD % D U WyN& RPSRV H URI ) RON6 RQJ V´ Hungarian Music Quarterly 9, no. 1-2 (1998): 5-9. Tari, Emöke Só O \ PRVL ³ 7KH % XG D SH VW& LW \ & RXQ F LO D QG0XVL F ´ Hungarian Music Quarterly 5, no. 2 (1994): 2-7. Tezla, Albert. Hungarian Authors: A Bibliographical Handbook. Cambridge, MA: Belknap Press of Harvard University Press, 1970. Török, Péter. Hungarian Church-State Relationships: A Socio-Historical Analysis. Ph.D. diss., University of Toronto, 2000. Varga, Bálint András. Contemporary Hungarian Composers. Budapest: Editio Musica Budapest, 1989. Varga, Bálint András. Contemporary Hungarian Music in the International Press. Budapest: Editio Musica, 1982. Wachsmuth, Karen. A Bibliography of Twentieth-Century Hungarian Choral Music. Lawton: American Choral Directors Association, 2002. : D WNL QV: LO EH UW2 ³ 6 H OHF WHG6DF UH G& KRUD O: RU NVRI* \ | U J \ 2U E i Q$ +LVW RULF D O $QD O \ WL F D ODQG&ULWL F D O( [ D PL QD WL RQ´ 3 K' diss., Florida State University, 1999. Electronic Sources Bodolai, Zoltán. ´ 7LPHOH V V1D WL RQ´ In Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. % RUVRG \ 6 WHSKH Q ³ 7KH +XQJD ULD QV$'LYL GH G 1D WL RQ´ , Q Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. Cadzow, John F., Andrea Ludanyi, and Louis J. Elteto (eds ³ 7 UD QV \ OYDQLD - The Roots of (WKQL F & RQIOLF W´ In Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. ) UH H GPDQ- RVH SK6 ³ & D OYL Q8QG5H IRU PL H UWH QWX PL Q8QJ D UQ8 QG6 LHEH Q EUJH Q Helvetisches Bekenntnis, Ethnie Und Politik Vom 16. Jahrhundert Bis 1918. Edited by Márta Fata and Anton Schindling. Unter Mitarbeit von Katharina Drobac, Andreas Kappelmayer, Und Dennis Schmidt. Reformationsgeschichtliche 6 WXGL H Q8QG7 H [ WH% D QG 0QVW H U$ VF KH QGR UI I ´ Church History: Studies in Christianity and Culture 80, no. 2 (2011): 407 ± 9. doi: 10.1017/S000964071100028X. 191 191 Halász, Péter. ³ 2U Ei Q* \ | U J \ ´ Grove Music Online. Edited by Dean Roote. Accessed September 4, 2013. http://www.oxfordmusiconline.com.libproxy.usc.edu/ subscriber/article/grove/ music/45034. / i ] i U , VWYiQ³ +XQ J D U \ ± $% ULH I+ LVW RU \ ´ , Q Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. / LSFV H \ , OGL Ny³ 5 RPDQL D D QG7U D QV \ OY D QLDLQ the 20th & H QWXU \ ´ In Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. Macartney, Carlile Aylmer. ³ +XQ JD U \ ± $6KRUW +LVW RU \ ´ In Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. 1D J H O- RG \ ³ 2Q0RG H V ´ Accessed August, 2014. http://www.jomarpress.com/nagel/articles/OnModes.html. Perjés, Gé ] D ³ 7K H ) D OO RI7 KH 0 edieval Kingdom of Hungary: Mohács 1526 - Buda ´ In Corvinus Library Hungarian History. Budapest: Hungary.Network, 1999. http://www.hungary.com/corvinus/. Szekler, 2012. Encyclopaedia Britannica Online. http://www.britannica.com/EBchecked/topic/579333/Szekler. 