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 A 
 
 History of 
 Hungarian 
 Music 
 
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 ** Musical Standard * 
 
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For List of Musical Works 
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 of the volume. 
 
HISTORY OF 
 HUNGARIAN 
 MUSIC. 
 
 JULIUS KALDY, 
 
 (director of the royal HUNGARIAN OPERA) 
 
 LONDON : 
 
 WILLIAM REEVES, 
 
 The '^Musical Standard^’ Office, 
 
 83, Charing Cross Road, W,C^ 
 

 This little work, issued as a Musical Standard extra, is 
 Reprinted from “ The Millennium of Huns^ary and 
 Its People,* * by permission of the Editor, Dr 
 Joseph de Jekelfalussy, Director of the 
 Royal Hungarian Statistical Office 
 and Ministeral Councillor. 
 
 ♦ Published under the authority of the Royal Hungarian Minister 
 of Commerce. Budapest. 
 
 Printed by 
 
 W. Reeves, 81, Charing Cross Road, 
 London IV.C. 
 
A HISTORY 
 
 ^ ^ OF ^ ^ 
 
 HUNGARIAN 
 MUSIC * * * 
 
 T he Hungarians must have had a 
 special love for music in their 
 original home, for in their sacrifices and 
 ^ other religious ceremonies, in their 
 national festivals, before and after a 
 battle, at banquets and funerals, Song, 
 Music, and Dancing played an important 
 ^ role. 
 
 — In religious sacrifices the High priest 
 dr (Tdltos) led the ceremony with Song. 
 ^ The people, repeating the last verse of the 
 ^ stanza, softly sang the refrain, and young 
 ^ girls, scattering fragrant herbs in the 
 
 A 
 
2 
 
 A HISTORY OF 
 
 altar flame, danced a blithe dance. At 
 national festivals and at banquets the 
 minstrels sang, accompanying themselves 
 on their lute, the heroic deeds of fallen 
 champions, or poured forth other patriotic 
 songs, while reciters declaimed in sonor- 
 ous rhythms the old heroic legends. 
 
 Our ancestors used to inter their dead 
 with song and music. Priests of lower 
 rank (Gyulas) delivered an address at the 
 funeral, praised the heroism and virtues 
 of the dead, and at the end paced round 
 the grave in a slow dance. This custom 
 likewise remained partially until the 
 present day. For at burials — with Cath- 
 olic and Protestant alike — the Cantor 
 takes leave of the dead in a mournful 
 song. After the interment the mourners 
 assemble with the sorrowing family at 
 the funeral banquet. i6o years ago the 
 “ Dance of Death ” used to be danced 
 after this evening meal. 
 
 This was probably the oldest Hungar- 
 ian dance, which our people here danced 
 
HUNGARIAN MUSIC. 
 
 3 
 
 for hundreds of years as a remnant of 
 heathen funeral rites. Among the com- 
 positions of the renowned Gipsy musician, 
 Czinka Panna, there is a “ Dance of 
 Death” melody, of the first half of the 
 i8th century. 
 
 That music and song were in great 
 maturity already among the Huns is 
 proved by the Travels of Priscus Rhetor 
 whom the Emperor of Byzantium sent 
 along with the Senator Maximus on an 
 embassy to Attila. 
 
 Like the Gallic bards, the Vates, and 
 the Skandinavian Skalds, the Hun min- 
 strels not only stimulated the fighters to 
 the combat but took part in the battle 
 themselves. Many of them remained on 
 the field of battle. In 451, on the eve of 
 the bloody and desperate battle of Cata- 
 launum, when Attila withdrew to his 
 barricade of waggons, the dirges of the 
 Huns echoed from there to the enemy’s 
 camp. Next day numberless lutes were 
 found on the battle-field. 
 
4 
 
 A HISTORY OF 
 
 Later, at the time of the conquest of 
 the land, in the loth century, the music 
 of the Hungarians must have been highly 
 developed, for the “ Anonymous ” of 
 King Bela (Anonymus Belae Regis 
 notarius) ends his account of the fights of 
 the leaders Lei, Bulcsu, and Botond, 
 with the words : “ As to their wars and 
 heroic deeds, if you pay no credence to 
 my letter, at least believe the prattling 
 songs of the minstrels, and the well-worn 
 legends of the people, who have not 
 allowed the heroic deeds of the Hungari- 
 ans up till now to fall into oblivion.” 
 After Arpad had conquered the land, he 
 marched with his people into the castle of 
 Attila, where everything was waste and 
 neglected. “ In the ruins ” — says the 
 Anonymous — ‘‘ they held daily banquets, 
 they sat in rows in the palace of Attila, and 
 the sounds and sweet tones of their lutes 
 and shalms, and all sorts of songs from 
 their vocalists, echoed from the company.’ 
 Along with the Anonymous notary other 
 
HUNGARIAN MUSIC. 
 
 5 
 
 chroniclers also mention the numerous 
 hymns, dirges and martial songs, the 
 latter of which were forthcoming in great 
 numbers, and enjoyed universal favour. 
 
 The minstrels, reciters, and jongleurs 
 can be regarded as the makers of these 
 songs, who already at Arpad’s time sang 
 their heroic songs at national festivities, 
 which came into popular use thereby. 
 The name “ igricz,” of Slavic origin, used 
 to refer to Harlequinades, Mummeries, 
 and buffooneries, and since it was not in 
 the nature of the Hungarians to take part 
 in common antics, in frivolous buffoon- 
 eries, or to feel any particular pleasure 
 therein, it is probable that these jongleurs 
 were of foreign nationality. In their 
 place came the Troubadours later, whose 
 name is by many people derived from 
 “ tr^fa ” (fun). 
 
 Many interesting facts about the dance 
 of the Hungarians are found in the 
 Chronicle of the Monk of St, Gallen, 
 Ekkehard (loth century). He relates 
 
6 
 
 A HISTORY OF 
 
 that in the Hungarian dance there are 
 seven steps. He names it ‘‘ Sieben- 
 spriinge” (‘‘the Seven Steps”). This 
 dance was taught to the people of the 
 Lake of Constance by the Hungarians 
 during the latter’s residence there, who 
 later under the name of “ Hun step ” 
 applied this dance to their own slow 
 moving dance. 
 
 Many aver that the leaders themselves 
 made the old Hungarian heroic songs, the 
 minstrels being only their exponents, 
 after having put them to music. 
 
 All testimony points to the fact that at 
 Arpad’s time music was not only beloved 
 by great personages, but also among the 
 people. It is known of Bishop Gerhard, 
 that, when he came from his seat Csanad 
 with Walther, the singing-master of the 
 Fehervar School, to King Stephen L, he 
 passed the night on the way at suitable 
 places, and through the night was awak- 
 ened from his sleep by songs. The bishop 
 turned to his conductor with the words 
 
HUNGARIAN MUSIC. 
 
 7 
 
 Walther, do you hear how sweet the 
 song of the Hungarians is ? ” Since the 
 songs grew clearer and clearer, Gerhard 
 continued : “ Walther, tell me, what 
 
 causes this song which compels me to 
 interrupt my slumbers ? ” On this, 
 Walther declared that a girl was the 
 singer, who ground wheat on a handmill 
 and whiled away her hard work with 
 singing. Thus the Hungarians had 
 already at that time a taste for singing, 
 and carried on their hard work while 
 singing, just as at present, when the 
 most beautiful Hungarian folk-songs arise 
 at ploughing and sowing, at the harvest 
 and the vintage. 
 
 The Hungarian music must have had 
 great repute even 800 years ago, for when 
 the Hungarians fought as allies of the 
 Russian prince Isislav, against the Poles 
 and Bohemians, and, after a victorious 
 fight, marched with triumphal pomp into 
 Kiev, the townspeople got up festivities in 
 honour of their guests, and “the house 
 
8 
 
 A HISTORY OF 
 
 was fortunate in which Hungarian music 
 sounded.” 
 
 We know from descriptions that the 
 following instruments were in use in 
 Hungary : the Lute (koboz, a kind of 
 Indian Lyre), and the Violin (hegedii) 
 likewise a string-instrument. Of wind- 
 instruments, large and small pipes were 
 made out of willow twigs — which are still 
 a popular instrument like the Shepherd’s 
 pipe {tilinho ) ; — the horn made out of the 
 buffalo or ox’s horn called “kiirt”; the 
 small hand-drum, like a Moorish tam- 
 bourine, but without castanets. It is best 
 to assume that the Hungarians brought 
 these musical instruments from their orig- 
 inal home. The field-trumpet and the 
 cymbal were of later date. 
 
 With regard to form, opinions about 
 the old lutes are various. Most probably 
 it was like the Indian national instrument, 
 the Vina, The player sat, laid it on his 
 knee, and played pizzicato. Among the 
 Szekelys, in Transylvania, there is still a 
 
HUNGARIAN MUSIC. 
 
 9 
 
 similar instrument which is so played 
 and is called the “timbora.” 
 
