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Briefs / Feuilletons
Fontes Artis Musicae Pub Date : 2021-04-22
Aleš Březina

In lieu of an abstract, here is a brief excerpt of the content:

  • Briefs / Feuilletons
  • Aleš Březina

The Central Library of the Liszt Academy in Budapest has acquired several documents from the legacy of the composer and conductor Emil Ábrányi Jr. (1882–1970). This collection is highly valuable from several aspects. The Ábrányi family is one of the most important Hungarian musician families of the nineteenth and twentieth century. The composer, musicologist, and music critic Kornél Ábrányi (1822–1903) was a member of the first teaching staff of the Music Academy in Budapest; his son, the poet Emil Ábrányi Sr. (1850–1920) translated many opera librettos into Hungarian. The wife of Emil Ábrányi Sr., Margit Wein (1861–1948) was a coloratura soprano opera singer, and, between 1901 and 1920, voice teacher at the Music Academy. Their son, Emil Ábrányi Jr., whose legacy has now become part of the collection of the Central Library of the Liszt Academy, studied composition with Hans von Koessler (1853–1926) at the Music Academy in Budapest, and conducting with Arthur Nikisch (1855–1922) in Leipzig. He began his career in 1904 at the Opera in Köln, and from 1907 he was conductor of the Opera in Hannover. His wife was also an opera singer, Rósa Ábrányi-Varnay (1885–1962), member of the Opera in Hannover. They returned to Hungary around 1910, and Emil Ábrányi Jr. became conductor of the Royal Hungarian Opera, while his wife became a member of the new opera house of Budapest, the Népopera (People's Opera). Emil Ábrányi Jr. was the director of the Opera in Budapest in a very difficult period, from 1919 to 1920, and after that he became the director of the Városi Színház (Budapest Municipal Theatre, in cooperation with the Royal Hungarian Opera). He also taught conducting at the Music Academy and worked as an opera conductor in Budapest, Debrecen, and Szeged. He composed twelve operas to librettos by several authors, including Maeterlinck, Dante, Cervantes, and Ferenc Herczeg, among others. His last opera, A Tamás-templom karnagya (The Cantor of the St. Thomas Church, 1947, unperformed), is the first opera composed about Johann Sebastian Bach. The Ábrányi family lived in the same house as Gustav Mahler in his Budapest years.

The grandchildren of Emil Ábrányi Jr., Lívia Ábrányi, and Margit Ábrányi donated the legacy of their grandfather to the Central Library of the Liszt Academy The collection consists of printed and manuscript scores of his compositions, a total of twenty-two complete works and fragments, as well as photographs. Most of the scores are in manuscript, including full scores of three operas, two ballets, two works for symphony orchestra, and a Mass. Furthermore, the legacy contains handwritten vocal scores of seven operas and some songs for voice and piano as well. In the hope of performances abroad, Ábrányi wrote German translations beneath the Hungarian texts in most of the full scores and vocal scores of his operas. As part of the donation, the Library also received a photograph of Lívia Ábrányi›s painting depicting her grandfather, as well as Margit Ábrányi's manuscript memoirs in English and Hungarian. The cataloguing of individual items and the digitisation of sheet music will begin in 2021. The legacy of Emil Ábrányi Jr. will add considerably to several valuable Hungarian musician-legacies housed at the Central Library and the Research Library of the Music Academy. [End Page 33]

An early version of String Quartet No. 2, H 150 (1925) by Bohuslav Martinů discovered

'I do not deny of course that Stravinsky has influenced me'.

If we include the early string quartet Three Riders, H 1 (ca 1902), which Bohuslav Martinů took with him to the entrance exams at the Prague Conservatoire, then the missing string quartet, H 60 (1912), String Quartet in E-flat major, H 103 (from 1917, dubbed 'No. 0'), and String Quartet No. 1, H 117 ('French', apparently written a year later), we would be right to note String Quartet No. 2, H 150 (1925), as the composer's fifth foray into a genre that has been considered the pinnacle of chamber music...