9D PEHU \ 5 XVWHP³ 1 D WL RQD OL VPL Q+XQJ D U \ ´ , Q ³ $&KD OO H Q J H WR3 H D F H P D NH UV´ 6 SH F LDO issue, Annals of the American Academy of Political and Social Science 232 (Mar., 1944): 77-85. Accessed July 23, 2014. http://www.jstor.org.libproxy.usc.edu/stable/1023338 Walker, Alan, et al. "Liszt, Franz." Grove Music Online. Edited by Deane Roote. Accessed September 04, 2013. http://www.oxfordmusiconline.com. 192 192 APPE NDI X C H O R A L W O R KS B Y G Y Ö R G Y O RB Á N The list was created in October 2007 by the author, with the help of Áron Orbán. 7KH ILU VW J URXS RI* \ | U J\ 2 UEi Q¶VZ R UNVD U H WKH a cappella works (indicated with ³ , ´ These works are divided into 6 categories: I./ vk./ l. = a cappella works for mixed choir, in Latin I./ vk./ m. = a cappella works for mixed choir, in Hungarian I./vk./i.ny. = a cappella works for mixed choir, in other languages I./ ek./ l. = a cappella works for female or male choir, in Latin I./ ek./ m. = a cappella works for female or male choir, in Hungarian I./ek./i.ny. = a cappella works for female or male choir, in other languages The choral works accompanied by piano are also included in this list of a cappella works. The items indicated with * have variants in other vocal scoring. Abbreviations: Comp. = composition; Dur. = duration; Diff. = difficulty on the scale from 1-10, 1 being the easiest, 10 the most difficult. Publishers: MS-Hinshaw = Manuscript at Hinshaw Music Inc. EF = Edition Ferrimontana EMB = Editio Musica Budapest AN = Ars Nova, Kecskemét; only for Hungary and Romania HMC, HMB = Hinshaw Music Inc. 193 No. Title Album Date of Comp. Vocal Scoring Dur. Diff. Publisher Origin of Text; Language I./vk./l./1 Veni C reator Spiritus 1984 S Ms A T Bar B ~ 4' » EMB Z 13287 Sacral texts in Latin I./vk./l./2 Stabat M ater (in A) 1987 S Ms A T Bar B 7' 20" » EMB Z 13498 I./vk./l./3 Regis regum ave 1988 S Ms A T Bar B 2' 30" » AN / MS- Hinshaw I./vk./l./4 Cor mundum 1988 S Ms A T Bar B 4' 40" 5 EF 1428 I./vk./l./5 Ad Nocturnum 1990 S Ms A T Bar B ~ 4' » AN / MS- Hinshaw I./vk./l./6 Veni Sancte Spiritus 1989 SATB 1' 25" » AN / MS- Hinshaw I./vk./l./7 Daemon Irrepit Callidus callidus* 1990 SATB ~ 2' 4 HMC 1537 / AN I./vk./l./8 Ave Regina 1990 SATB 3' » HMC 1500 I./vk./l./9 Nobis Natus 1990 SATB 2' » MS-Hinshaw I./vk./l./10 Te Lucis Ante Terminum ante terminum 1990 SATB 2' 40" » MS-Hinshaw I./vk./l./11 Amor Sanctus 1990 SATB 2' 30" » MS-Hinshaw I./vk./l./12 Pange Lingua* 1991, rev.1997 SATB 2' 30" » AN / MS- Hinshaw I./vk./l./13 Ave M aris Stella 1991 SATB 2' 30" » AN / MS- Hinshaw I./vk./l./14 Pater Noster (in C) 1991 S(Ms)A T(Bar)B ~ 3' 5 EF 1591 I./vk./l./15 Ave M aria (in D) 1991 SATB 2' » HMC 1395 / AN I./vk./l./16 Urbs caelestis 1991 S A T (Bar) B ~2'30" » MS-Hinshaw I./vk./l./17 De Vitae Vanitate* 1992 SATB ~ 3' » EF 1819 194 I./vk./l./18 M undi Renovatio* 1991 SATB 1' 25" » EF 1818 Sacral texts in Latin I./vk./l./19 Ave verum 1993 SATB 2' » AN / MS Hinshaw I./vk./l./20 Ave M aria (in A) 1993 SATB 2' 20" » HMC 1499 / AN I./vk./l./21 Agnus Dei (from Mass No. 8) 1992 2 x SATB + organ, trumpet ~ 4' » HMC 1396 I./vk./l./22 O vos omnes 1994 S Ms A T B 1' 35" » MS-Hinshaw