 Unfortunately we know not a single 
 melody from the music of the Huns’ 
 songs, nor from the time of the old 
 heathenism, but from the manner of life 
 and the continual wars of our people it is 
 self-evident that the music of that time 
 must have been dramatic and heroic. 
 The best proof of its once high develop- 
 ment are the old Hungarian legends and 
 traditions, which relate in song the for- 
 tunate or unfortunate careers of the na- 
 tion, the heroic deeds of Attila, Arpad, 
 and the dukes. The melodies of these 
 songs were gradually lost in the advance 
 of Christianity, and it is probable that, 
 with the crushing of Vata’s rebellion, 
 very many precious poetical and musical 
 products of the ancient days of heathen 
 Hungary were entirely destroyed. 
 
 Under Stephen I., and later, the Chris- 
 tian church-music spread also among us, 
 and the Gregorian song soon took root 
 
10 
 
 A HISTORY OF 
 
 here, too, as among all the other proselytes 
 to Christianity. The schools founded by 
 Stephen I. and his successors had a two- 
 fold task : to educate in Christian religion 
 and in song. 
 
 In the first of these schools founded 
 
 Bishop Gregory at Szekesfehervar, the 
 forementioned Walther instructed the 
 children of thirty christianised families in 
 Latin and in song. 
 
 Several bishops followed this example, 
 and thus schools arose in Esztergom, 
 Pannonhalma, Vacz, Veszprem, Nagy- 
 varad and Nyitra. 
 
 The church-music had some influence 
 on our popular songs is plain from certain 
 Folk-songs whose melody is constructed 
 on the Scale of Church-music, which at 
 the same time is a convincing proof of 
 their age. In these songs, though the 
 words are more recent, the melodies 
 plainly show the influence of Christian 
 Church-music. 
 
 Since the first priests in Hungary were 
 
HUNGARIAN MUSIC. 
 
 II 
 
 strangers and principally Italians, as a 
 matter of course they taught the young 
 people only Latin songs. Later, when 
 several natives became clergymen, they 
 spread the Church-songs in Hungarian 
 translations, composed church-songs them- 
 selves, Hymns with Hungarian text 
 which, however, by a law of King Kal- 
 man’s time (1112) could only be adopted 
 among Church-songs on approval by the 
 Synod. 
 
 Our annals mention several such com- 
 posers of this time, among the rest An- 
 dreas Vasarhelyi, who wrote a song to 
 the Virgin as Patroness of Hungary, and 
 an unknown composer, whose song on St. 
 Stephen w’as printed at Niiremburg in 1454. 
 
 From this time the Hungarian text of 
 another church song has come down to 
 us, the Konigsberg fragment ‘‘ On the 
 virginity of the Virgin Mary.” The tunes 
 of the three songs mentioned we do not 
 know, but they cannot have been aught 
 else than the ordinary Gregorian Hymns. 
 
12 
 
 A HISTORY OF 
 
 We must now mention two pre-eminent 
 Hungarians, who have acquired Euro- 
 pean renown by their art. The first was 
 Nicolas Klinsor in the 13th Century, a 
 Transylvanian who lived at the court of 
 Andreas III., and as one of the most 
 learned of the Master Singers took part 
 in the competition held at the Wartburg 
 near Eisenach in 1208 at the invitation 
 of the German Minnesinger, Henry von 
 Ofterdingen. Some of his songs are 
 found in the old epic poem : Der San- 
 gerkrieg auf der Wartburg (the singing 
 match at the Wartburg). Still more 
 famous was George Szlatkoni (Slakoni, 
 Slakona), born in Krajna near Nyitra, 
 1456, who at the beginning of the i6th 
 century was the 4th bishop of St. Ste- 
 phen’s church in Vienna, and as privy 
 councillor and choir-master to Emperor 
 Maximilian I. distinguished himself in 
 religious and secular music alike.*) 
 
 * Among the pictures of Hans Burgmayer (Im- 
 perial and Royal Library, Vienna) which contain 
 
HUNGARIAN MUSIC. 
 
 13 
 
 At the court of the Hungarian Kings of 
 mixed families foreign masters often found 
 employment. The Capellmeister of King 
 Sigismund was the renowned Georg Stol- 
 zer, Josquin des Pres’ contemporary. At 
 the court of King Mathias, the great 
 Netherland theorist, Johann Tinctoris, 
 resided, who was the Capellmeister of 
 King Ferdinand of Naples and the music- 
 master of his daughter Beatrice. Beatrice 
 brought him with her to Hungary, and 
 
 135 woodcuts and exhibit the triumph of the Em- 
 peror Maximilian, our countryman is portrayed 
 sitting in a cant equipage and directing his band 
 of singers and musicians. Under the picture is 
 the word “Apollo.” The explanation appended 
 to the pictures thus alludes to Szlakoni : 
 
 Szlakoni (Bishop in Vienna) is to be made 
 Capellmeister, and the rhyme has reference to the 
 fact, that, by direction ot the Emperor, he ar- 
 ranged the singing of the choir in a most charming 
 manner : 
 
 In consonance and harmony, 
 
 In melody and symphony. 
 
 In every art to my desire 
 
 Have I improved the tuneful choir. 
 
 And yet the honour not to me 
 But to my Emperor must be. 
 
14 
 
 A HISTORY OF 
 
 under him the court-band and the singers 
 of King Matthias attained world-wide 
 renown. According to Peter, Bishop of 
 Vulturan and legate of Sixtus IV., there 
 was no better choir at that time than that 
 of King Matthias. 
 
 This fact plainly shows that King 
 Matthias fostered music, and that the 
 Queen as well as he had a band and a 
 choir. In addition there was a well- 
 organized band of trumpets. The band 
 of the King and Queen must have con- 
 sisted of 30 executants, which was 
 reckoned an extraordinary number for 
 that time, if we compare the Vienna band 
 of Leopold some centuries later, which was 
 only 18 strong. 
 
 Tinctoris dedicated to Queen Beatrice 
 one of his renowned theoretical works. 
 At the same time lived Monetarius, born 
 at Selmecz, who distinguished himself as 
 a composer and by a theoretical work, 
 which he dedicated to George Thurzo in 
 
 1513. 
 
HUNGARIAN MUSIC. 
 
 15 
 
 Even King Wladislaus II., renowned 
 for his great poverty, spent 200 pieces of 
 gold yearly on his singers and musicians. 
 
 Under Lewis II. Adrian Willaert, of 
 Netherland birth (afterwards the founder 
 of the Venetian School), lived seven years 
 at Buda, and left Hungary after the battle 
 of Mohacs. Willaert, the creator of the 
 Madrigal, dedicated to the wife of Lewis 
 II. a madrigal consisting of several parts, 
 which is preserved in St. Mark’s Library 
 at Venice. 
 
 The residence of these illustrious person- 
 ages in our land, who were all disciples of 
 the old counterpoint, has exercised small 
 influence on the character of the Hun- 
 garian music, for singers and instruments 
 alike were brought sometimes out of Italy, 
 sometimes from Germany, and, while they 
 figured as court musicians only in churches 
 and at court festivities, Hungarian music 
 drew little advantage from their sojourn 
 here and only a few popular songs have 
 descended to us, e.g., the song “ Matyast 
 
i6 
 
 A HISTORY OF 
 
 mostan valasztotta ” (King Matthias has 
 been elected) which the children sang at 
 Matthias’ election to the throne. 
 
 In King Sigismund’s time there were 
 organs in many churches. There is a 
 well known document of John Hunyadi 
 (1452) in which the parish of Felso-Banya 
 is allowed certain expenses for the erec- 
 tion of an organ. The first introduction 
 of this instrument, however, cannot be 
 historically indicated. According to 
 Nicolas Olah an organ with silver pipes 
 was played at Visegrad in the chapel of 
 King Matthias, whereas at Buda Masses 
 with song were celebrated ; thus not only 
 was the royal Cathedral (Matthias’ church) 
 decorated with an organ, but there was 
 also instrumental music corresponding to 
 the time. 
 
 With regard to the Hungarian Folk- 
 songs and Dance Music, no certain data 
 have come down to us from these centu- 
 ries: * still we may assume that it went on 
 
 * The loth to the 15th centuries. 
 
HUNGARIAN MUSIC. 
 
 17 
 
 a way of its own despite foreign influence. 
 Conspicuous executants of Hungarian 
 dance-music were the wandering gipsies 
 of the 14th century, and they especially 
 spread the Hungarian secular instru- 
 mental music. Not only the people 
 patronized them, but they were willingly 
 entertained at the courts of the magnates. 
 They played a r61e not only in festivities, 
 but sometimes also at the Parliament 
 meetings, of which our historians make 
 mention, at the noisy assemblies at Rakos 
 and Hatvan in 1525. The most conspicu- 
 ous was Dominik Karman who, according 
 to Tinodi, enjoyed great renown as a 
 lutist and a violinist. A verse of Tinodi 
 testifies that the lute at that time was 
 played by the fingers, but the violin was 
 already played by the gipsies with the 
 bow. 
 
