The Hungarian Student, 1958 (2. évfolyam, 1-7. szám)
1958 / 5. szám
8 The Hungarian Student Master By of the Violin DR. JULIUS ZSAKO TRUE ARTISTIC GREATNESS and a high degree of human wisdom are necessary traits for a person to fulfill the highest office possible for a performing artist amid the fight between two opposing ideologies. In spite of the Nazi pressure, in 1942, the brilliant artistic talent of Ede Zathureczky enabled him to fill the presidential chair of the Liszt Ferenc Music Academy in Budapest, and he remained in this position for fourteen years. In the Fall of 1956 he resigned from the position of the presidency. Shortly thereafter he left Hungary. Béla Bartók, the greatest Hungarian musician, one of the outstanding masters of all time and a very close friend of Zathureczky, was unable to create in a dictatorial atmosphere and emigrated to the United States. His contemporary, Zoltán Kodály, another great composer, stayed at home. In this way, he felt could contribute more to his country and to humanity. One chose voluntary exile, the other, uncertain conditions. Both are wise points of view and not subject to criticism. Bartók saved himself from the destruction of the second World War; Kodály was able to transfer his art into the present. But in spite of high esteem, success, and honor, Zathureczky had the most difficult choice of all to make. As a performing artist he has to capture new audiences over and over again. Public Appearances Ede Zathureczky, presently a visiting professor at Indiana University, readily accepted the invitation of the Association to appear in the March 15th celebration. It was an unforgetable experience to hear him play in New York. “They were beautiful times,” began Zathureczky, talking to us as we walked through the streets near Carnegie Hall, and memories of three decades were brought into focus. “I gave three orchestral concerts with Bruno Walter and one solo concert here in Carnegie Hall. I immediately received an invitation to play the following season but this would have meant a long interruption of my teaching, and I did not want to neglect my students for so many months.” We have looked up one of the music commentaries written at that time. The Telegram and Evening Mail said: “...This event fulfilled the promises which one could expect, because Zathureczky proved that he stands high above all violinists who stormed the New York concert stages during this season ...” Zathureczky appeared again before the New York Public on April 8th, in Town Hall. (See excerpts of New York Times review in this issue.) He gave a sonata recital with Boszormenyi-Nagy, former professor of the Budapest Academy of Music This recital was an important musical event of the season. In addition to the sonatas of Mozart, Brahms, and Beethoven they played Bartók’s First Rapsody, and presented the first New York performance of Sándor Veress’ Second Sonata. The New York press commented in long articles on the recital. “The subtleties of dynamics he drew from his violin .. . were something that only a superior artist could produce ...” said the New York Times. The Herald Tribune wrote that “ .. . their interpretation of Beethoven was most memorable for its blend of sensitiveness and enthusiasm.” The New York Post thought that Zathureczky’s intonation was “admirable.” As we stopped in a Chinese restaurant at his request, he carefully put his violin by his side and started to meditate. “Yes, at that time we traveled first class . . . two tickets in advance so that my mother could come also . . . the best hotels .. . comfort. .. everything prepared ... concert invitations . .. high fees. As I think about the circumstances now I see that many things have changed.” It is very hard to summarize the career of an artist, educator, and creator such as Ede Zathureczky. He graduated from the well-known Hubay school in Budapest. He was eighteen years old when he started his concert tours through Europe. In 1928, at the age of twenty-five he became the Music Academy’s professor and assistant head of the School of Masters. In 1925, he was invited to the United States where his tour was a great success. He gave concerts in New York, Boston, and Chicago as well as in other cities. After he returned from America, he received so many invitations from all parts of Europe that he was unable to accept them all. One success followed another. In his orchestral concerts, he played as soloist under the batons of Mengelberg, Van Beinum, Monteux, Klemperer, Krips, and Dorati as well as many others. He was Béla Bartók’s partner for eighteen years as they gave recitals throughout Europe. Among other works, they played the world premier of Bartók’s Second Violin Sonata. Zathureczky’s other permanent sonata partner was Ernst von Dohnanyi, who is presently teaching music in Florida. He played with Anni Fisher, Van Beinum, Louis Kentner, and others. His chamber music contributions were always an experience of the highest quality for the public with discriminating taste. N. Y. Times Reviews Hungarian Recital “Two Hungarian-born musicians collaborated to give a distinguished recitul last night in Town Hall. They were Ede Zathureczky, violinist, and Bela Boszormenyi-Nagy, pianist. Both currently teach at Indiana University. .. . The subtleties of dynamics he [Zathureczky] drew from his violin at the beginning of the slow movement of Brahms’ Sonata in G were something that only a superior artist could produce, while in the direct, masculine flow of Mozart’s Sonata in B flat (K. 454) helped to support a conception that avoided the pretty-pretty sounds that only too often pass as good Mozart playing. In both compositions there was never a flabby phrase or a let-down in the musical tension that was created. When Mr. Zathureczky turned to Bartok’s First Rhapsody it was with complete authority ... Mr. Boszormenyi-Nagy was never an accompanist but always a complete partner in the proceedings. He was never afraid to rise to a full fortissimo, confident that the violinist would hold up his end (which Mr. Zathureczky invariably did). A fine technician and a thoughtful musician, Mr. Boszormenyi-Nagy made as good an impression as his colleague. They also presented, in addition to Beethoven’s C minor Sonata, the first New York performance of Sándor Veress Second Sonata. Mr. Veress is a Hungarian composer, whose two-movement sonata is rather free in form .. . the writing is that of a competent craftsman.” (The above is an excerpt from an article entitled, “Hungarian Violinist and Pianist Present a Distinguished Recital,” by Harold C. Schonberg. It appeared in The New York Times on Wednesday, April 9, 1958.) Performing in Italy During one of Zathureczky’s sonata recital tours with Béla Bartók they played in the small Italian city of Parma. Their program included pre-classical, classical, and modern compositions. After the frenetic applause in appreciation of the Vivaldi and Mozart sonatas, one of Bartók’s works was played which caused a great deal of excitement in the conservative town. Zathureczky sensed that after the first few bars of music a kind of tension and surprise had come over the audience. As they progressed, a few people started to boo but others immediately rallied to the defense of the musicians. In a few minutes the audience had become divided into two camps: those who liked the new melodies and those who resented them. Bartók and Zathureczky could hardly hear each other as the argument became more and