I./vk./l./23 Pater Noster (in B flat) 1994 SATB 2' 35" 5 AN / MS Hinshaw I./vk./l./24 Salve Regina 1995 S(Ms)A T(Bar)B 1' 35" HMC 1499 I./vk./l./25 Stabat Mater (in F) 1995 S Ms A T Bar B 7' 15" HMB 201 I./vk./l./26 Psalmus 126 1999, rev.2003 S Ms A T Bar B 3' MS-Hinshaw I./vk./l./27 Timor et tremor 2002 S(Ms)A T(Bar)B MS-Hinshaw I./vk./l./28 Nunc dimittis 2002 S A T (Bar) B 2' 50" HMC 2099 I./vk./l./29 Agnus Dei ("quasi murmurando") 2006 S S Ms A T T Bar B +piano 3' 15" MS-Hinshaw I./vk./l./30 Solvere volo 2006 S Ms A T Bar B 3' 15" MS-Hinshaw I./vk./m./1 Motetta 1979 S Ms A T Bar B +oboe ~ 7' 6 EMB Z 8983 Aboriginal Hungarian and Latin liturgical texts I./vk./m./2 Prédikátor ének In: Kóruskönyv S.A. emlékére, 1. 1981 SATB ~ 1' » EMB Z 12831 Szilágyi Domokos: Gyöngyöm-társam I./vk./m./3 Liber Scriptus In: Kóruskön \ Y 6 $ « 1983 SATB ~ 2' » EMB Z 12831 Pilinszky János: Introitusz I./vk./m./4 Madrigál , Q . y U X V N | Q \ Y 6 $ « 1983 S Ms A T Bar B ~ 3' 6 EMB Z 12831 József Attila: Bánat 195 I./vk./m./5 Zsoltárváltozat , Q . y U X V N | Q \ Y 6 $ « 1983 S Ms A T Bar B ~ 4' 6 EMB Z 12831 József Attila: Huszonhárom király -Isten I./vk./m./6. De profundis , Q . y U X V N | Q \ Y 6 $ « 1983 S Ms A T Bar B ~ 4' 6 EMB Z 12831 József Attila: Nem emel föl I./vk./m./7 Sirató , Q . y U X V N | Q \ Y 6 $ « 1983 S Ms A T Bar B 3' 40" 6 EMB Z 13444 Szilágyi Domokos: Haláltánc-szvít (excerpt) I./vk./m./8 Zsolozsma , Q . y U X V N | Q \ Y 6 $ « 1983 S Ms A T Bar B +3 recorders, crotals 2' 5 EMB Z 13444 Pilinszky János: Zsolozsma I./vk./m./9 Szabad-e? , Q . y U X V N | Q \ Y 6 $ « 8. 1987 S Ms A T Bar B 3' 40" » EMB Z 13444 Sermon by Bornemisza Péter I./vk./m./10 Magyari népdal , Q . y U X V N | Q \ Y 6 $ « 1987 S Ms A T Bar B ~ 3' » EMB Z 13444 Excerpt of a Transilvanian Hungarian ballad I./vk./m./11 Lux aeterna In: Kóruskönyv S $ « 1982 S Ms A T Bar B +3 recorders, crotals 4' 20" 6 EMB Z 13444 Nagy László: Adjon az Isten I./vk./m./12 Virágének In: Második kóruskönyv, 1. 1979, rev.1984 SATB ~ 2' 5 EMB Z 13431 Szilágyi Domokos: Két Virágének / 1. I./vk./m./13 Se nappalom, se éjjelem In: Második kóruskönyv, 2. 1984 SATB ~ 2' » EMB Z 13431 Szilágyi Domokos: Két Virágének / 2. I./vk./m./14 Mint mellékdal In: Második kóruskönyv, 3. 1983 SATB 1' 10" 4 EMB Z 13431 József Attila: Tószunnyadó I./vk./m./15 Sanzonett IIn: Második kóruskönyv, 4. 1985 S Ms A T Bar B 4' 7 EMB Z 13431 József Attila: Reggeli fény I./vk./m./16 Levél az otthoniaktól In: Második kóruskönyv, 5. 1985 S Ms A T Bar B 4' 6 EMB Z 13431 Szilágyi Domokos: Hegyek, fák, füvek (after Hungarian aboriginal texts) I./vk./m./17 Kalandorok kíméljenek In: Medáliák könyve, 1. 1987 SATB ~ 30" 5 MS-Hinshaw Lázár Ervin: Tuvudsz ivígy? Pávárbeveszévéd 196 I./vk./m./18 Elefánt voltam In: Medáliák könyve, 2. 1987 S Ms A T Bar B 1' 50" » MS-Hinshaw József Attila: Medáliák 1. I./vk./m./19 Porszem mászik In: Medáliák könyve, 3. 1987 S Ms A T Bar B 2' 6 MS-Hinshaw József Attila: Medáliák 2. I./vk./m./20 Panyigai friss In: Medáliák könyve, 4. 