André from Zombori-Kún

Andor Z. Kún (1920)

André of Zombori-Kún (* 30th August 1898 in Budapest; † 29. January 1935 in Budapest ) was a from Austria-Hungary originating conductor , composer , theater critic and writer . He published factual texts under his full name, while his artistic works appeared under the name André von Kún or, in Hungarian, also under Andor Z. Kún .

Life

Kún was born to Jewish parents. His father was the commission agent Vilmos Kohn, b. November 30, 1866 in Breznóbánya (now Slovakia ). His mother was Ernesztin Kohn, b. Eiser was born in Budapest on August 7, 1877.

On September 30, 1915, he changed his name from Kohn to Kun.

Kún attended a grammar school in Budapest, where he was influenced by his teacher Lajos Ady (1881–1940). Lajos Ady was active a. a. as a writer. As a teenager, Kún was the first editor of a home-designed small weekly newspaper called "Pesti Revü". He often stayed in the Liget, an entertainment district in Budapest. There was the "Szabad Szinpad" (Free Stage), which he often visited. He wrote articles for the small magazine "Ligeti Újsák", ed. by Ernö Kaposi. From 1914 to 15 Kùn stayed in Zurich (Switzerland) to study with Ernst Isler (1879–1944) at the Zurich Music Academy. He became a correspondent for "Pesti Hetilap" in order to get free tickets for the theater in Zurich. He also wrote operetta reviews for the Schweizerische Musikzeitung and advocated the operetta genre. From 1915 he wrote articles for the Berlin Theater Courir. From 1916 he lived in Budapest again. During the First World War , Kún fought for Austria-Hungary as a one-year volunteer in the infantry regiment "Alfonso XIII. King of Spain" No. 38 as a member of a machine gun division . In 1917 he stayed for a while in a military hospital in Koliszvár. There he met Sándor Tóth, the editor of the magazine Szinház és Taraság (Theater and Society), and wrote for the paper. In September 1918 he worked as an editor for the newly founded regimental newspaper, which bore the title Mollináry-Ujság . The first number contained essays that were timely and timely. According to an obituary published in the "German Press", Kún served as a honved officer for four years and then helped "to free his country from Bolshevik terror." After the First World War, Kún initially worked in Budapest and achieved fame as a composer. In 1922 he wrote the operetta “The Enigmatic Dancer” ( A rejtélyes táncosnő ) based on a text by István Tyrnauer , which was performed by the ensemble of the Burgtheater for about a year. The fresh, creative, innovative opera music aroused lively interest at the time. He also wrote original cabaret and dance songs, some to his own texts, and not a few of them were so popular that they were even sung in the street.

Andor Z. Kún was a theater lover and published a book entitled “Stage, you are my ideal”. In addition, he published a weekly newspaper in 1920 with the title “Revü” and in 1923 with the title “Műsor-Revü” ( program revue ), which dealt mainly with theater events . From 1917 he worked as a correspondent for the Neue Zürcher Zeitung . Under the name Andor Z. Kún he composed at least 85 different pieces of music, a peace march ( Béke induló ), the music for the silent film "Beszéljen a papával" (1922) and a singing streak. At the same time he was also active as a theater critic. In 1920 and 1921 he wrote three reviews of the operettas San Toy, Yu-shi, Búzavirág, and A Bálkirályné for the magazine "A Hét" (Die Woche). He also wrote numerous articles for the Hungarian magazine Ország-Világ and was friends with the editor Zsigmond Falk (* 30.3.1870-15.2.1935). Falk was also active as a music critic and also edited the music magazine "Magyar Dal". In one with a portrait photo and an impression of his composition "Drágám!" illustrated article about Kún (from September 26, 1920 in Ország Világ) Falk writes that Kún would join the guard of outstanding young authors. He is a brilliant young composer who will soon be dealing with musicians all over the world. Kún recently completed a fantastic operetta in three acts entitled "Die Nordpolfahrt", which is to be performed in Berlin.

