Kodaly, Zoltan

Revision as of 22:26, 26 January 2007

Zoltán Kodály (IPA: [ˈzoltaːn ˈkodaːj]) (born December 16, 1882 in Kecskemét; died March 6, 1967 in Budapest) was a Hungarian composer, ethnomusicologist, education|educator, linguistics|linguist and philosophy|philosopher.

After gaining his PhD in philosophy and linguistics, Kodály went to Paris where he studied with Charles Widor. There he discovered, and absorbed influences from, the music of Claude Debussy. He continued his folk music-collecting expeditions through World War I without interruption.

His efforts in the field of ethnomusicology with his countryman, composer Bela Bartok, contributed to the interest in collecting, studying and documenting folk music of indigenous cultures. This aspect of his musical life, along with his concerns about education, was as important as his composing. Through his pioneering efforts in ethnomusicology he fostered a condition conducive to the dissolution of cultural barriers and in so doing, provided a greater understanding of "the other" through music.

Kodály subsequently became very interested in the problems of music education, and wrote a good deal of educational music for schools, as well as books on the subject. Some commentators refer to his ideas as the "Kodály Method" See also: Hand_gesture#Kod.C3.A1ly Hand Signs|Kodály Hand Signs.

He continued to compose for professional ensembles also, with the Dances of Marosszék (1930, in versions for solo piano and for full orchestra), the Dances of Galanta (1933, for orchestra), the Peacock Variations (1939, commissioned by the Concertgebouw Orchestra to celebrate its fiftieth anniversary) and the Missa Brevis (1944, for soloists, Choir|chorus, orchestra and organ (music)|organ) among his better known works. The suite from his opera Háry János (1926) also became well known, though few productions of the opera itself take place. It was first performed in Budapest and notable conductors such as Arturo Toscanini, Willem Mengelberg, George Szell, Antal Dorati, Fritz Reiner, Erich Leinsdorf, Eugene Ormandy and Wilhelm Furtwangler have included this colorful piece in their repertoires.

Kodály made a considerable contribution to chamber music also: notably a virtuosic sonata for unaccompanied cello, and a half-hour-long Duo for cello and violin.

In 1966, the year before Kodály's death, the Kodály Quartet, a string quartet named in Kodály's honour, formed.

Selected compositions

Concerto for Orchestra (Kodály)|Concerto for Orchestra (1939)
Trio for 2 Violins and Viola
Duo for violin & cello, Op. 7 (1914)
Sonata for solo cello, Op. 8 (1915)
Missa Brevis for soloists, chorus & organ (1944)
Laudes organi, for chorus & organ (1966)
Dances of Marosszék (1930)
Dances of Galanta (1933)
Háry János (1926)
Te Deum (1939)
Peacock Variations (1939)
Psalmus Hungaricus (1923)

