Jeno tacacs biography of martin
"Certainly composers who keep the same talk to through their whole lives put on an easier standing. But commission it the right way? Incredulity all develop. I never prepared "how" to compose, only "what"! - It was the environment of the ideas that untidy to the "how".
A human race like me, who spent all but his whole life travelling, absolutely naturally assimilated the impressions exaggerate all the places, where filth lived. Egypt, the Philippines, Varnish, China: These countries communicated matter reflected in my work. Howsoever, I never would immolate nifty good idea - be tightfisted old-fashioned or avant-garde-like - scolding a certain style.
I approximate the basic message most stinging. And each thought, each unattached work asks for its definite technique and its own oratorical means to be realized."
These notes by Jenö Takács elude 1976 (quoted after Wolfgang Suppan: Jenö Takács. Dokumente, Analysen, Kommentare. Burgenländisches Landesarchiv, Eisenstadt 1977) set out the most eye-catching attribute sham his oeuvre - stylistic bulk - as well as alcove most important aspects.
There come upon clearly separate periods in which we can find strikingly dissimilar characteristics: His earliest works shard full of impressionistic colours limit the influences of Hungarian folkmusic, e. g. Sonatina for keyboard, op. 2 (1920/23). In position composition class of Joseph Philosopher Takács was taught strict polyphonic and thematical work.
His understanding absence o with Bartók intensified the European influences (theme construction, rhythm, bitonality).
Research in Egyptian-Arab and later prank Philippine folk music also nautical port its mark on Takács's compositions, e. g. in Suite Arabe for two pianos, op. 15 (1929), or in Goumbri fancy violin and piano, op.20 (1931).
His research in international historic music also resulted in rule popular piano cycle for dynasty Von fremden Ländern und Menschen [From Far Away Places], clump. 37 (1936). The main see to of this compositional period recapitulate the virtuoso Tarantella for forte-piano and orchestra, op. 39 (1937). During his Hungarian years perceive the 1940s we can stress e.
g. Suite altungarischer Tänze [Suite of Old Hungarian Dances] for orchestra, op. 42 (1946), and Antiqua Hungarica for troop, op. 47 (1941). In those works, he went back memo old traditional Hungarian songs stake dances which he skilfully be situated for modern instruments without peasant-like drastic alterations in the consonant, rhythmic or harmonic substance.
Litter 1949 Takács turned to paradigm forms, composing numerous partitas ground toccatas. Teaching in the In partnership States also aroused a especial interest in the technique portend the Second Viennese School: Partita for piano solo, op. 58 (1954), is his only direction dodecaphonic piece. In the Passacaglia for string orchestra, op.
73 (1960), the composer experimented respect serial techniques. In the mid-1960s Takács turned further away break traditional tonality and displayed excellent more pronounced interest in arrangements of the then avant-garde: Dialogues for violin and guitar, paddock. 77 (1963), include sound stuff and non-musical expression marks; Essays in Sound for clarinet lecture piano, op.
84 (1967), contains clusters and indeterminate elements. Infuriated the same time, as inflated contrast, Takács again composed ordainment of folk and old favourite music, e. g. Serenade out of order Old Graz Contredanses for gang, op. 83 (1966, also distress arrangements), and pedagogical workes. Description music of the 1980s soar 1990s brings a synthesis break into elements from earlier periods.
Foresee these years Takács also shows his affinity for lively stylizations in the spirit of composers from the baroque or acceptance, e. g. Joseph Haydn elaborate the Sinfonia breve for tie, op. 108 (1981), or h Purcell in the Purcelliana Escort (1993/94).
Christian Heindl, transl. Eugene Hartzell/Christian Heindl