 In the 1 8th century Michael Barna and 
 Czinka Panna, distinguished themselves 
 — the former being called the Hungarian 
 Orpheus — on whose life and death numer- 
 B 
 
A HISTORY OF 
 
 l8 
 
 ous Latin poems were written. Johann 
 Bihary followed them, one of the most 
 illustrious, whose recruiting tunes and 
 Pvimate^ Palaiim^ and Cowmtion tunes are 
 among the most beautiful of Hungarian 
 dances. He and his band were invited 
 more than once to the Court-balls at 
 Vienna. He gave concerts in Hungary, 
 Transylvania, Poland, and Vienna ; the 
 great Beethoven listened to his playing 
 often with great pleasure, and has used 
 the melody of a slow Hungarian tune of 
 Bihary’s in his overture dedicated to 
 King Stephen. At present our gipsy 
 bands win laurels not only in Europe 
 but also in America and Asia, reaping 
 both money and renown. They deserve 
 our thanks for spreading Hungarian 
 music. 
 
 Returning to earlier centuries, we must 
 not forget war-songs and camp-music. 
 History mentions as composers of this 
 style John Cesinge, who, as Bishop of 
 Pecs (i 5th century), placed himself at the 
 
HUNGARIAN MUSIC. 
 
 19 
 
 head of his troops, and inspired his 
 soldiers to battle by his songs. Several 
 Hungarian lutists had repute in Europe 
 already in the i6th century. One was 
 Valentine Bakfark, others say Graevisius 
 {born in Transylvania 1 507, died at Padua 
 1576), who lived chiefly in Poland. He 
 came at the invitation of the emperor 
 Maximilian to Vienna (1570) where he 
 played a role at court. He lived long at 
 the court of the Polish King August Sigis- 
 mund, with whom he must have been on 
 intimate terms, at least the preface of one 
 of his works says as much. Two of his 
 works have come down to us: Premier 
 livre de tabulature de lutte (Paris, 1564), 
 and Bakfarci Valentini Greffi Pannonii 
 Harmoniarum musicarumusum testudinis 
 factorum (Cracoviae, 1 566). He dedicated 
 the last work to the Polish King, who 
 bestowed on him a property as leader 
 of the court band. John Bakfark — pro- 
 bably son of the foregoing— was also a 
 lute virtuoso of great fame. Among the 
 
20 
 
 A HISTORY OF 
 
 works of both we find several composi- 
 tions written in Hungarian style. 
 
 As excellent lutist must be named 
 John Newsidler, who was born in Poz- 
 sony. His school for the Lute appeared 
 in Nuremberg. In the first volume of 
 this work he treats of Lute tablature. 
 In the second volume are several Fan- 
 tasias, Preludes, Psalms and Motetts. 
 
 A contemporary of his was Christopher 
 Armpruster, also born in Transylvania, 
 whose Pamphlet, “ Song on morality,** 
 appeared in print in 1551. 
 
 In the 1 6th century are conspicuous 
 Andreas Batizi (1546) with his ‘‘Fair 
 history of the Holy Marriage of the 
 Patriarch Isaac,” Andreas Farkas (1538) 
 with “ How God led Israel’s people from 
 Egypt and similarly the Hungarians from 
 Scythia,” Peter Kakonyi, Peter D6sy, 
 Kasper Bajnai, Stephan Csiikei, Michael 
 Sztaray, Blasius Sz6kely, and Michael 
 Tarjay, who have also written songs with 
 biblical purport, and whose style despite 
 
HUNGARIAN MUSIC. 
 
 ai 
 
 their religious character, is quite Hun- 
 garian. In the airs there is much melo- 
 dious invention. Many a song sounds 
 just like an earnest slow Hungarian tune. 
 We see, therefore, how, even in the i6th 
 century, those v/ho were of pure Hun- 
 garian race were concerned with music 
 and aimed at elevating our national music 
 not only in secular songs, but by applying 
 it to religious ditties. 
 
 At this time Sebastian Tinodi lived, the 
 lute-player of the i6th century, whom 
 the people named “ Sebok-deak.” He 
 was the prototype of the true lutist, 
 wandering through the country, and play- 
 ing his lute here and there. He wrote 
 music to his songs. He was not only 
 a true chronicler in his historical songs of 
 the events of the i6th century, but he 
 was the first Hungarian composer ; for 
 the musical invention of his songs and 
 their construction are of quite a Hun- 
 garian character, and some of his songs, 
 “ Sok csudak ” (Many a miracle), 
 
22 
 
 A HISTORY OF 
 
 “ Siess keresztyen” (Hasten Christian) 
 are quite unique and possess abiding 
 worth. The tune of his song ‘‘ Enyingi 
 Torok*’ Francis Erkel has adapted in his 
 famous funeral march in his opera “ Ladis- 
 laus Hunyadi.” 
 
 Tinodi’s songs passed from mouth to 
 mouth at that time, and people began 
 afterwards to perpetuate their style, as 
 the numerous songs and ballads of the 
 Thokoly and Rakoczy period show. 
 
 The bloom of Hungarian music, however, 
 began to take greater dimensions already 
 with the spread of the Hungarian Reform- 
 ation. Then the people sang in churches 
 in their own language, and made their 
 musical forms out of the tunes in the 
 Psalter. At that time secular poems 
 were often sung to the music of sacred 
 songs, and in many tunes composed in 
 the 17th century we recognise the tunes 
 of the hymns of the Huguenots com- 
 posed by Gaudimel which were natural- 
 ized with us. 
 
HUNGARIAN MUSIC. 
 
 23 
 
 The most brilliant period of our Folk- 
 songs is in the time of Thokoly and still 
 more in that of Rakoczy. We can only 
 wonder at the beauty, impressiveness, 
 natural strength and characteristic rhythm 
 of the so-called Kuvutz songs and be amazed 
 at their variety. 
 
 The Kurutz songs and other musical 
 creations of that time are not only genuine 
 musical pearls, but accurately reflect, also, 
 the character and peculiarity of the Hun- 
 garian music and form the source from 
 which the later songs, tunes, recruiting 
 songs, wedding and other dances, and the 
 whole body of the so-called “hallgato 
 magyar” melodies have sprung. If we 
 take into consideration that the great 
 masters, Handel and Sebastian Bach, 
 were born, or in their childhood, when 
 these songs arose, and that Haydn, Mozart, 
 Beethoven — this triad of geniuses — lived 
 50 or 60 years later, we can scarcely ex- 
 press our marvel at the astonishing variety 
 and versatility of the bold forms and rich- 
 
A HISTORY OF 
 
 H 
 
 ness of the rhythm which had revealed 
 itself in Hungarian music at the end of 
 the 17th and the beginning of the i8th 
 century. F. Liszt rightly remarks : 
 There is no other music from which 
 European musicians can learn so much 
 rhythmic originality as the Hungarian.”^ 
 At this time arose “ Rakdczi Ferencz 
 dala ” (Song of Francis Rakoczi), “Ra- 
 k6czi siralma” (Rakoczi’s complaint), and 
 the “ Rakdczi n6ta (Rakoczi Tune), from 
 which the world-renowned Rdkoczi March 
 sprang a hundred years later. 
 
 At this period were composed the 
 numerous melancholy songs of the exiles: 
 “Oszi harmat ” (Autumnal dew), “Ne 
 busulj ” (Don’t be grieved), “ Adam 
 Balogh’s tune” and “ Bercsenyi’s tune” 
 which have enduring value, and also 
 many folk-songs which arose later can be 
 referred to this period, viz., “ Repiilj 
 iecsk6m ” (Fly, my swallow), “ Az eg 
 alatt” (Under the heaven), “ Voros bar- 
 sony siivegem ” (My cap of red velvet), 
 
HUNGARIAN MUSIC. 
 
 25 
 
 “ Zold asztalon eg a gyertya ” (The candle 
 is burning on the green table) ; and many 
 other famous songs date from the Rakdczi 
 period. 
 
 From the middle of the 17th to the end 
 of the 1 8th century, only the Song and 
 the Tune (n6ta) were known in Hungarian 
 music. The Song was a simple Folk- 
 song, a war-song or a hymn. By “ Tune *' 
 was implied a piece of music of greater 
 extent. There was already, as we said, 
 Thokoli, Rakoczi, Bercsenyi Tunes, from 
 which sprang later the so-called “ hallgato 
 magyar,” melodies which were intended 
 for public performance. Also the differ- 
 ent styles of Hungarian Dance-music 
 arose in this period. 
 
 We had two sorts of dances. Court 
 dances and Peasant dances. The “Palace 
 dance ” and the “ Slow Hungarian ” were 
 court dances, the “ Dance tune ” and the 
 “ Dumping tune ” were Peasant dances. 
 The old Palace Dance was known exclu- 
 sively as a court dance in the 15th century. 
 