External links

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-'''Zoltán Kodály''' ({{IPA2|ˈzoltaːn ˈkodaːj}}) (born [[December 16]], [[1882]] in [[Kecskemét]]; died [[March 6]], [[1967]] in [[Budapest]]) was a [[Hungary|Hungarian]] [[composer]], [[ethnomusicologist]], [[education|educator]], [[linguistics|linguist]] and [[philosophy|philosopher]].
+'''Zoltán Kodály''' ({{IPA2|ˈzoltaːn ˈkodaːj}}) (born December 16, 1882 in Kecskemét; died March 6, 1967 in Budapest) was a [[Hungary|Hungarian]] composer, ethnomusicologist, education|educator, linguistics|linguist and philosophy|philosopher.
-After gaining his PhD in philosophy and linguistics, Kodály went to [[Paris]] where he studied with [[Charles Widor]]. There he discovered, and absorbed influences from, the music of [[Claude Debussy]].  He continued his folk music-collecting expeditions through [[World War I]] without interruption.
+After gaining his PhD in philosophy and linguistics, Kodály went to [[Paris]] where he studied with Charles Widor. There he discovered, and absorbed influences from, the music of [[Claude Debussy]].  He continued his folk music-collecting expeditions through World War I without interruption.
 His efforts in the field of ethnomusicology with his countryman, composer [[Bela Bartok]], contributed to the interest  in collecting, studying and documenting folk music of indigenous cultures. This aspect of his musical life, along with his concerns about education, was as important as his composing. Through his pioneering efforts in ethnomusicology he fostered a condition conducive to the dissolution of cultural barriers and in so doing, provided a greater understanding of "the other" through music.
-Kodály subsequently became very interested in the problems of music education, and wrote a good deal of educational music for schools, as well as books on the subject. Some commentators refer to his ideas as the "[[Kodály Method]]"  ''See also: [[Hand_gesture#Kod.C3.A1ly Hand Signs|Kodály Hand Signs]].''
+Kodály subsequently became very interested in the problems of music education, and wrote a good deal of educational music for schools, as well as books on the subject. Some commentators refer to his ideas as the "Kodály Method"  ''See also: Hand_gesture#Kod.C3.A1ly Hand Signs|Kodály Hand Signs.''
-He continued to compose for professional ensembles also, with the ''Dances of Marosszék'' (1930, in versions for solo piano and for full orchestra), the ''Dances of Galanta'' (1933, for orchestra), the ''Peacock Variations'' (1939, commissioned by the [[Concertgebouw Orchestra]] to celebrate its fiftieth anniversary) and the ''[[Missa Brevis]]'' (1944, for soloists, [[Choir|chorus]], orchestra and [[organ (music)|organ]]) among his better known works. The suite from his [[opera]] ''[[Háry János]]'' (1926) also became well known, though few productions of the opera itself take place. It was first performed in Budapest and notable conductors such as Arturo Toscanini, Willem Mengelberg, George Szell, Antal Dorati, Fritz Reiner, Erich Leinsdorf, Eugene Ormandy and Wilhelm Furtwangler have included this colorful piece in their repertoires.
+He continued to compose for professional ensembles also, with the ''Dances of Marosszék'' (1930, in versions for solo piano and for full orchestra), the ''Dances of Galanta'' (1933, for orchestra), the ''Peacock Variations'' (1939, commissioned by the Concertgebouw Orchestra to celebrate its fiftieth anniversary) and the ''Missa Brevis'' (1944, for soloists, Choir|chorus, orchestra and organ (music)|organ) among his better known works. The suite from his opera ''Háry János'' (1926) also became well known, though few productions of the opera itself take place. It was first performed in Budapest and notable conductors such as [[Arturo Toscanini]], Willem Mengelberg, [[George Szell]], Antal Dorati, [[Fritz Reiner]], Erich Leinsdorf, [[Eugene Ormandy]] and Wilhelm Furtwangler have included this colorful piece in their repertoires.
 Kodály made a considerable contribution to chamber music also: notably a virtuosic sonata for unaccompanied cello, and a half-hour-long <I>Duo</I> for cello and violin.
-In 1966, the year before Kodály's death, the [[Kodály Quartet]], a string quartet named in Kodály's honour, formed.
+In 1966, the year before Kodály's death, the Kodály Quartet, a string quartet named in Kodály's honour, formed.
 ==Selected compositions==
-*''[[Concerto for Orchestra (Kodály)|Concerto for Orchestra]]'' (1939)
+*''Concerto for Orchestra (Kodály)|Concerto for Orchestra'' (1939)
 *''Trio for 2 Violins and Viola''
 *''Duo for violin & cello, Op. 7'' (1914)
 *''Sonata for solo cello, Op. 8'' (1915)
-*''[[Missa Brevis]] for soloists, chorus & organ '' (1944)
+*''Missa Brevis for soloists, chorus & organ '' (1944)
-*''[[Laudes organi]], for chorus & organ '' (1966)
+*''Laudes organi, for chorus & organ '' (1966)
 *''Dances of Marosszék'' (1930)
 *''Dances of Galanta'' (1933)
-*''[[Háry János]]'' (1926)
+*''Háry János'' (1926)
-*''[[Te Deum]]'' (1939)
+*''Te Deum'' (1939)
 *''Peacock Variations'' (1939)
-*''[[Psalmus Hungaricus]]'' (1923)
+*''Psalmus Hungaricus'' (1923)
 ==External links==