On November 21, 1922, Kún married the recently divorced Erzsébet Nagy, b. on August 8, 1899 in Budapest. His wife was baptized Christian, which is why he later converted to Christianity

Around 1924 he took a position as Kapellmeister in Görkau (Czechoslovakia), today's Jirkov in the Czech Republic. The German-language theater with 700 seats was a seasonal theater. While working as a theater conductor, Kún is said to have refused to conduct the Czech national anthem . When he threw the baton at a badly singing tenor before an operetta performance, he was dismissed without notice. Around 1925 he was the music director of the Victoria Theater in Breslau , which mainly performed operettas. The fairy tale piece "Walpurgis Night" composed by him was premiered at this theater in 1925 under his musical direction and under the scenic direction of director Gustav Büttner. It is an operetta variant of Shakespeare's Midsummer Night 's Dream . Kún dedicated the piece to Franz Lehár . The action takes place in the fairy tale realm in which a person gets lost. Kún established connections with the Berlin Apollo music publisher Lincke & Rühle, whose director Obermayer went to Budapest in 1926 to buy Hungarian operettas. The publisher showed great interest in Kúns Walpurgis Night and in his "retired Amor" ( B-listás Ámor ) and wanted to perform both operettas in Germany. Kún worked as Kapellmeister until 1927.

He went to Berlin around 1929 and worked as a theater critic for several foreign newspapers (feature section and local service). From 1929 to 1935 he was regularly mentioned as editor-in-chief in the Berlin address book. Among other things, he wrote several articles on Hungarian politics and Hungary's cultural mission for the Berlin newspaper “Der Jungdeutsche” (1931). In this newspaper also appeared from November 12, 1931, his novel "Prasok" as a newspaper novel in several episodes. He also published articles in the Young German monthly “Der Meister” and the monthly “Nachbarschaft”. He was friends with the editor-in-chief of "Jungdeutscher", Kurt Pastenaci. He initially lived at Nürnberger Platz 5 and moved to Hohenzollerndamm 201 in 1932 . He emerged as a writer several times. In 1932 he presented his own work in the poetry class of Deutsche Welle . He worked on the expressionist magazine " Der Sturm ". In 1932 he published three smaller contributions in “Sturm”. After Herwarth Walden had converted “The Storm” into the monthly “ Der Durchbruch ” in 1932, Kún worked there in 1932 as editor-in-chief. From issue 4 he took over from Walden, who went to Moscow , the editor for the "breakthrough", which also received a new subtitle. From issue 8, “The Breakthrough” was published by the General Secretariat of the International Anti-Tuberculosis League (IATL); From 1933 onwards, Kún stayed in his parents' apartment at 9 Horthy Miklós út (now Bartók Béla út) in the XI. District of Budapest, especially since the professional prospects for him as a Hungarian Jew in Berlin became increasingly difficult. It was noted in the Reich Chamber of Culture files that he was a Jew.

At the beginning of 1935 he traveled back to Budapest, probably because his father's friend Zsigmond Falk was dying. He died there on January 29th. from heart failure in a hospital in the 8th district. He was buried on January 31, 1935 at half past two in the afternoon in the Budapest cemetery in Farkasrét. Kún's father died around 1938. Kún's mother lived in Horthy Miklós Ut until 1944. 9, which she and her husband moved in in 1924. According to the 1941 census paper, she lived there with a nurse and a lodger. In 1944, however, as a Jew, she was forced to move into a Jewish apartment. Her further fate is unknown.