1987 unisono tutti 25" 5 MS-Hinshaw Weöres Sándor: Táncdal I./vk./m./21 Tisztátalan forrásból In: Medáliák könyve, 6. 1987 S Ms A T Bar B 1' 30" 6 MS-Hinshaw After a song by Fráter Lóránd I./vk./m./22 Titkok nyitja In: Medáliák könyve, 7. 1987 S Ms A T Bar B 2' 45" 5 MS-Hinshaw Weöres Sándor: Áradó, sugárzó hangok I./vk./m./23 A cselédlány könnye In: Medáliák könyve, 8. 1987 S Ms A T Bar B 5 MS-Hinshaw József Attila: Medáliák 4. I./vk./m./24 Hintafán (former title: Álom gyermekként) In: Medáliák könyve, 9. 1987 S Ms A T Bar B 2' 40" 6 MS-Hinshaw Weöres Sándor: Robogó szekerek I./vk./m./25 Nagyapám int In: Medáliák könyve,10. 1986, rev.1999 S Ms A T Bar B 2' 5 MS-Hinshaw Cselényi Béla: Nagyapám int I./vk./m./26 A paprikajancsi szerenádja In: Medáliák könyve, 5. 1992 S Ms A T Bar B 1' 20" 4 AN / MS- Hinshaw Weöres Sándor: A paprikajancsi szerenádja I./vk./m./27 Lanthúr ha szól In: Három antik, 1. 1987 S Ms A T Bar B ~ 3' 5 HMC 1766 / AN A song in Shakespeare's " Henry VIII" (transl. Weöres Sándor) I./vk./m./28 Dramolett In: Három antik, 2. 1987 S Ms A T Bar B ~ 2' 5 HMC 1767 After Faludy Ferenc I./vk./m./.29 Ó, Pán In: Három antik, 3. 1988 S Ms A T Bar B ~ 3' 5 HMC 1765 Discovered text I./vk./m./30 Jól mondja Horácz': In: Két antik, 1. 1992 S Ms A T Bar B 2' 15" 6 MS-Hinshaw Horatius: Faunushoz (transl. Radnóti Miklós) I./vk./m./31a Nympha és Faun In: Két antik, 2. 1992 S Ms A T Bar B 3' 7 MS-Hinshaw "Jobb 's bal" in: Weöres Sándor: Psyché 197 I./vk./m./31b Nympha és Faun In: Két antik, 2. 1998 Ct/S Ct/A T T Bar B 3' 7 MS-Hinshaw "Jobb 's bal" in: Weöres Sándor: Psyché I./vk./m./32 Feltámadás napján 1989 S Ms A T Bar B 4' 20" 6 MS-Hinshaw Nagy László: Csodafiú-szarvas; Bible I./vk./m./33 Böjti boszorkány 1990 S Ms A T Bar B 3' 8 MS-Hinshaw Fragment from a poem by Szilágyi Domokos I./vk./m./34 Coloswar In: Erdélyi madrigálok, 1. 2007 SATB 1' 20" Felvinczi György: 5 LW N iQ N HOOĘ K t Y HV V ]H OOĘ « I./vk./m./35 Ember vigyázz In: Erdélyi madrigálok, 6. 1996, rev.2006 SATB + 4 vocal soloists 2' 40" Epitaph (Calvinist Cemetary of Marosvásárhely) I./vk./m./36 Esthajnaltájt In: Erdélyi madrigálok, 7. 2007 S Ms A T Bar B 2' 30" Flower song (XVII. century) I./vk./i.ny./1 Farewell* 1997 S A T (Bar) B +piano HMC 1560 English; C. Szalay Ágnes I./vk./i.ny./2 Orpheus with his lute 1999 S Ms A T Bar B HMC 1766 English; a song in Shakespeare's " Henry VIII" I./vk./i.ny./3 O Pan 1999 S Ms A T Bar B HMC 1765 English; Anonymus I./vk./i.ny./4 Dramolett 1999 S Ms A T Bar B HMC 1767 English; adapted from Faludy Ferenc by C. Szalai Ágnes I./vk./i.ny./5 Come away 2000 S Ms A T B 2' 15" HMC 1918 / AN English; from Shakespeare's " Twelfth- Q LJ K W« I./vk./i.ny./6 O, mistress mine 2000 SATB 1' HMC 1898 English; from Shakespeare's " Twelfth- Q LJ K W« I./vk./i.ny./7 Traum In: Erdélyi madrigálok, 4 2006 S Ms A T Bar B Transilvanian Saxon folk-song 198 I./vk./i.ny./8 Nemmih In: Erdélyi madrigálok, 5 2006 S Ms A T Bar B Transilvanian Saxon folk-song I./vk./i.ny./9 Der Tod In: Erdélyi