中文翻译:

内裤/ Feuilletons

代替摘要,这里是内容的简要摘录:

  • 内裤/ Feuilletons
  • 阿列什·布热兹纳(AlešBřezina)

布达佩斯李斯特学院中央图书馆已从作曲家和指挥埃米尔·阿布兰依(EmilÁbrányiJr.,1882-1970年)的遗产中获取了几份文件。从几个方面来看,该收藏品具有很高的价值。Ábrányi家族是19世纪和20世纪最重要的匈牙利音乐家家族之一。作曲家,音乐学家和音乐评论家KornélÁbrányi(1822–1903)是布达佩斯音乐学院第一批教学人员的成员。他的儿子诗人埃米尔·阿勃兰依(EmilÁbrányiSr.)(1850-1920年)将许多歌剧演奏家翻译成匈牙利语。埃米尔·阿布拉尼(EmilÁbrányiSr.)的妻子玛吉特·魏恩(Margit Wein,1861年至1948年)是女高音歌剧歌手,并在1901年至1920年期间担任音乐学院的配音老师。他们的儿子EmilÁbrányiJr.的遗产现已成为李斯特学院中央图书馆藏书的一部分,在布达佩斯音乐学院与汉斯·冯·科斯勒(Hans von Koessler,1853–1926)一起学习作曲,并在莱比锡与阿瑟·尼基什(Arthur Nikisch,1855–1922)进行了演奏。他的职业生涯始于1904年的科隆歌剧院,从1907年起担任汉诺威歌剧院的指挥。他的妻子还是汉诺威歌剧成员罗莎·阿布兰尼·瓦纳伊(RósaÁbrányi-Varnay)(1885-1962年)的歌剧歌手。他们于1910年左右返回匈牙利,小EmilÁbrányi成为皇家匈牙利歌剧院的指挥,而他的妻子则成为布达佩斯新歌剧院Népopera(人民歌剧院)的成员。小埃米尔·阿布兰尼(EmilÁbrányiJr.)在1919年至1920年的一段非常艰难的时期担任布达佩斯歌剧院的导演,此后,他与匈牙利皇家歌剧院合作成为瓦罗西·辛哈斯(布达佩斯市政剧院)的导演。他还在音乐学院教授表演,并在布达佩斯,德布勒森和塞格德担任歌剧指挥。他由Maeterlinck,Dante,Cervantes和Ferenc Herczeg等几位作家创作了十二首歌剧,并创作了歌剧。他的最后一部歌剧,Tamás-templomkarnagya(圣托马斯教堂的圣,1947年未演出)是第一部关于约翰·塞巴斯蒂安·巴赫的歌剧。Ábrányi一家在布达佩斯时代与古斯塔夫·马勒(Gustav Mahler)住在一起。

EmilÁbrányiJr.,LíviaÁbrányi和MargitÁbrányi的孙子将祖父的遗产捐赠给了李斯特学院中央图书馆。该收藏品包括他的作品的印刷版和手稿谱,共二十二本完整的作品和片段,以及照片。大部分乐谱都包含在手稿中,包括三部歌剧,两部芭蕾舞,两首交响乐团作品和一部弥撒乐的完整乐谱。此外,遗产还包括七部歌剧的手写声乐配乐以及一些语音和钢琴歌曲。为了在国外演出,阿布兰依用他的歌剧的大部分正谱和声谱在匈牙利文字下写了德语译本。作为捐赠的一部分,图书馆还收到了LíviaÁbrányi的照片照片,描绘了她的祖父,以及MargitÁbrányi的英语和匈牙利语手抄本。单个项目的分类和活页乐谱的数字化将在2021年开始。EmilÁbrányiJr.的遗产将大大增加匈牙利中央音乐学院和音乐学院研究图书馆中几项有价值的匈牙利音乐家遗产。[完第33页]

BohuslavMartinů发现的弦乐四重奏第2号,H 150(1925)的早期版本

“我当然不否认斯特拉文斯基影响了我”

如果我们包括早期的弦乐四重奏《三骑手H 1》(约1902年),BohuslavMartinů随他参加了布拉格音乐学院的入学考试,那么失踪的弦乐四重奏H 60(1912年)《 E-flat弦乐四重奏》 Major,H 103(从1917年起,被称为“ No. 0”)和弦乐四重奏H,117(“ French”,显然是在一年后写的),我们应该正确地注意到,弦乐四重奏No.2,H 150(1925),作为作曲家第五次涉入室内乐巅峰之作...

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