26 
 
 A HISTORY OF 
 
 Its music is quite different from the diffi- 
 cult tempoed music of its time, and from 
 the later foreign dances : Saraband, Pavan 
 and Minuet. Its melody was livelier and 
 moved in quicker rhythms. The nobility 
 and their ladies danced it ; and since it only 
 consisted of slow turns and was rather 
 a walking dance, old ladies and gentle- 
 men, nay, even ecclesiastics, took part 
 in it. In the music of this dance young 
 Knights often showed their cleverness 
 in a Hungarian solo, but at such occasions 
 they moved more rapidly. This dance 
 was danced also abroad as the ‘‘ Passo 
 mezzo ongarese” or “Passo mezzo 
 ongaro” and formed a separate part of 
 the Italian “ Ballo.” 
 
 From the Palace and the Slow Hun- 
 garian Dance rose the “ Verbunkos,*’ 
 which was danced at recruiting. No 
 other nation beside the Hungarian pos- 
 sesses such a dance. Popular dances 
 were also the Lakodalmas (Wedding- 
 dance), Incsilkcdd (the “Coquettish"), 
 
HUNGARIAN MUSIC. 
 
 27 
 
 Kaldkds^ which were in use at weddings ; 
 the Sdtoros (Dance of the tents), Fegyveres 
 (Dance of the arms), and Dohogo (Drum- 
 ming-dance), which were danced in camps 
 and after the battle. 
 
 During the forties of the 19th Century 
 several Hungarian Society dances arose, 
 e.g.^ the Kormagyav (Ronde-magyar), the 
 Filzev 4 dncz (Wreaths-dance), and the 
 Csdrdds (Tavern-dance), which is still in 
 vogue. 
 
 As an excellent dance-composer, John 
 Latova must be mentioned, belonging to 
 the last century, who has written more 
 than 80 works of this class. Antonis 
 Csermak and Markus Rozsavolgyi who 
 has written many excellent dances, fol- 
 lowed him. 
 
 At the end of the 17th century some of 
 our artists attained celebrity and brought 
 honour to Hungary abroad. One of these 
 was J. Sigismund Cousser, born at 
 Pozsony, who in 1697 at Hamburg helped 
 Mattheson and Kaiser to create the first 
 
28 
 
 A HISTORY OF 
 
 German opera. He produced a large 
 number of his operas there. His operas 
 Erindo (1693), Porus (1694), Pyramus 
 and Thisbe (1694), Scipio in Africa 
 (1697), enjoyed great favour. In 1700 he 
 was choirmaster at Dublin Cathedral, 
 where he died about 1730."^ 
 
 In the sphere of church-music Johann 
 Francisci, born at Beszterczebanya in 
 1691, attained great honour as an excel- 
 lent organist. He travelled through 
 Germany, knew Mattheson and J. S. 
 Bach, and had such renown that one of 
 his friends in Breslau, Joh. Glettinger 
 (1725), was inspired to make the follow- 
 ing panegyric : 
 
 Illustrious friend, Amphion’s progeny ; 
 
 My fancy finds art's true ideal in thee. 
 
 * The following works appeared in print : — 
 '* *• Apollon enjoue,'* containing six overtures, “ The 
 joy of the Muses” (Nuremberg, 1700), “ Ode on 
 the death after renouned Arabella Hunt ’* (London), 
 
 *• Serenade on the Birthday of the English King. 
 George I.,” Dublin (1724). 
 
HUNGARIAN MUSIC. 
 
 29 
 
 Tny songs are like an angel’s songs above, 
 And thus the world bestows on thee her love ; 
 This only wish have I at my command, 
 
 That thou may’st be the Orpheus of thy lamd. 
 
 In 1733 he was invited to Pozsony, 
 where he lived as church-choirmaster. 
 He returned to his native land to a similar 
 post in 1735. 
 
 In the second half of the preceding 
 century the higher circles cultivated 
 secular music, especially Italian and 
 German, to a great degree. They kept ex- 
 cellent bands, and invited to their con- 
 ductorship illustrious foreign conductors. 
 
 The Esterhazys’ were pre-eminent for 
 their patronage of music. Duke Nicholas 
 Esterhazy, and afterwards his son Paul, 
 had in Kis-Marton a theatre erected with 
 great luxury, and a distinguished band, 
 at the head of which was Joseph Haydn, 
 afterwards Ignatz Pleyel, and lastly 
 Johann Nep. Hummel. The Karolyis had 
 permanent bands and theatres in Megyer, 
 the Batthyany’s in Rohonez, and the 
 
30 
 
 A HISTORY OF 
 
 Erd5dy*s in Pozsony. The higher clergy 
 were not behindhand in the culture of 
 music and kept in their residences singers 
 and musicians, placing distinguished 
 foreign masters at their head, which was 
 of great influence to the formation of the 
 Church style and also of secular music. 
 The illustrious contrapuntist and theorist 
 Albrechtsberger, Beethoven’s master, 
 lived at Gyor, Michael Haydn also and 
 Karl Dittersdorf in Nagy-Varad. They 
 all exercised great influence on the devel- 
 opment of the musical life in the towns 
 mentioned. That influence can still be 
 seen in all the towns where there was a 
 standing band, for at these places the 
 taste for music and its encouragement 
 has remained among the people till the 
 present day. As examples, let us 
 quote Kassa, Eger, Nagy-Varad, Pecs, 
 Pozsony, Temesvar, where an excellent 
 soil is prepared not only for concerts, but 
 for theatrical exhibitions. After many 
 of these bandmasters, musicians and 
 
HUNGARIAN MUSIC. 
 
 31 
 
 singers had founded families and re- 
 mained in our land, the cultivation of 
 music came more into fashion. Piano- 
 playing began to spread at the beginning 
 of this century. There was scarcely a 
 nobleman’s house, where this instrument 
 was not found. For this reason several 
 illustrious foreign masters settled in Hun- 
 gary and occupied themselves with piano- 
 forte teaching. These masters were dis- 
 ciples of Haydn, Mozart, Beethoven, and 
 thus the piano compositions of these 
 three geniuses were introduced into 
 aristocratic circles, where there must have 
 been excellent players, since Beethoven 
 has dedicated several of his classical 
 piano sonatas to Hungarian ladies of high 
 rank. The taste for music soon spread in 
 middle-class society, and from this class 
 proceeded our best musicians and com- 
 posers. We must thank this movement 
 for the fact that several Hungarian in- 
 struction-books appeared at the begin- 
 ning of the century. The first School for 
 
32 
 
 A HISTORY OF 
 
 Piano was written by Stephen Gati (Buda 
 1809), which was followed by Domcny’s 
 and Milovitzkys Piano School, and a 
 course of Harmony entitled the “ Hun- 
 garian Apollo ” by Andreas Bartay. 
 
 All these publications had a favourable 
 effect on the development of music in 
 general and that of Hungarian music in 
 particular. 
 
 The number of those who cultivated 
 Hungarian music was already consider- 
 able. 
 
 From their ranks Johann Fuss arose 
 (born Tolna, 1777, died Vienna, 1819) who 
 was so conspicuous as a composer of all 
 styles of music that he awoke the interest 
 of Haydn. He generally lived at Vienna, 
 but in 1800 he was invited to Pozsony as 
 composer, where he received universal 
 esteem. He wrote string quartettes, trios, 
 duos for violin and piano, sonatas for 
 piano, solos and duets, overtures, sacred 
 works and numerous duologues. The 
 greater part of his works are printed. 
 
HUNGARIAN MUSIC. 
 
 33 
 
 Two countrymen of ours attained world-^ 
 wide renown at the beginning of this 
 century — Johann Nep. Hummel (born on 
 Nov. 14th, 1778, at Pozsony), and Franz 
 Liszt (born 22nd October, 1811, at the 
 village of Doborjan, in the County of 
 Sopron). Hummel as a pianist belonged 
 to the last cultivation of the classical 
 style, and excelled by his free improvisa- 
 ion. The number of his compositions 
 exceeds 120, of which his concertos for 
 the piano and his renowned Septet for 
 Wind instruments are of abiding worth. 
 He died at Weimar on the 7th of October, 
 1837. His birth place, Pozsony, erected 
 a statue to his memory in 1888. 
 
 Franz Liszt, awoke such wonder by 
 his piano-playing in his 9th year, that he 
 was called the second Mozart. The 
 families of Szapary, Apponyi, Esterhazy, 
 and Erdody guaranteed a yearly amount 
 for the child’s education. His father 
 took him to Vienna, where Charles Czerny 
 and Salieri were his masters. At this 
 
 c 
 
34 
 
 A HISTORY OF 
 
 time he was introduced to Beethoven 
 who prophesied a brilliant future for the 
 boy, and kissed him publicly at his first 
 concert at Vienna. At the age of i6 — 17 
 he ravished the world with his concerts. 
 At the end of 1848 he abandoned the 
 role of virtuoso, devoted himself to com- 
 position and settled in Weimar. There 
 he began to write his incomparable Hun- 
 garian Rhapsodies, 15 in all, in which he 
 employed the prettiest Folk-songs, and 
 Dances, and the R^koczy March. By 
 his means Hungarian music was spread 
 and made popular in Europe. He was 
 the creator of the Rhapsody and of the 
 Symphonic Poem. In the last named 
 composition he employed many Hun- 
 garian tunes e.g, in “ Battle of the Huns ” 
 and “ Hungaria,’* and proved hereby that 
 Hungarian music is capable of being 
 applied to serious purposes. 
 