Kún and Franz Lehár

Kún revered Franz Lehár. As early as 1916 he contacted him by letter and wrote several music reviews about Lehár. Lehár answered. These letters and postcards from Lehar to Kún are now in the Hungarian State Archives in Budapest. This shows that Kún Lehár has spoken personally on several occasions: "If the Frasquita is performed in Budapest, I will also have the opportunity to talk to you about the matter in detail" (13.11.22). On May 1, 1920, he dedicated the entire issue of his magazine Revue to the work of Lehár, who had recently celebrated his 50th birthday. Lehár sent him a telegram and thanked him “for the loving congratulations and the wonderful presentation in your newspaper.” In a letter to his “dear friend”, he wrote: “My very special thanks for your article about me. You wrote so nicely that, despite my 50 years of age, I would still blush if I weren't so 'immodest'. "As a young soldier, Kún had the plan in 1918 to write a biography of Lehar, which he rejected as premature:" For the time being, I prefer to work. I already have enough enemies. I don't want more! Don't you agree with me too? ”(3.8.1918). Kún also sent Lehár his autobiographical book “Te vagy az álmom.” Lehar replied: “I read it with all the greater pleasure, as it gave me more insight into your life and work.” (7.2.21) Published on April 22nd, 1930 Kún wrote an open letter to Franz Lehar in the newspaper "Riga am Sonntag" on the occasion of his 60th birthday and concluded with the words that he had admired him unchanged for thirty (!) Years and had always been his objective critic. In April 1934, Kún met Lehár for the last time in person. On the occasion of a gala evening at the Royal Opera in Budapest he will conduct his “Giuditta”. He gives Kun an interview and handwritten a dedication to the readers of the Neighborhood newspaper, in which Kun's essay Ton-Welt Nachbarschaft appears. Kún emphasizes that the characteristic of Lehár's music is the major-minor mixture, which in turn merges all human emotions into one. (P. 3). If you listen to Kún's music, you have to realize that he too mastered this major-minor mixture, which is particularly noticeable in Opus 30 and 85. Kún then talks about Lehár's internationality, which unites people:

“Only when people hear Lehár's music, when they hear his tunes in Berlin, Vienna, Budapest (...) then they forget their crises, their politics, their party slogans, their hatred for minutes or hours, and sink into one big one Neighborhood in a sea of ​​clay, then they are all flesh and blood people who would love to shake hands and hug each other warmly to form a big family, each member of which whispers to the other and cheers: Yours is my whole Heart ... "(p. 5)

In 1920, Kún sent 7 of his compositions (Opus 13, 27, 28, 30, 36, 38, 40) to Lehár for assessment. Lehár commented: nice idea, quickly executed (op. 28) or: very pleasing and sangable (op. 30) and on opus 13. “fast in rhythm (somewhat English guessing).” On April 20, he commented on Kun's operetta Walpurgis Night. 24 a little more cautious. There are "good ideas in it". However, he criticizes several musical mistakes that Kún made (e.g. tenor part in the bass clef). "I would have to be your enemy if I hadn't brought all of these things to your attention." When Kún's wife turned to Lehár after the death of her husband to find a publisher for the Walpurgis Night operetta, he reacted rather reserved and currently considers the chances of a publication to be extremely slim: "You certainly have vocal scores and books of it, the one at the moment in the truest sense of the word waste paper is in their possession. " (6/18/36). In an earlier letter of recommendation that Kún, I suspect, submitted to the Lincke & Rühle music publisher (unfortunately without a date), Lehár commented very positively on Kún's musical abilities:

"Mr. André Z. Kún is a very talented young Hungarian composer who has already sent me several stage works for evaluation. His compositions are light, fluid, melodious and I believe that he has absolutely the ability to, properly directed, success in the field of To have operetta. Please submit his works to an examination. "

Summary of the two novels

“Prasok!” (Epubli Verlag 2020) This expressionist novel is set in Prague, Vienna and Budapest in 1918 and depicts the breakup of the Austrian multi-ethnic state and the emergence of the Czech nation-state against the background of an unfortunate love story. As a young Austro-Hungarian lieutenant, Kún saw it for himself and describes it in the novel from the perspective of the young Hungarian first lieutenant and commander of a machine gun division, Karl Ludwig Beregi. In a secret meeting of the Sokols (the Czech nationalists) he learns of the plans for a coup and learns the secret password "Prasok". However, he does not succeed in stopping the coup, nor can he prevent the suicide of his beloved. The style of Kúns novel is therefore strongly influenced by expressionist prose such as B. those coined by Alfred Döblin. There are parallels to Joseph Roth's novel Radetzkymarsch, which was created almost simultaneously in the Berlin restaurant Mampes Gute Stube. The edition after a reprint by R. Boll (1932) was edited and commented on by Stephan Pastenaci.

