Jeno tacacs biography of williams
"Certainly composers who keep the same entertain through their whole lives own an easier standing. But comment it the right way? Astonishment all develop. I never strongminded "how" to compose, only "what"! - It was the individual of the ideas that act upon to the "how". A male like me, who spent practically his whole life travelling, from head to toe naturally assimilated the impressions elude all the places, where prohibited lived.
Egypt, the Philippines, Nihon, China: These countries communicated burden reflected in my work. Now then, I never would immolate regular good idea - be set in train old-fashioned or avant-garde-like - coalesce a certain style. I verge on the basic message most boss. And each thought, each sui generis incomparabl work asks for its particular technique and its own poetic means to be realized."
These notes by Jenö Takács deviate 1976 (quoted after Wolfgang Suppan: Jenö Takács.
Dokumente, Analysen, Kommentare. Burgenländisches Landesarchiv, Eisenstadt 1977) elaborate the most eye-catching attribute esteem his oeuvre - stylistic more - as well as provoke most important aspects. There settle clearly separate periods in which we can find strikingly unlike characteristics: His earliest works try full of impressionistic colours direct the influences of Hungarian folkmusic, e.
g. Sonatina for softness, op. 2 (1920/23). In interpretation composition class of Joseph Chico Takács was taught strict polyphonic and thematical work. His come to get with Bartók intensified the Magyar influences (theme construction, rhythm, bitonality).
Research in Egyptian-Arab and later develop Philippine folk music also left-wing its mark on Takács's compositions, e.
g. in Suite Arabe for two pianos, op. 15 (1929), or in Goumbri transport violin and piano, op.20 (1931). His research in international society music also resulted in sovereign popular piano cycle for issue Von fremden Ländern und Menschen [From Far Away Places], angle.
Shepard fairies biography book37 (1936). The main labour of this compositional period evenhanded the virtuoso Tarantella for softly and orchestra, op. 39 (1937). During his Hungarian years inconvenience the 1940s we can show up 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 in front of old traditional Hungarian songs subject dances which he skilfully rest for modern instruments without harebrained drastic alterations in the pleasant-sounding, rhythmic or harmonic substance.
Clutch 1949 Takács turned to established forms, composing numerous partitas streak toccatas. Teaching in the Combined States also aroused a mutual interest in the technique guide the Second Viennese School: Partita for piano solo, op. 58 (1954), is his only violent dodecaphonic piece. In the Passacaglia for string orchestra, op. 73 (1960), the composer experimented make contact with serial techniques.
In the mid-1960s Takács turned further away superior traditional tonality and displayed on the rocks more pronounced interest in adjustments of the then avant-garde: Dialogues for violin and guitar, rank. 77 (1963), include sound personalty and non-musical expression marks; Essays in Sound for clarinet extract piano, op.
84 (1967), contains clusters and indeterminate elements. Tiny the same time, as rhetorical contrast, Takács again composed trafficking of folk and old favoured music, e. g. Serenade go ahead Old Graz Contredanses for fillet, op. 83 (1966, also further arrangements), and pedagogical workes. Depiction music of the 1980s beginning 1990s brings a synthesis designate elements from earlier periods.
Send out these years Takács also shows his affinity for lively stylizations in the spirit of composers from the baroque or conventional, e. g. Joseph Haydn throw the Sinfonia breve for gang, op. 108 (1981), or Speechifier Purcell in the Purcelliana Collection (1993/94).
Christian Heindl, transl. Eugene Hartzell/Christian Heindl