Pál Kadosa

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Pál Kadosa (1933)

Pál Kadosa [ ˈpaːl ˈkɒdoʃɒ ] (born September 6, 1903 in Léva , Austria-Hungary , † March 30, 1983 in Budapest ) was a Hungarian composer , pianist and piano teacher. He was a prominent Bartók interpreter and was considered one of the leading music creators in his country.

life and work

Kadosa was of Jewish origin and was born in what is now Levice in Slovakia . He received his first piano lessons in Nagyszombat (today: Trnava). In 1918 he moved to Budapest with his single mother. After graduating from high school in 1921, he took private lessons from the composer Zoltán Kodály . Along with György Kósa and Tibor Harsanyi, he was one of Kodály's more prominent students in the 1920s. He studied piano with Arnold Székely at the Budapest Academy of Music; Keleti Lili (piano) and Leó Weiner (chamber music) are named as further teachers . In addition, he devoted himself to painting studies. He maintained friendly contacts u. a. on Róbert Berény , Sándor Bortnyik , István Dési Huber , Andor Sugár , Pál Pátzay and György Goldmann . 1923 is considered to be his first public appearance as a pianist. From 1927 he was a piano teacher at the Fodor Conservatory in Budapest.

In his younger years he was considered one of the leading figures of the Hungarian avant-garde . In 1928 he founded the group for contemporary music Modern Hungarian Musicians (Modern Magyar Muzsikusok) with Gyula Kósa , Ferenc Szabó and István Szelényi . The group was later integrated into the New Hungarian Music Association (Uj Magyar Zene Egyesület) by Zoltán Kodály and Béla Bartók , which was integrated into the International Society for New Music (IGNM). From 1932 to 1938 he worked for the same society for new Hungarian music. His compositions were premiered in 1933 at the IGNM World Music Days in Amsterdam by the Concertgebouw Orchestra under the direction of Eduard van Beinum ( 1st piano concerto ) and in 1934 at the Biennale di Venezia ( 1st Divertimento ). The 2nd Divertimento was performed in Strasbourg. Sometimes he was also active as a soloist on the concert tours. From 1930 to 1933 his compositions were published by the renowned Schott publishing house in Mainz.

In the 1940s he was listed in the anti-Semitic works “Judaism and Music” and “ Lexicon of Jews in Music ”. In 1943 he lost his teaching position in the course of the persecution of the Jews in Hungary . In 1943/44 he worked at the Goldmark Music School of the Jewish religious community. In 1944/45 he was most likely doing forced labor in Hungary.

After the Second World War in 1945 he became a professor for piano at the Franz Liszt Music Academy in Budapest. Successful composers and pianists were among his students. a. György Ligeti (as a private student 1942/43), György Kurtág , Ferenc Rados , András Schiff , Zoltán Kocsis , Iván Eröd , Dezső Ránki , Andor Losonczy and Jenő Jandó . As a pianist he promoted contemporary music. He was also a jury member at international piano competitions such as the International Chopin Competition in Warsaw (1965). From 1945 to 1949 he was Vice President of the Hungarian Art Council (Művelődési Tanács), from 1949 a member of the Committee of the Association of Hungarian Composers (Magyar Zeneszerző Egyesülete) and from 1953 to 1983 President of the Artisjus Office for the Protection of Copyright (Artisjus: Szerzői Jogvédő Hivatal).

Kadosa was based on Hungarian folk music and contemporary European music (with strong German references). He was compositional a. a. influenced by Béla Bartók , Zoltán Kodály , Igor Stravinsky ( Neoclassicism ) and Paul Hindemith (“New Objectivity”) as well as jazz . In the 1920s he was the first Bartók recipient in Hungary: Sonata for violin and piano . His oeuvre can be divided into five phases, with his works becoming larger and more dissonant. Most recently, he used the twelve-tone technique and wrote atonal works. In addition to his eight symphonies and an opera in two acts, as well as film (including for the film “Fame and Honor” (Becsület és dicsőség)), radio plays and stage music, he wrote chamber, piano and vocal music. Kadose based his early work on the genres Partita , Divertimento and Toccata . He was aesthetically influenced by Bertolt Brecht through the alienation effect. He also set himself the goal of a linear counterpoint . In the 1930s he focused on concert forms. His dissonant style came into its own with the 1st Symphony (1941/42) and the Partita for Orchestra (1943/44). After he increasingly composed vocal music such as cantatas and songs (including folk song arrangements and mass songs for choir) or allowed himself to be influenced by them, for example in the 2nd symphony (1947/48) and the 3rd piano concerto (1953), he found in his 4th Symphony (1958/59) back to twelve-tone music . The Hungarian Radio Archive (Szerzői hangfelvétel) contains sound carriers (published by Hungaroton, among others ) for Kadosa's music.

Kadosa was awarded the Kossuth (1950) and the Erkel Prize (1955, 1962). He was also an artist (1953, A Magyar Köztársaság Érdemes Művésze díj) and an outstanding artist of the Hungarian People's Republic (1963, A Magyar Köztársaság Kiváló Művésze díj) of the People's Republic of Hungary. In 1967 he became an honorary member of the Royal Academy of Music in London. From 1970 to 1983 he was a corresponding member of the music section of the German Academy of the Arts in East Berlin.

He died in Budapest in 1983 and was buried in the local Kerepesi cemetery ( Kerepesi temető ).

literature

Web links

Commons : Pál Kadosa  - collection of images, videos and audio files

Individual evidence

  1. ↑ Judit Frigyesi: Jews and Hungarians in Modern Hungarian Musical Culture, in: Ezra Mendelsohn (ed.): Modern Jews and Their Musical Agendas, New York 1993, pp 40-60, here: p 47/58.
  2. ^ Hungary. In: Don Michael Randel (Ed.): The Harvard Dictionary of Music. 4th edition. Cambridge 2003, pp. 396-398, here: p. 397.
  3. ^ János Breuer: Some Senior Composers. In: Tempo, No. 88 (Frühling, 1969), pp. 33–38, here: p. 34.
  4. ^ Anton Haefeli: The International Society for New Music. Zurich 1982, p. 491.
  5. ^ John S. Weissmann: Guide to Contemporary Hungarian Composers: 'continued' (I) The Early Decades of the Twentieth Century. In: Tempo, NS, No. 45 (Herbst, 1957), pp. 27–31, here: p. 27.
  6. ↑ Anna Dalos: Bartók, Lendvai and the situation of Hungarian composition around 1955. In: Studia Musicologica Academiae Scientiarum Hungaricae 47 / 3-4, 2006, pp. 427–439, here: p. 431.
  7. ↑ Pál Kadosa , www.adk.de, accessed on January 4, 2018.
personal data
SURNAME Kadosa, Pál
BRIEF DESCRIPTION Hungarian composer, pianist and piano teacher
DATE OF BIRTH September 6, 1903
PLACE OF BIRTH Léva , Austria-Hungary
DATE OF DEATH March 30, 1983
Place of death Budapest