The jazz dictator (Verlag Der Sturm 1932) In this novel, Kún describes a jazz drummer, Gerbrecht Runge, who falls madly in love with the singer of the operetta theater in a provincial town. Since she supposedly always looks to the flutist, he begins to learn the flute in order to win her favor. When he is finally hired as a flutist, the singer looks again at another musician, this time at the saxophonist. Gerbrecht also masters this instrument and on top of that makes a career after a tour of the USA. Back in the provincial town, he has the opportunity for the first time to take a closer look at his beloved and notices that she is pre-aged and not as beautiful as he remembered her. Her fondness for the flute and the saxophone was an illusion. She squinted and only seemingly fixed these people. Gerbrecht's dream of love shatters and he marries his insignificant fiancée in order to return to the insignificance from which it came. The novel is “dedicated to all creatures who imagine they are personalities. They believe they can direct their own fate. So to all dream hunters on earth. Consequently: all fellow men. ”(Preface).

Both of Kún's novels are dominated by the theme of the disappointment of an expectation, with the sudden onset of fate (Prasok) or the destruction of an illusion (Jazzdiktator) destroying all plans.

Journalistic and literary works

• Z. Kun Andor: Magyar dekadencia. In: Bohémvilág, December 13, 1919, pp. 3–4. (The article is signed with ZKA.)
• Kùn, Andor Z .: Te vagy az àlmom…: egy szinhàzi iro visszaemlèkezesei, elöszo (preface): Falk, Zsigmond. 86 p. Budapest: Dick, 1921 Budapest: Pesti Könyvny.
• The jazz dictator. Comedy tragedy by a drummer. Berlin: Verlag Der Sturm 1932 (88 pages).
• "Prasok!" A three-country novel all about a password. Printed as a manuscript (private print). Society German press. Berlin 1932. (38 pages). New edition, edited by Dr. Stephan Pastenaci Epubli Verlag 2020
• Zombori-Kun, Andreas: Hungarian Rhapsody. In: Der Meister, 7th vol. 3, Dec. 1931, pp. 133–144.
• Hungary's “great plan” in: Der Meister, Jungdeutsche Monatsschrift, Issue 3 (1932), pp. 66–79.
• World-tone neighborhood. Attempt to a Léhar study, In: Neighborhood, Monthly 9th year July 1934, Issue 1 (1934), pp. 1–6
• German-Magyarian community of fate, In: Neighborhood, monthly, 9th year 1934, issue 5, pp. 129-134
• André von Kún †: On the reorientation of Europe, In: Vicinity, Issue 9, March 1935, pp. 264–270.

More writings and short stories

• A strange love contract, Zeitbild. In: Alpenzeitung Bozen from July 19, 1929
• The aircraft elevator operator reports on the spot! Side notes on the latest aircraft construction project. In: Sudetendeutsche Volkszeitung, year of publication: 1930, volume: 19, date of publication: February 26, 1930, number: 1264.
• A bride fell from heaven. Humorous. In: Alpenzeitung Bozen from 27.7. 1930, p. 6
• Mabel passes the acid test, sketch. In: Alpenzeitung from October 4th, 1931
• Who digs a pit for others. Told a true story. (Anecdote about Franz Lehar) In: Alpenzeitung from December 11, 1931
• Art to the people. In: Der Jungdeutsche 3.2. 1932
• The house concert. Satire. In: Der Jungdeutsche from Sunday, June 26, 1932
• Laseme lahutada! In: Romaan No. 8, Tallinn 1932 pp. 274–275.
• Volare necesse est. In: Der Sturm Heft 2, 1932, p. 50. ( online )
• Ramp hype. In: Der Sturm Heft 3 1932, p. 90.
• Strong girl drives submarine with medallion. P. 87. ( online )