 We should have to write books in 
 order to do justice to his many-sidedness 
 as a composer and to his compositions. 
 
HUNGARIAN MUSIC. 
 
 35 
 
 Also as a tone-poet he occupies a high 
 place. He was the apostle of Richard 
 Wagner, who later became his son-in- 
 law, and he paved the way for that great 
 musical reformer. 
 
 In 1862, he went to Rome, where he 
 lived in the seclusion of the Convent 
 Monte Maria and there under the title of 
 an Abbe received the lowest clerical ordi- 
 nation. At this time he wrote his most 
 important works, his oratorio, “ St. Eliza- 
 beth,” first performed in Budapest in 
 1865, his renowned Hungarian Corona- 
 tion March in 1867 and his oratorio, 
 “ Christus,” which was first performed in 
 Budapest in 1875. In both of the former 
 he employed many Hungarian melodies. 
 
 He was President of the Royal Hun- 
 garian Academy of Music in 1875, where 
 he taught the piano to the highest class. 
 He died at Bayreuth on the 31st of July, 
 1886. 
 
 We Hungarians may be proud of the 
 fact that the great gladiators of piano- 
 
36 
 
 A HISTORY OF 
 
 playing, Hummel and Liszt, were our 
 countrymen. 
 
 A worthy contemporary of Liszt’s was 
 Francis Erkel(born 5th November, 1810, 
 at B6kes-Gyula. Died at Budapest 15th 
 June, i860). He can be confidently named 
 as the creator of the Hungarian original 
 opera, for all that was produced in this 
 sphere before him by Joseph Rusicska 
 with his ‘‘ Flight of Bela,” Joseph 
 Heinisch with his ** Election of King 
 Matthias,’' and Andreas Bartay with his 
 opera entitled ‘‘ Cunning,” can scarcely 
 be regarded as aught else than as a more 
 or less successful attempt at soaring, 
 although genuine Hungarian music played 
 a considerable part in, these works. Fran- 
 cis Erkel’s merits on this field are im- 
 mortal. He showed the path to be 
 followed and the means to be adopted 
 that Hungarian opera might be a worthy 
 companion of foreign musical drama. In 
 1848 he wrote “ Maria Bathori,” this was 
 followed by Ladislaus Hunyadi,” which 
 
HUNGARIAN MUSIC. 
 
 37 
 
 was received with enthusiasm. Individual 
 parts of this opera, the remarkable over- 
 ture, the swan song, the church scene, 
 the funeral March, can be said to be 
 of classical value in the literature of 
 Hungarian music. In i860 his “ Bank 
 Ban ” was performed. In this work he 
 attained very original and striking effects 
 by the use of the Hungarian cymbal, 
 along with old instruments seldom em- 
 ployed. In the scene on the banks of 
 the Tisza he made the shepherd’s pipe 
 sound (of course represented by 2 piccolos) 
 and gives to individual scenes a thoroughly 
 Hungarian character. His opera “ Sa- 
 rolta” was performed in 1862. ‘‘ George 
 
 D6za ” followed in 1874, “ Nameless 
 
 Heroes ” in 1880, “ George Brankovics ’* 
 in 1874 and ‘‘King Stephen” in 1885. 
 The last work he wrote in his 76th year, 
 despite which the melodic invention and 
 instrumentation are as fresh as in his 
 [early?] works. 
 
 He also takes first place as bandmaster. 
 
38 
 
 A HISTORY OF 
 
 In his artistic life of more than half a 
 century he laid the foundations of the 
 Philharmonic Concerts in Budapest, in 
 1850, and conducted them for eighteen 
 years. 
 
 We cannot speak with detail of his 
 services as bandmaster but can only men- 
 tion the fact that it is through him that 
 the orchestra of the National Theatre has 
 gained European renown, His name will 
 always live as the composer of the national 
 hymn “Isten aldd meg a magyart ” (God 
 save the Magyar) so long as there is a 
 Hungarian in the land. 
 
 As a dramatic composer Charles Gold- 
 mark stands in the first rank, who, in the 
 sphere of symphonies, chamber music, 
 and song composition, enjoys a wide re- 
 putation not only in his own country but 
 in all the cultivated world. Goldmark 
 was born at Keszthely in 1832. He 
 awoke real enthusiasm in i860 when he 
 came before the public with his Suite 
 composed for violin and piano and his 
 
HUNGARIAN MUSIC. 
 
 39 
 
 Overture “ Sakuntala ** of eastern char- 
 acter. Goldmark belongs to those pre- 
 eminent men of talent who distinguish 
 themselves by originality, feeling, a vein 
 of poetry, noble inspiration and interesting 
 harmony. He is also a master of brilliant 
 orchestration. Of his works the most 
 remarkable are the Symphony “ The 
 Country Wedding,’* the overtures ‘‘ Pen- 
 thesilea,” ‘‘ Spring,” and ‘‘ Sappho.” 
 These works are found in the repertoires 
 of Philharmonic Concerts all the world 
 over. He gained the greatest success 
 with his opera, “ The Queen of Sheba ” 
 (1873), In this work his musical talents 
 are at their best. In 1886, thirteen years 
 later, his opera ‘‘Merlin” was performed. 
 In this he abandoned his eastern style, 
 and, curbing his individuality, has pro- 
 duced a work of grand style and of noble 
 melody, which is almost equal to the 
 “ Queen of Sheba.” Of late he has tried 
 his powers in the lyric sphere, and with 
 his new opera “ A hazi tiicsok ” (Cricket 
 
40 
 
 A HISTORY OF 
 
 on the hearth) he has repeatedly shown 
 his many-sided brilliant talents. His 
 music has much of Hungarian character 
 in melody and conception alike. 
 
 Goldmark works slowly and re-writes 
 much, but what he does write, be it a 
 piece for the piano, a song, an orchestral 
 piece, or an opera, all stands on a high 
 level. 
 
 In the sphere of opera there are at pre- 
 sent Karl Them, the composer of Voros- 
 marty’s “ Song of F6t,*’ whose operas 
 “ Gizul ” and ‘‘ The Siege of Tihany,*' 
 gained great success in 1840 ; further, 
 Charles Huber with his comic opera, “The 
 Szekely Maid,” into which he has worked 
 several of our prettiest songs. Charles 
 Huber has done much as a violin teacher ; 
 he wrote an excellent violin school into 
 the practical part of which he has incor- 
 porated many Hungarian songs. From 
 his compositions we must single out “ 5 
 Hungarian Fantasias for Violin and 
 Piano,” and many patriotic male choruses, 
 
HUNGARIAN MUSIC. 
 
 41 
 
 Freedom’s song,” “ Memory of our An- 
 cestors,” “National flags,” “For holy 
 fatherland,” “ Song of inspiration,” etc. 
 
 His son Eugene Hubay is one of the most 
 renowned violinists, who enjoys great 
 fame not only in Hungary but abroad. 
 Thus far he has written three operas. 
 
 Alienor,” and “ The Lutanist of Cre- 
 mona,” were first performed in the Royal 
 Hungarian Opera House. With the 
 latter he gained success abroad. Of late 
 he has struck out a new style with his 
 opera “ Falu rossza ” (The bad fellow of 
 the village) — the so-called popular oper- 
 etta, which from beginning to end contains 
 the prettiest Hungarian music, while the 
 new arts of modern technique are applied 
 simultaneously. 
 
 A very cultivated, fertile, and many- 
 sided man is Edmund Mihalovich. As a 
 composer he is a disciple of the new school. 
 The style of the Symphonic Poem, cre- 
 ated by Liszt, he cultivates with success. 
 His works, “ Hero and Leander,” “ La 
 
42 
 
 A HISTORY OF 
 
 Ronde du Sabbat,’* “ The ghostly vessel,” 
 and “ Sello ” (Nymph) are all eminentt 
 His tunes are noble, his orchestration 
 masterly. Thus far he has written two 
 operas, “ Hagbarth und Signe *’ and 
 “Toldi’s Love.” In Hungarian music 
 he is very successful, as is proved by his 
 compositions for orchestra, ‘‘Dirge in 
 memory of Francis Deak,” and “ Toldi’s 
 Love.” Richard Wagner highly es- 
 teemed his musical talents, and wrote 
 “ Wieland the Smith ” for him. Francis 
 Sarossy has also written the successful 
 operas “ Atala ** and “ The last Aben- 
 cerage.” 
 
 It is a matter for congratulation that 
 we have talented composers among the 
 younger generation. One of these is 
 Emerich Elbert, who has shown dramatic 
 power in the opera “ Tamora ” ; further 
 Edmund Farkas whose two operas, “ The 
 Penitents” and “ Valentin Balassa,” are 
 written with beautiful melodic invention ; 
 Julius Mannheimer whose opera “Mari- 
 
HUNGARIAN MUSIC. 
 
