Magyar Hírek, 1984 (37. évfolyam, 2-26. szám)

1984-06-09 / 12. szám

The Hungarian State Folk Ensemble in the U.S.A.

When the orchestra launched into the strains of a familiar Brahms Hungarian dance, the audience began to hum along. When the dancers filed out at the end of The Village Wedding (Lakodalmas) the audience clapped in unison, as if it had become a joyful part of the wedding festivities.

It was a completely sold-out and enthusiastic crowd that greeted the Hungarian State Folk Ensemble’s only appearance in the greater New York area, April 6, at the Colden Center for the Performing Arts.

From Zoltán Kodály’s Welcoming Song, so simply and beautifully sung by the Chorus, to the exuberant Dances from Szatmár (Szatmári Táncok) that ended the performance, one could enjoy a spectacle of color, charm and technical expertise by the gifted singers, instrumentalists and dancers that lifted the spirits and enthralled everyone present.

It was an entertainment that comes our way all too rarely. Not since 1966 has a Hungarian folk troupe been seen in the U.S. — a pity because the unique melodies and dances of such diverse areas as the Danube and Transylvania ensure a lively and varied show, rich in ethnic culture.

Many groups from countries such as Mexico, Japan, the Phillipines, Jamaica and Poland visit the U.S. from time to time. But the Hungarian State Folk Ensemble was particularly welcome not only for its rarity, but for its policy of displaying authentic modes and carefully researched material while at tne same time offering the maximum in entertainment.

This respect for tradition was particularly effective in the simple but touching songs and dances, like the Girl's Circle Dance From Zemplén (Zempléni Karikázó) with its intricate, unhurried patterns, and the exciting Dances of the Five Lads (Kalotaszegi Legényes) skillfully arranged by artistic director Sándor Tímár to display the individual virtuosity of the dancers.

It was refreshing also to see these carefully researched dances performed without unnecessary gloss or theatrical “oversell”. There was no lack of excitement: Director Tímár and his colleagues let the intricacies of traditional dances like the Herdsmen of Hortobágy (Hortobágyi Pásztortáncok) speak for themselves. And what a pleasure it was to hear Liszt’s well-known Rhapsody No. 2 played so authentically by a superb ensemble that featured violins, cellos, clarinet and two extraordinary cimbalonists! (The latter unfamiliar to American audiences.)

For sheer exhileration though it was hard to surpass the Dances from Szatmár (Szatmári Táncok) with knots of men leaping outwards like exploding fireworks and the women whirling round, charming in their fullskirted embroidered dresses. The stamping, clapping, slapping routines typical of Hungarian male dance had the added thrill of spontaneity and extermporization one sees in the best of our own, home bred tap dancers. One noted that by custom, the men danced with their hats on. We take off our hats however to these special artists for bringing us a memorable and pleasurable evening.

Vox humana, the human voice, just like music as such knows no limits. This is what the teachers and pupils of the almost one hundred year old No. 4 General School of Nyíregyháza profess. The school is one of the nearly one hundred and fifty music-centred general schools with specialized curricula. Here, in Kodály’s words — “pupils are taught that he who sets out in life with music is given a treasure for life, that will help him to get over many problems. Music, multiplies all of the beauties of life, and what is valuable in them.”

The fame of the children’s chorus of the school is spreading steadily in Hungary and abroad. The music education programme started in 1973, is beginning to bear fruit. The choir has repeatedly won the Grand Prix of Hungarian Radio. The school represented Hungarian children’s choirs in 1980, at the Warsaw world conference of music education. (ISME) They came first at the Debrecen Béla Bartók international competition in the children’s chorus category, also winning the prize awarded by the audience and a special prize for the best Kodály interpretation, as well as diploma of the folkmusic competition. They were successful in Venezuela at the children’s choral festival held in 1983 in memory of Simon Bolivar They won the BBC international radio choral competition held in February 1983. They also took part in the Hungarian first performance and concert recording of Gustav Mahler’s Eight Symphony, the Symphony of the Thousands. They gave joint concerts with, and hosted, the children’s choirs of the Tokyo and Prague broadcasting station.

I asked Dénes Szabó, the 36 years old choirmaster of the school, (Uncle Dénes to the children) about the secret of this success.

“Hard work, making a game out of rehearsals and being able to make Kodály’s advice come true: ‘Singing, and music should be taught

in such a way that it is a pleasure, and not suffering .. . This experience cannot be left to chance, it is up to the school to ensure it.’

Beginning in grade one, the children of our school are given more than the usual number of singing lessons. We came to realise in time that one of the most intensive opportunities for experiencing music is a public performance. Each of the grades from grade 3 to grade 8 has given an annual concert since 1976, to an invited audience of parents, fellow pupils and teachers. The most outstanding items selected from the programmes of the six grades are annually presented to the general public. The children who sing in the 110 strong choir of the school, which gives 20-30 concerts of varying import achieve fitness at these performances. Time is devoted to members of the choir even outside normal school hours. Rehearsals are held twice weekly on average. When we perform abroad or on the radio, make recordings, or prepare for music contests, we also have intensive periods, with daily rehearsals.”

“Doesn’t the organization of frequent domestic and international performances, radio and television recordings require a manager ... ?”

Everything is managed by the teachers, and the parents. We have just received an invitation to the USA, to the next ISME conference. The organizers would be happy, if we could also go, but the cost of the one-week trip is about 40-50,000 forint a person, the raising of which is problematical for the time being. Of course, things would be easier, if we had a sponsor, or a manager, who organized concerts for us!

Toward the end of our conversation, Dénes Szabó kept consulting his watch. He was in a hurry, as always for years now. The children were waiting for Uncle Dénes to rehearse.

ZOLTÁN ACS

31