Journalistic articles

• The development of night flying. In: Weser newspaper April 18, 1928
• Rumfenarns Wehrmacht. In: Neue Prussische Kreuz-Zeitung Berlin from March 19, 1929 Gez. Andreas from Zombori
• Germany and the Hungarian revision question. In: Neue Prussische Kreuz-Zeitung from April 28, 1929 The article is with Andreas v. Zombori drawn.
• O Franzerl, my Franzerl, how I love you ... Open letter to Franz Lehár on his 60th birthday on April 30, 1930. In: Riga am Sonntag, No. 136 of April 22, 1930. Can also be viewed online: periodika.lv/periodika2-viewer/view/index-dev.html#issue:/p_003_rias1930s01n136|issueType:P
• In the footsteps of Aeneas. In: Neue Zürcher Zeitung (NZZ) of December 5th, 1933 (About the excavations of the ancient Butrint in Albania)
• Albania on the rise. In: Der Tag, 07.12.1933
• The National Socialists in Hungary. In: Der Jungdeutsche, June 14, 1933
• National Socialism in Hungary. In: Thüringische Staatszeitung, Thursday, June 1st, 1933
• The redesign of the German theater. In: Der Jungdeutsche, April 26th, 1933
• Hundred points in Hungarian. In: Der Jungdeutsche, November 29, 1932

Musical works

• Op. 13 - Béke induló (Andor Z. Kún). Kálmán Nádor music publisher, Budapest 1918.

• Op. 27- Mi kell az asszonynak. Komédia. (Text: Tibor Kalmár, music: Andor Z. Kún). Kálmán Nádor music publisher, Budapest 1919.

• Op. 27b - A valse d'amour. (Text: Gyula Dénes, music: Andor Z. Kún) Alba Zeneműkiadó-Vállalat, Székesfehérvár. Distribution of the music publishing house Kálmán Nádor, Budapest 1922.

• Op. 28 - Receruca -nóta, Szöveget irta: Kalman Tibor, Zeéjet szerzette: Zombori-Kún Andor. Copyright by: Komédia Budapest 1919

• Op. 30 - Jöjj Rudi, cuki pubi. (Text: Rezső Gergely, music: Andor Z. Kún) for voice and piano. Kálmán Nádor music publisher, Budapest 1919.

• Op. 36 - Tudom… Chanson (text: Oszkár Fehér, music: Andor Z. Kún). Kálmán Nádor music publisher, Budapest 1919.

• Op. 38- Adjátok vissza! (Text: Oszkár Fehér, music: Andor Z. Kún). Kálmán Nádor music publisher, Budapest 1919.

• Op. 40- Bár-nóta: A tanyám lett ez a kicsike bár. (Text: Tibor Kalmár, music: Andor Z. Kún) for voice and piano. Musikverlag Kálmán Nádor, Budapest 1920. German translation by Anton Ello: Friends come, I know a little bar!

• Op. 41- Ninette. Dal egy párisi kislányról. (Text: György Andersen, music: Andor Z. Kún) Music publishing house Kálmán Nádor, Budapest 1920.

• Op. 42- Dal az északáról. (Text: Gyula Dénes, music: Andor Z. Kún) Music publisher Kálmán Nádor, Budapest 1920.

• Op. 43 - Drágám! Bár-nótá. Ragtime. (Text: Tibor Kalmár, music: Andor Z. Kún) Music publishing house Kálmán Nádor, Budapest 1920. German translation by Anton Ello: Darling! A delightful story.

• Op. 50. - Az ezred indulásra kész. . . A mk Mátészalkai gyalogezred indulója. (Andor Z. Kún). Kálmán Nádor music publisher, Budapest 1921.

• Op. 53 to Op. 58 published as a collection with the title: Z. Kún Andor dalai. Op. 53-58. Alba Zeneműkiadó-Vállalat, Székesfehérvár, sales music publisher Kálmán Nádor, Budapest 1921.
• Op. 53 Bucsú. (Text: György Andersen, music: Andor Z. Kún)
• Op. 54 Rejtély. (Text: Oszkár Oszkár, music: Andor Z. Kún)
• Op. 55 Emlékezés. (Text: Andor Z. Kún, music: Andor Z. Kún)
• Op. 56 Bűnhődj meg érte! (Text: Gyula Dénes, music: Andor Z. Kún)
• Op. 57 Fényes kirakatok. (Text: László Bródy, music: Andor Z. Kún)
• Op. 58 Céda-dal. (Text: Kálmán Kovács, music: Andor Z. Kún)

• Op. 59 Shimmy-Shomma: Pántlikás tökfödőnk fujja szellő! (Text: Imre Harmath, music: Andor Z. Kún). Alba Zeneműkiadó-Vállalat, Székesfehérvár, sales music publisher Kálmán Nádor, Budapest 1921.

• Op. 60 (?) Boszporuszi szerenád. Dal és foxtrott. (Text: Elek Erődy, music: Andor Z. Kún). Alba Zeneműkiadó-Vállalat, Székesfehérvár, sales music publisher Kálmán Nádor, Budapest 1921.

• Op. 61 Vezeklés. (Text: Gyula Dénes, music: Andor Z. Kún) Music publishing house Kálmán Nádor, Budapest 1922 (1921).

• Op. 62 speed kerület! A 7. kerületi sports club indulója. (Andor Kun, Berci Markstein). Kálmán Nádor, Budapest 1921.

• Op. 63 A rejtelyes tancosnó, Operett 3 felv., Könnyitett szüveges zg. - kiv. Irta: Istvan from Tyrnau. Zenéjét - reszben sajat verseire- szerzette. Budapest: Spiš King 1923

• Op. 68 Szigeti Séták (Erdödy Elek) In: Z. Kun Andor: Dalai (Op. 36–68) Zisper és King Budapest VI Andrassy Ut. 4th

• Op. 76 Walpurgis Night (music print). Singspiel in 3 acts (Siegfried Schmidt, André Z. Kún). Berlin: Standard stage sales. 1930 (37 pages). The printed sheet music was self-published in Breslau in 1925.

• Op. 85. Granada: Granada you, full of magic. Tango for singing with pianoforte. Berlin p. 42, Oranienstr. 64-65. Fidelio Verlag, 1927.

Without opus numbers

• A) Amikor az a sok czillag (If those are the many stars), Budapest: Nador Kalman 1920
• B) The North Pole Journey. Operetta in 3 acts. 1920.
• C) Beszéljen a papával. Film operetta. 1922.
• D) The retired Cupid: singing sticks. (Siegfried Schmidt, Andor Z. Kún). Libretto: Pester Druck, Budapest 1923. (Hungarian: Ámor nyugdíjban)
• E) The mysterious lady. (A titokzatos asszony). Modern operetta. 1923/24.
• F) The world is upside down. (Tótágast áll a világ). Review in three pictures. 1923/24.
• G) The song of the Indra. Great operetta. 1923/24.
• H) The traveling singer. Romantic operetta. 1923/24.

Discographic notes

The Hungarian singer Gyula Szabó published Kún's composition Bár-nóta (Op. 40) with Hungaroton in 1985 .

Web links

• Literature by and about André von Zombori-Kún in the catalog of the German National Library
• Andor Z. Kun in the Internet Movie Database (English)

Individual evidence

1. ↑ Source: Szül. Akvi / birth register Születési anyakönyvi kivonat Állami anyakönyvek / state register, Budapest IX. Kerület / District 232. oldal / Page 1384 / IX sorsz / No. 1898. augusztus 30.
2. ↑ This and the following information from Kún's youth comes from his autobiographical book "Szinpad, te vagy az álmom!"
3. ↑ Kún was either there as a patient after being wounded, or he worked there as a medical cadet. In 1916 the magazine "Der Militärarzt" mentions a medical cadet, usually Andor Kun (1917 as a medical lieutenant).
4. ↑ See section VII in Kún's book "Szinpad, te vagy az álmom", in which he also gives autobiographical information.
5. ↑ See Pester Lloyd of September 17, 1918, p. 10 .
6. ^ André von Kun + In: German press. Journal of the Reich Association of the German Press Vol. 25, 1935, No. 6 of February 9, pp. 69–70. This article was probably written by Kurt Pastenaci. The information is to be viewed with skepticism, as Kun obviously gave his age incorrectly (allegedly year of birth 1896). It stands to reason that he wanted to do his military service in more detail than he was. In 1914 he could not have volunteered because he was actually only 16 years old.
7. ^ Obituary from Pesti hírlap newspaper of January 31, 1935, p. 14 (Hungarian).
8. ↑ This emerges from the letterhead of a letter he wrote to Andor Gábor on April 8, 1919 (Magyar Tudományos Akadémia Köyvtár Ms 4491/245)
9. ↑ A Hét, (1920), No. 34, pp. 524-525; (1921), No. 5, p. 76. The University Library in Szeged has put digitized versions of the journal online: http://misc.bibl.u-szeged.hu/id/eprint/19900
10. ↑ Source: Házassági anyakönyvi kivonat / marriage register Állami anyakönyvek / state register Budapest V. Kerület / district 287. oldal / page 861 sorsz / no. 1922 November 21st
11. ↑ Protestant religion is entered in the death register. (Bp.VIII Ker. Halotti 220/1935)
12. ↑ Source: Deutsches Bühnen Jahrbuch 1924, p. 241 and p. 545
13. ↑ Gertrud Pastenaci: The gardens of my life. Memories of an East Prussian woman. Verlagshaus Würzburg, 2011, p. 127 and p. 118.
14. ↑ Cf. the title page of the printed music at the Harvard library, which Kún self-published. See also Deutsches Bühnen Jahrbuch 1925, p. 799, where "Walpurgis Night" is listed among the novelties.
15. ↑ See. The article in the newspaper Az Ujság from 04.25.1926 on the visit Upper Mayers from Apollo music publishing in Budapest.
16. ↑ Cf. Bühnen Jahrbuch 1927, p. 714. In the obituary of the Pesti Hirlap newspaper, it is claimed that he was also a theater conductor in Hanover. This is doubtful. At most, he may have been in Hanover in 1928.
17. ^ Andreas von Zombori-Kun: Hungary's revision policy, In: Der Jungdeutsche January 8, 1931, ders. Hungary and the Customs Union, April 17, 1931; Hungary's cultural mission in southern Europe, February 11, 1931.
18. ^ Address book Berlin for 1931, p. 1847 and for 1932, p. 1818 (also available online).
19. ↑ "The Storm" subsides. In: Kerstin Herrnkind : The storm kindled by Herwarth Walden. Expressionism for beginners. neobooks, 2015. ( limited preview in Google book search)
20. ↑ The breakthrough. In: Thomas Dietzel, Hans-Otto Hügel : German literary magazines 1880–1945. A repertory. Walter de Gruyter, 1988, pp. 376-377. ISBN 978-3-110-97671-7 ( limited preview in Google Book Search)
21. ↑ Email from Varga Banyai Bernadett of July 14, 2017 (Budapest Funeral Institute).
22. ↑ Source: Bundesarchiv Berlin B Arch (formerly BDC) card index Reichskulturkammer (RKK) Kun, André von
23. ↑ See the Budapest Death Register Bp.VIII Ker. Halotti 220/1935
24. ↑ Országos Leveltar Budapest, signature: P 2256-62-1 No. 1-22. All quotations from the letters are taken from this source
25. ^ Walpurgis Night. Romantic fairy tale game in 3 acts. Op. 76. Harvard University Library .
26. ↑ See Hofmeister's musical-literary monthly report, 1927