 43 
 
 tana,” and Maurice Varinecz whose 
 
 Rosamunda ” and Ratclif ” have been 
 performed abroad. 
 
 As cultivators of Hungarian music we 
 must mention Michael Mosonyi (born in 
 1814 in Boldogasszonyfalva, county 
 Moson),and Cornelius Abranyi, sen., who 
 have rendered great services in the de- 
 velopment of Hungarian music. Mosonyi 
 in the fifties played a leading role in 
 Pesth, and was an authority on church 
 and chamber music. He wrote string 
 quartets, Symphonies and religious com- 
 positions. In 1850 he applied himself 
 with all his heart to the cultivation of 
 Hungarian music. He gained great suc- 
 cess with his pieces de circonstance : 
 The memory of Kazinczy, Szechenyi- 
 Mourning, Festive Ouverture, Victory 
 and Grief of the Hungarian Honved. 
 The Hungarian ballad, the song, the 
 male and mixed choruses, the Cantata 
 and the opera are beholden to him for 
 excellent works. Among his best works 
 
44 
 
 A HISTORY OF 
 
 are ‘‘ The Festival of the old Hungarians 
 at the river Ung** and “Fair Ilona,*’ a 
 romantic Hungarian opera. 
 
 As teacher and distinguished musical 
 savant he had excellent scholars, e.g.y 
 Alexander Erkel, Julius Erkel, Edmund 
 Mihalovich, Ladislaus Zimay, etc. He 
 died in 1870. Franz Liszt composed a 
 funeral March in his memory. 
 
 Cornelius Abranyi played not only an 
 important role in the spread of Hungarian 
 music, but as composer he also takes a 
 high place. His songs and ballads for 
 solo voice, his fantasias for piano, are 
 excellent specimens of Hungarian music. 
 He has distinguished himself also as 
 a writer on music. He founded the first 
 Hungarian musical journal. He wrote 
 instruction books, such as A School of 
 Composition, A General History of Music 
 and The Peculiarities of Hungarian Music. 
 He founded at Arad the National Choral 
 Society. The number of his compositions 
 reaches nearly 100. 
 
HUNGARIAN MUSIC. 
 
 45 
 
 Edward Bartay has done much for the 
 spread of Hungarian Music. From i860 
 ke has taken an active part in our musical 
 movements. At present he is director of 
 the National Conservatorium. He has 
 written piano pieces, choruses, and instru- 
 mental works, which have been often 
 performed with success. In the cultiva- 
 tion of orchestral and chamber music 
 Julius Beliczay, I. Julius Major, Francis 
 Xav. Szabo, Paul Jambor, Arpad Kes- 
 marky and Isidor Bator are eminent for 
 many excellent works. 
 
 Virtuoso playing which Liszt brought 
 to great perfection has had great expo- 
 nents also in our country, among them 
 Emerik Szekely (born in 1823 at Matyus- 
 falva, county Ugocsa) must be mentioned. 
 Among his compositions are string quar- 
 tets, trios and sonatas, but his fame is 
 founded on his 32 Hungarian Fantasias, 
 written for piano, and his 12 music idylls 
 in which he has elaborated the greates 
 treasures of our modern Folk-songs. 
 
46 
 
 A HISTORY OF 
 
 Stephen Heller, the illustrious pianist, 
 born at Budapest in 1815, achieved great 
 success in 1830. The number of his works 
 for the piano is 140. They are character- 
 ised by originality, good taste, elegant 
 treatment and richness of melody. Since 
 1838 he lived at Paris, where he took first 
 rank among distinguished pianoforte 
 teachers, and where he died.* 
 
 A Hungarian pianist of European re- 
 nown is Count G6za Zichy, who, in his 
 14th year, by an unlucky wound from a 
 gun lost his right arm. By unwearied 
 diligence he succeeded in training his left 
 hand so that not only in Hungary but in 
 the whole cultivated world he had excited 
 the greatest admiration by his pianoforte 
 playing. As a composer he has written 
 several songs, many excellent works for 
 choruses and the opera “Alar.” He 
 
 * Stephen Heller, although born at Budapest, 
 was not, however, an Hungarian. His parents 
 were German JeVvs who had settled in Pesth. Ed. 
 Musical Standard. 
 
HUNGARIAN MUSIC. 
 
 47 
 
 writes almost all the text to his own 
 compositions. 
 
 In the composition of Hungarian songs^ 
 ballads, and male choruses the principa 
 writers are : Benjamin Egressy the author 
 of the melody of the “ Szozat,” with his 
 noble popular songs; Ladislaus Zimay, 
 Victor Langer, Ernest Lanyi, with their 
 romances ; Alexander Erkel, the distin- 
 guished bandmaster, with his patriotic 
 male choruses ; Francis Gaal and Alois 
 Tarnay. With our musical literature 
 there is closely connected a species of 
 Hungarian drama, the Popular Play, 
 which takes its subjects from common 
 life and which has the Folk-song and the 
 dance as one of its principal elements. 
 Edward Szigligety was the creator of this 
 style of art. To his first two pieces, 
 “ Szokott Katona ** (The Deserter), and 
 
 Csikds ” (The Coltherd), Josef Szerda- 
 helyi wrote the music, using for that pur- 
 pose our oldest and most original songs. 
 Also the music to ‘‘ Matyas Diak ** (The 
 
48 
 
 A HISTORY OF 
 
 Student Matthias), Bdnyarem (The 
 terror of the mine), “ Liliomfi ” is written 
 by him. Later writers of the same order 
 are Benjamin Egressy, Ignaz Bogndr,^ 
 Julius Kaldy, Julius Erkel, Alexander 
 Nikolits. Executants in this branch are 
 Mimi de Can, Michel Fiiredy, Josef 
 Tamasy, Madame Hegediis, and Madame 
 Blaha. This style of drama greatly con- 
 tributed to the fact that popular Hungar-^ 
 ian music became known and appreciated 
 abroad, for our publishers, directly after 
 the performance of a piece, published the 
 prettiest songs in it and circulated them not 
 only in Hungary but also in Europe, so 
 as to admit of foreign composers familiar- 
 ising themselves with Hungarian music. 
 
 We should have to write a regular 
 anthology if we reckoned up all the com- 
 positions which famous foreign composers 
 have written in the Hungarian style, or 
 in which they have used Hungarian songs. 
 In the works of Haydn, Beethoven, Schu- 
 oert, and Weber we find many Hungarian 
 
HUNGARIAN MUSIC. 
 
 49 
 
 passages. We can mention only a few 
 of the later composers, and thus we may 
 credit Berlioz with the transcription of 
 the renowned Rak6czy march ; Volkmann 
 with “ Visegrad,” Twelve sketches tor 
 piano called Hungarian sketches,*’ 
 “ Souvenir of Maroth ; ” At the tomb 
 Count Sz6chtnyi ; ” John Brahms with 
 four volumes of Hungarian dances, Hun- 
 garian and Gipsy songs ; Raft with Hun- 
 garian dances ; Hofmann with a Hungar- 
 ian suite ; Billow a ‘‘ Heroic March ; ” 
 Massenet, Hungarian March ; Delibes, 
 parts of his ballet “ Copelia ; ” Mascagni, 
 Friend Fritz.” Besides these the 
 famous pianoforte and violin artists Drei- 
 schock, Thalberg, Wilmers, Schulhof, 
 Rubinstein, Molique, Sarasate have writ- 
 ten for their instruments Variations and 
 Fantasias in Hungarian style with the 
 introduction of favourite songs. When 
 in i860 operettas came into fashion some 
 composers tried their powers in this 
 branch. Among the earlier ones were 
 D 
 
50 
 
 A HISTORY OF 
 
 Geza Allaga and Charles Huber ; after- 
 wards Julius Kaldy, Alexius Erkel, Bela 
 Hegyi, Eugene Stojanovites. 
 
 More recently some have gained success 
 in ballet music, and excellent music has 
 been written by Charles Szabados, who 
 with his ballet, ‘‘ Viora,” roused great 
 enthusiasm. Eugene Stojanovites with 
 his ballet “ Csardas,” Stephen Kerner 
 with “ Le cheval de bronze,” Lewis Toth 
 and Albert Metz with their ballet ‘‘Day 
 and Night,” have shown excellent powers 
 of composition. 
 
 Many conspicuous countrymen of ours 
 have won honour for Hungary abroad, 
 e.g.^ Josef Joachim, the greatest violinist 
 of modern times, the Director of the High 
 School in Berlin. Also among his com- 
 positions the most valuable is the Hun- 
 garian Concerto. Edward Remenyi, 
 Leopold Auer, Director of the Conserva- 
 torium at St. Petersburg, Edmund Singer, 
 Rafael Joseph!. Renowned conductors 
 are Hans Richter, Sucher (Berlin), Seidel 
 
HUNGARIAN MUSIC. 
 