madrigálok, 9 2007 S Ms A T Bar B 2' 45" Transilvanian Saxon text I./vk./i.ny./ 10 Chiaro 2007 S (Ms) A T B 2' Italian; from Dante's Paradiso I./vk./i.ny./ 11a A trecut iarna In: Erdélyi madrigálok, 3a 2006 S Ms A T Bar B 2' 10" Romanian; Bible, Salamon's song I./vk./i.ny./ 11b L'inverno è passato In: Erdélyi madrigálok, 3b 2007 S Ms A T Bar B 2' Italian; Bible, Salamon's song I./vk./i.ny./ 12a , Q HO S H LQ L P ă In: Erdélyi madrigálok, 8a 2007 S Ms A T Bar B 3' Romanian; Bible, Salamon's song I./vk./i.ny./ 12b Mettimi In: Erdélyi madrigálok, 8b 2007 S Ms A T Bar B 3' Italian; Bible, Salamon's song I./ek./l./1 Audi voces 1988, rev.1994 S S Ms A ~1'30" » HMC 1877 / AN Sacral texts in Latin I./ek./l./2 Lauda Sion 1989 S Ms A A ~ 2' » EF 1860 I./ek./l./3 O gloriosa 1989 S Ms A 1' 30" HMC 1899 / AN I./ek./l./4 Pange Lingua* 1991, rev.1997 S Ms A A 2' 30" » 6 MS-Hinshaw I./ek./l./5a Nobis Natus (1. variant) 1988 S Ms A ~3'30" » MS-Hinshaw I./ek./l./5b Nobis Natus (2. variant) 1995 S Ms A ~3'30" » MS-Hinshaw I./ek./l./5c Nobis Natus (3. variant) 2004 S Ms A ~3'30" » MS-Hinshaw I./ek./l./6 Noli flere 1989, rev.1997 S Ms A 1' 40" AN / MS Hinshaw 199 I./ek./l./7 Daemon Irrepit Callidus callidus* (for female choir) 1999 S Ms A A 2' 4 MS-Hinshaw I./ek./l./8 Caeli cives 1991 S Ms A 1' 20" EF 1815 I./ek./l./9 De Vitae Vanitate 1991 S Ms A 2' 15" » EF 1816 I./ek./l./10 Dei Matris 1990 S Ms A A ~ 2' » EF 1820 Sacral texts in Latin I./ek./l./11 Mundi Renovatio* 1990 S Ms A A ~ 3' » EF 1817 I./ek./l./12 Adeste fideles 1994 S Ms A A ~ 2' » HMC 1400 / AN I./ek./l./13 Horae 1994 S Ms A A 4' » AN / MS- Hinshaw I./ek./l./14 Iuxta crucem 1994 S Ms A A 1' 20" » AN / MS- Hinshaw I./ek./l./15 Ave Maria ("Allegretto grazioso") 1994 S A +piano 1' 40" » HMC 1399 / AN I./ek./l./16 O Maria 2000 S Ms A 2' 10" MS-Hinshaw I./ek./l./17 Sicut cervus desiderat 2003 S Ms A A 5' 40" MS-Hinshaw Sacral texts in Latin I./ek./l./18 Coelo rores 2002 S Ms A 50" MS-Hinshaw I./ek./l./19 Hymnus - De Nativitate Domini 2004 S Ms A +piano 3' MS-Hinshaw I./ek./l./20 Daemon Irrepit Callidus callidus* (for male choir) 1999 T T Bar B 2' 4 HMC 1829 I./ek./m./1 Hajnalban 1992, rev.1993 S Ms A 4 AN / MS- Hinshaw Faludy Ferenc: A hajnal (excerpt) I./ek./m./2 Ludvércz 1992 S Ms A ~ 2' 6 MS-Hinshaw Weöres Sándor: Lidérc I./ek./m./3 Gágogó 1991 S Ms A ~ 2' » AN / MS- Hinshaw From 2 poems of Weöres Sándor 200 I./ek./m./4 Orpheus 1993 ~ 2' ~ 1' » MS-Hinshaw Weöres Sándor: Orpheus (excerpt) I./ek./m./5 / H Y HJ Ę -kebel 1992 S Ms A ~1'30" » MS-Hinshaw Weöres Sándor: / H Y HJ Ę -kebel I./ek./m./6 Cím nélkül (Se föld, se Y t]« 1993 S Ms A ~1'30" » MS-Hinshaw 5 lines from Weöres Sándor: Orpheus I./ek./m./7 6]HOtG HU G Ę N 1996 S Ms A MS-Hinshaw After Faludy Ferenc I./ek./m./8 Fülemüle 2000 S Ms A A 2' HMC 2043 / AN Weöres Sándor: Magyar etüdök 107. I./ek./m./9 Nympha és Faun* 1997 S Ms A A ~ 4' MS-Hinshaw "Jobb 's bal" in: Weöres Sándor: Psyché I./ek./m./10 A Fejedelem kertje 2007 S Ms A A ~2'30" MS-Hinshaw Folk text, Flower songs