 51 
 
 (New York) ; singers : Mme. Mainville, 
 Mme. Schoedel, Louise Liebhardt, Cor- 
 nelia Hollosy, Rosa Csillag, Ida Benza, 
 Francis Steger, Josef Wurda, John Beck, 
 Lewis Bignio, etc. 
 
 As pianists and teachers we must further 
 mention Antonio Sipos, with his numerous 
 compositions for the piano, John Theindl 
 and Willy Deutsch, who took an active 
 part in the musical life of the capital. 
 Teachers of composition were Michael 
 Mosonyi and Alexander Nikolits ; one 
 might almost say that nearly all the 
 younger generation have had their educa- 
 tion from them. As writers on music 
 beside the above mentioned Abranyi, are 
 Gabriel Matray and Stephen Bartalus. 
 The first made the old Hungarian music 
 known by his work ‘‘The melodies of 
 historical, biblical and satirical Hungar- 
 ian songs of the 17th century.” Bartalus 
 issued his interesting publication, “ The 
 Hungarian Orpheus,” a collection of mis- 
 cellaneous matter of the i8th and 19th 
 
52 
 
 A HISTORY OF 
 
 centuries and a general collection of 
 Hungarian songs. 
 
 Recently Julius Kaldy with his works, 
 “The Treasures of old Hungarian Music,” 
 “ Old Hungarian War Songs,” “ Recruit- 
 ing Songs,” “ Songs and Marches of the 
 War for Freedom,” has aroused much 
 enthusiasm. 
 
 We must mention that in Hungary 
 since the beginning of this century many 
 institutions and schools for the cultivation 
 of music have arisen. In Kolozsvar in 
 1819, the first Hungarian Conservatorium 
 now existing was founded (the first Hun- 
 garian Opera was performed there in 
 1821). In 1833 Arad followed this ex- 
 ample. An artistic association founded 
 a similar institution at Pesth called The 
 Musicians Society, which in its turn 
 founded the National Conservatoire. In 
 i860, Debreczen founded in its turn a 
 Conservatoire, while Kassa, Szeged and 
 Sabadka, followed its example. 
 
 In i860 the National Dramatic School 
 
HUNGARIAN MUSIC. 
 
 53 
 
 was opened in Budapest, in which opera- 
 tic song was also taught. At the same 
 time the Society of Musical Amateurs 
 was founded, and the Musical Academy 
 of Buda. Later in both these institutes 
 a Music School was organized. In 1875 
 the National Hungarian Academy of 
 Music was opened with Franz Liszt 
 and Francis Erkel at the head of it. 
 Ultimately the Hungarian School of 
 Music was opened under the presidency 
 of Julius Kaldy, Alexander Nikolits and 
 Julius Major, who have undertaken the 
 special field of cultivation and instruction 
 in Hungarian music. 
 
 Beside these there are in Budapest, as 
 in the larger provincial towns, many 
 musical and choral societies, and at 
 Budapest as brilliant a concert season as 
 at Vienna or Leipzig. In the first rank 
 we must name the concerts of the Phil- 
 harmonic Society, the Budapest Society 
 of amateurs, the Buda Musical Academy, 
 also the performances of the National 
 
54 
 
 A HISTORY OF 
 
 Academy of Music, the National and 
 the Hungarian School of Music, and also 
 the concerts of the several musical 
 societies. We must add the appearance 
 of many famous foreign violinists, pianists 
 and singers who visit Budapest regularly. 
 
 Lately historical concerts have been 
 started, by Stephen Bartalus and Julius 
 Kaldy reviving the most precious relics of 
 the 17th and i8th centuries. These con- 
 certs, in consequence of their historical 
 and scientific character, are generally 
 given in the Hungarian Academy of 
 Sciences, 
 
 We have cause for pride that Hun- 
 garian music has in a comparatively 
 short time reached so high a level. If 
 we compare it with the music of other 
 nations the Italian, French, and German, 
 the result is really surprising. At the 
 Festivities of the thousandth year of the 
 nation we can point to world-renowned 
 composers among our countrymen and 
 eminent works in all branches of music. 
 
HUNGARIAN MUSIC. 
 
 55 
 
 and having regard to the past develop- 
 ment and advance of Hungarian music we 
 can look with full confidence and with 
 great hope to the future. 
 
:■■■ i 
 
 
 
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 21 
 
 KING’S ROYAL ALBUMS, Nos. 1 and 2. 
 
 NATIONAL AND PATRIOTIC SONG ALBUM. 
 
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 in 2 Bks., IS. each. 
 
 Book 1 . Book 2 . 
 
 God Save the King Hearts of Oak 
 
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22 
 
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 easily arranged for the Pianoforte by E. F. Rimbault. 
 
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 Popular Part Songs. 
 
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 price i^d. 
 
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 neau, price 2d. 
 
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W. REEVES, 83, CHARING CROSS ROAD, W.C. 23 
 
 The Organist s Quarterly Jouhnal- 
 
 (®f Original dtompositious. 
 
 Founded by DR« Wm# SPARK, Late organist, Town Hall, Leeds 
 Non-iyubscribers, 5/-each. Subscription, 10/6 for 4 issues. 
 
 New Series, Volume, containing 160 large pages, bound in 
 cloth, 18s. 
 
 Parc 12. New Series 
 
 1. In Memoriam - - Rev. Geof. C. Ryly. M.A., Mus. Bac. Oxon. 
 
 2. Toccata G. B. Polleri. 
 
 3. Overture from Epiphany . . - . Alfred King, M.D. 
 
 Part XI., New Series. 
 
 1. Prelude AND Fugue with Postlude - E. A. Chamberlayne. 
 
 2. Prelude and Fugue F. Young. 
 
 3. Fugue Archibald Donald. 
 
 4. Fugue William Hope. 
 
 Part 10, New Series. 
 
 1. Fugue - Archibald Donald. 
 
 2. Prelude and Fugue with Postlude - - E. A. Chamberlayne 
 
 3. Prelude and Fugue . - . - - - F. Young. 
 
 Part 0, New Series. 
 
 1. Andante con Moto - - - W. a. Montgomery, L.T C.L. 
 
 2. Fantasia in E minor - - - - Cuthbert Harris, Mus. B., 
 
 3. Postlude at Ephes. V. v. 19. tibi placeat, Mihi con displicei 
 W,Conradi,(Y.oi B. 1816;, Paul'sOrg. St. Church, Schwerin i/mGermany 
 
 4. Harvest March Henry J. Poole, 
 
 Part 8, New Series. 
 
 1. Scherzo Minuet W.Mullineux, Organist of the Town Hall, Bolton. 
 
 2. Introduction to the Hymn on the Passion, O Haupt Voll Blut und 
 
 Wunden ” 
 
 W. CoNRADi. Organist Paul s Church, Schwerin, Germany, 
 
 3. Thesis and Antithesis, or Dispute, Appeasement, Conciliation 
 
 W» CoNRADi, Organist Paul’s Church. Schwerin, Germany. 
 
 4. Carillon in E - - Cuthbert Harris, Mus. B., F.R. C O., &c. 
 
 5. Andante “ Hope ” Inglis Bervon. 
 
 6. Orchestral March in C 
 
 James Crapper. L. Mus., Organist of the Parish Ch., Kirkcudbright, 
 
 Part 7, New Series. 
 
 1. Andante Grazioso in G - - - Chas. E. Melville, F.R. C.O. 
 
 2. Polish Song, Arranged for the organ by Percival Garrett. - Chopin. 
 
 3. Introduction, Variations, and Finale on the Hymn Tune ‘ Rock- 
 
 ingham. ’ Ch. R. Fisher, Mus. B. 
 
 4. Two Soft Movements W. C. Filby, I.S.M. 
 
 I. “ Espdrance.” 2. “ Tendrerse.” 
 
 j. Andante in A fiat 
 
 W. Griffiths, Mus. B , Org. ot St. Sepulchre Church, Northampton. 
 6. Fugue, 4 Voice, 3 Subjects Dr. J. C. Tii ly. 
 
24 W. REEVES, 83> CHARING CROSS ROAD, W.C 
 
 The Organist’s Quarterly Journal (cont.). 
 
 Part 6, Hew Series. 
 
 Xt Cow Moto Moderato in C 
 
 Orlando A. Mansfield, Mus.B., F.R.C.O. 
 
 а. Tsmpo di Menuetto Geo. H. Ely. 
 
 3, DiRGE IN Memoriam, REGINALD Adkins - J. E. Adkins, F.R.C.O. 
 
 4, Andante ia F R. H. Heath. 
 
 5, Aberystwyth Offertoire - - - - J. G, Mountford. 
 
 б. Andante in D (Prldre) . . . E. Evelyn Barron, M. A. 
 
 Part S, New 
 
 X. Allegretto Scherzando in A flat 
 9. Andante Relig:oso in G - 
 3 March Pomposo in E flat 
 
 4. Andante Con Moto “ Twilight ” 
 
 5. Minuet in F 
 
 Series, 
 
 W. E. Ashmall. 
 Dr J. Bradf®rd. 
 Charles Darnton. 
 Ch. R. Fisher, Mus.B. 
 W E. Belcher, F.R.C.O 
 
 Part 4, New Series. 
 
 I. Andante Moderato F. Read. 
 
 а. Prelude and Fugue in D minor - . - E. A. Chamberlayne. 
 
 3. Sketch Arthur Geo. Colborn. 
 
 4. Fugue James Turpin. 
 
 5 Allegro Charles H. Fisher. 
 
 б. Marche Mystique 
 
 Theme by Roland, de Lassus.— A Relic of Ancient Times. 
 
 Part 3, Hew Series. 
 
 Minuet AND Trio in F - - Ed. J. Bellerby, Mus. B., Oxon. 
 
 ** Dundee "(“ or French ”) ... - John P. Attwater. 
 
 Adagio. An Elegy in G minor - - Chas. R. Fisher, Mus. B. 
 
 Anbante. a major - F. Hone. 
 
 Allegro, D minor ■ - - . - * ■ ■ Gko. Minns (Ely). 
 
 Part 2, New Series. 
 
 Toccata Fantasia {Study in C minor ) - 
 
 Andante Grazioso 
 
 Marche Funebre 
 
 Andante Semplice - 
 
 Festal March 
 
 E. T. Driffiel. 
 - W. Faulkes. 
 Arthur Wanderer. 
 E. A. Chamberlayne, 
 - A. W. Ketelbey. 
 
 Part 1, New Series. 
 
 1. Offertoire in A minor - - - Fred. W. Dal (Leipzig), 
 
 a. Second Fantasia on Scotch Airs - - : William Spark. 
 
 3. Adeste Fidkles with Variations and Fugue) - Charles Hunt. 
 
 4 . Intermezzo G. Townshend Driffield. 
 
 Part 103, July 1894. 
 
 I. Postlude in G . - - . Frederick W. Holloway, F.C.O 
 
 a. Sufte: No. i, Prelude; No. 2 , Berceuse ; No. 3 , Toccata 
 
 Laurent Parodi (Genoa 
 
 3. Nocturne William Lockett. 
 
 4T. Andante Pastorale in B minor Jacob Bradford; Mus. D„ Oxon 
 
 5. Introductory Voluntary - - - Albert W. Ketelbey. 
 
 . Fugue R. J. Rowe, D.R.A.M. 
 
 LONDON, WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C. 
 
Note the Price, PENCE not SHILLINGS. 
 
 POPULAR AND COPYRIGHT MUSIC. 
 
 Full Music Size, Well Printed and Critically Correct. 
 
 ISSUED BY 
 
 )D. WILLIAM REEVES. QD- 
 
 "• (Postage id* each.) (Postage id. each.) ^ 
 
 VOCAL. 
 
 396. Always do as I do 
 174. Angels at the Casement, A flat 
 105. Banner of the King 
 172, Barney O’Hea ... 
 
 224. Bay of Biscay ... 
 
 181. Border Lands (Sacred) 
 
 180. Borderer’s Challenge ... 
 
 390. Cat in the Chimney 
 
 391. Child’s Good Morning ... 
 
 892. Child’s Good Night 
 
 383. Come into the Garden Maud ... 
 
 389. Dawn of Heaven ... 
 
 188. Diver, The 
 
 384. God Save the King 
 
 226. Hearts of Oak ... 
 
 100, Honey Are You True to Me (Ooou Song) 
 213. Lady Clara Yere de Yere 
 
 227. Last Rose of Summer ... 
 
 116. Sharing the Burden 
 
 225. Tom Bowling ... 
 
 PIANOFORTE. 
 
 118. A la Yalse 
 
 373. Belgium Galop 
 
 122. Berceuse 
 
 376. Blumenlied 
 
 379. Bridal Chorus and Wedding March ... 
 142. Charming Mazurka 
 393. Chinese Patrol March ... 
 
 243. Cloches du Monastere ... 
 
 377. Edelweiss 
 
 374. Emmeline Galop 
 308. Fille du Regiment 
 
 167. Plying Dutchman (La Yaisseau Fan- 
 tome) 
 
 244. Forward March 
 Four Humoresques : 
 
 206. Yalse in D, No. 1 ... 
 
 207. Minuetto in A minor. No. 2 
 
 208. Allegretto, No. 3 ... 
 
 209. Allegro Alla Burla, No. 4 
 
 305. French Air (easy) 
 
 210. Funeral March 
 
 306. German Air (easy) 
 
 151. Grand March of the Warriors 
 125. II Corricblo Galop (easily arranged) 
 
 Tinney 
 
 W. M. Hutchison^ 
 H. Fortesqne 
 
 S. Lover 
 J, Davey 
 Miss Lindsay 
 H.J, Stark 
 L. Kingsmill 
 O. Barri 
 
 0. Barri 
 Balfe 
 Buonetti 
 E, /. Loder 
 Dr. Jno. Bull 
 Dr. W. Boyce 
 Lindsay Lennox 
 Miss Lindsay 
 Thos. Moore 
 J. E. Webster 
 
 C. Dibdin 
 
 Roeckel 
 
 Smallwood 
 
 Roeckel 
 
 Gustav Lang 
 
 Wagner 
 
 Gungl 
 
 D. Pecorini 
 Lefebure-WAy 
 Gustav Lange 
 Smallwood 
 Oesten 
 
 Wagner 
 
 E. H. Sugg 
 
 Grieg 
 
 Grieg 
 
 Grieg 
 
 Grieg 
 
 T. Valentine 
 Grieg 
 
 T. Valentine 
 H, V. Lewis 
 L. Mullen 
 
Cheap Music (continued), — 
 
 304. Irish Air (easy) 
 
 303. Italian Air (easy) 
 
 133. Kassala Gavotte 
 171. Khartoum Quick March 
 ,246. Liberty Bell March 
 
 135. Little Dear Gavotte 
 
 162. Lohengrin 
 
 136. Maiden’s Prayer 
 
 137. March in E flat 
 
 140. May -Day Galopade 
 
 141. Mazurka 
 143. Melodic ... 
 
 247. Melody in F 
 -211. Minuetto 
 
 163. Mountain Echo March ... 
 
 385. Narcissus 
 
 147. Placid Strenm ... 
 
 103. Queenie (Intermezzo) ... 
 
 165. Rienzi 
 
 148. Scherzino 
 
 301. Scotch Air (easy) 
 
 375. Seasons Galop ... 
 
 196. Silvery Echoes ... 
 
 394. Soldiers’ Chorus (Faust) 
 
 381. Sonatina in F ... 
 
 380. Sonata in G 
 
 302. Spanish Air (eaey) 
 
 378. Stephanie Gavotte 
 
 166. Tannhauser 
 150* Tarantella 
 
 290. Washington Post March (easy arrange 
 
 ment by Edwin Lansdale) 
 
 291. Woodland Echoes 
 
 DANCE. 
 
 388. Amorosa Mazurka 
 
 387. Blue Bells Sohottische 
 
 382. British Army Polka 
 
 161. Cosmopolitan Quadrille 
 
 127. Cyprus Polka ... 
 
 101. Electric Waltz ... 
 
 397. Esmeralda Waltz 
 
 395. Fancy Dress Ball Quadrille ... 
 
 386. Hor.-e Guards Schottische 
 
 102. Lucifer Polka 
 144. Munich Polka ... 
 
 866. Roseland Waltz 
 
 PIANO DUETS. 
 156. March of the Cameron Men ... 
 
 155. Marche des Creates 
 159. Minnie, or Lilly Dale ... 
 
 VIOLIN. 
 
 T, Valentine 
 T. Valentine 
 H. Wilcock 
 
 F. P. Rah< ttini 
 Sousa 
 
 P. Astrella 
 
 Wanner 
 
 Budarazewska 
 
 L. B. M alien 
 
 J. Gungl 
 
 Badarazewska 
 
 Roeckel 
 
 Ruhmsteui 
 
 Grieg 
 
 G. Gafiboldi 
 Nevin 
 Smallwood 
 P. O' Or say 
 W agner 
 Roeckel 
 
 T. Valey-tine 
 Smallwood 
 Blake 
 Gounod 
 Beeihoveti 
 Beethoven 
 T. Valentine 
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 PORTRAITS. 
 
 VOL 8. 
 
 Prof, and Mrs. Holloway 
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 Eugene Polonaski 
 Hugo Kupferschmidt 
 Dr. Joachim. 
 
 Anton Schumacher 
 William Christ Basle 
 M. Coward-Klee 
 Dettmar Dressel 
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 W. A. Mozart 
 Miss Kate Lee 
 R. Peckotsch 
 Gordon Tanner 
 Eugene Meier 
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 Paganini 
 T. B. Parsons 
 Joseph Guarnerius del 
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 J. R. Bingley 
 Ole Bull 
 
 Arcangelo Corelli 
 
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 Letter of Camillo Sivori 
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