Abstract (if available)

Linked assets

University of Southern California Dissertations and Theses

Conceptually similar

PDF

The influence of the Australian landscape and indigenous Aboriginal music and traditions on Australian choral music: a study of choral works by nine Australian composers

PDF

A companion guide to Nick Strimple’s Choral Music in the Nineteenth Century: a research and repertoire guide for nineteenth century small form choral works for mixed voices

PDF

The motets of Georg Philipp Telemann: a study of their sources, musical style, and performance practice

PDF

A survey of the unaccompanied choral music of Wolfram Buchenberg

PDF

A study of Nick Strimple’s compositional life with an emphasis on his work Pentecost

PDF

The sacred choral works of Samuel Coleridge-Taylor

PDF

Wheel in a wheel: an analysis of the use of counterpoint in the choral spirituals of William Dawson

PDF

Musical landscape in Northern Germany in the early seventeenth century: musica poetica and its application in the settings of Komm, Heiliger Geist, Herre Gott by Heinrich Schütz, Johann Hermann S...

Asset Metadata

Creator Simor, Eniko (author), St. Clair, Niké (author)

Core Title György Orbán: Transylvanian roots of his Hungarian style

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Publication Date 10/01/2015

Defense Date 12/16/2015

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Ad nocturnum,Amor sanctus,analytical and critical examination,Ave Maria in A,Ave Maria in D,Ave maris stella,Ave regina coelorum,Babits,Bárdos Lajos,Bartók Béla,bimodality,bi-modality,bitonality,Budapest,cadence,Cluj,Corvinus,Daemon irrepit callidus,De vitae vanitate,Dorian,György,heptatonia secunda,Hungarian composer,János Hunyadi,Jesus and the traders,Jézus és a kufárok,King Matthias,Kodály Zoltán,Kolozsvár,Kolozsváros olyan város,leading tone,Liszt Ferenc Music Academy,Lydian,Magyar,Marosvásárhely,Mixolydian,modality,motets,Mundi renovatio,Nobis natus,OAI-PMH Harvest,Orbán,Pange lingua,Pater noster,pentatone,pentatonia,sanzonett,Selected sacred choral works of György Orbán: a historical,Székely,Székely keserves,Szeklers,Târgu Mureş,Te lucis ante terminum,Transylvania,Urbs celestis,Veni Sancte Spiritus,Wilbert O. Watkins

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Grases, Cristian (committee chair), Scheibe, Jo-Michael (committee member), Strimple, Nick (committee member)

Creator Email kicsinike@yahoo.com,simor@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c40-189755

Unique identifier UC11279001

Identifier etd-SimorEniko-3965.pdf (filename),usctheses-c40-189755 (legacy record id)

Legacy Identifier etd-SimorEniko-3965.pdf

Dmrecord 189755

Document Type Dissertation

Format application/pdf (imt)

Rights Simor, Eniko; St. Clair, Niké; St. Clair, Nike

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA