Poldini Ede
Composer
Place of Birth
Pest
Date of Birth
1869
13 June 1869 Pest - 28 June 1957 Vevey (Switzerland)
His grandfather on his father’s side was a printer master who moved from Italy to Hungary. His grandmother on his mother’s side was choir supervisor in Pest. Both his parents have craftsman qualification.
Poldini was engaged in music since childhood. In the National Conservatory he learned to play the piano from István Tomka, but he also fairly learned to play the violin, the clarinet and the horn, too. Later he graduated in singing and composing as well. With efficient help from Johannes Brahms he studied in the Conservatory of Vienna as pupil of Eusebius Mandyczewski (composing) and of Julius Epstein and Felix Rosenthal (piano).
He composed his first choral work at the age of fifteen. He spent the next year in Genf as scholarship-holder. In 1892 he won the first prize at the application of the Singers’ Contest of Pécs with his male choir titled „Ébresztő” (Wakening), based upon the same-titled poem by József Bajza.
Though the majority of his compositions consists of choral works and piano pieces (e.g. Dekameron, Trois études, Frühlingsweben, Rosen, Bibelots japonais etc.), he became successful through his stage works. He composed vocal fairy plays and children operas (Wild rose 1899, Cinderella 1899, Old witch 1899), a ballet (Northern light 1914) and operas, too. His one-act opera, the “Vagabond and princess” - based upon H. C. Andersen’s tale - was presented in Budapest (1903), in Boroszló (1905) and in London (1906). His major success was the comic opera “Wedding at Carnival Time”, written in 1913-1914 but first presented only in 1924. This work was also introduced abroad.
From 1908 on, he lived in Vevey, Switzerland, but he kept touch with the Hungarian art world. In 1926 a Hungarian Night took place in the Music Academy, where some excerpts from his musical comedy titled „Good old days” were also played. In 1935 and 1948 he received state honours as recognition of his work. Indeed, he had remarkable success when giving concerts as piano artist.
One of the most determinative features of his music style is Late Romanticism, but besides he also had the courage to use elements of Hungarian folklore and popular composed music. In his orchestra we can often hear cimbalom, tárogató (Hungarian double-reed instrument) and solo violin, and a frequent element of the dancing parts of his works is the verbunkos (recruiting music). His works are characteristic for opulence in melody and colourful orchestration.
His grandfather on his father’s side was a printer master who moved from Italy to Hungary. His grandmother on his mother’s side was choir supervisor in Pest. Both his parents have craftsman qualification.
Poldini was engaged in music since childhood. In the National Conservatory he learned to play the piano from István Tomka, but he also fairly learned to play the violin, the clarinet and the horn, too. Later he graduated in singing and composing as well. With efficient help from Johannes Brahms he studied in the Conservatory of Vienna as pupil of Eusebius Mandyczewski (composing) and of Julius Epstein and Felix Rosenthal (piano).
He composed his first choral work at the age of fifteen. He spent the next year in Genf as scholarship-holder. In 1892 he won the first prize at the application of the Singers’ Contest of Pécs with his male choir titled „Ébresztő” (Wakening), based upon the same-titled poem by József Bajza.
Though the majority of his compositions consists of choral works and piano pieces (e.g. Dekameron, Trois études, Frühlingsweben, Rosen, Bibelots japonais etc.), he became successful through his stage works. He composed vocal fairy plays and children operas (Wild rose 1899, Cinderella 1899, Old witch 1899), a ballet (Northern light 1914) and operas, too. His one-act opera, the “Vagabond and princess” - based upon H. C. Andersen’s tale - was presented in Budapest (1903), in Boroszló (1905) and in London (1906). His major success was the comic opera “Wedding at Carnival Time”, written in 1913-1914 but first presented only in 1924. This work was also introduced abroad.
From 1908 on, he lived in Vevey, Switzerland, but he kept touch with the Hungarian art world. In 1926 a Hungarian Night took place in the Music Academy, where some excerpts from his musical comedy titled „Good old days” were also played. In 1935 and 1948 he received state honours as recognition of his work. Indeed, he had remarkable success when giving concerts as piano artist.
One of the most determinative features of his music style is Late Romanticism, but besides he also had the courage to use elements of Hungarian folklore and popular composed music. In his orchestra we can often hear cimbalom, tárogató (Hungarian double-reed instrument) and solo violin, and a frequent element of the dancing parts of his works is the verbunkos (recruiting music). His works are characteristic for opulence in melody and colourful orchestration.
| Year | Title | Publisher | Code | Remark |
|---|---|---|---|---|
| 2000 |
Poldini Ede: Farsangi lakodalom
(Poldini, Ede: Hochzeit im Fasching) |
Hungaroton | HCD 31974-75 | 2 CDs |
| Title | Type | Year |
|---|---|---|
| 12 Genrestücke, Op. 17 | Instrumental solo | 0 |
| 2 Frühlingsidyllen, Op. 57 | Instrumental solo | 0 |
| 2 Études, Op. 27 | Instrumental solo | 0 |
| 4 Idyls, Op. 23 | Instrumental solo | 0 |
| 5 Genrestücke, Op. 12 | Chamber Music | 0 |
| Arlequinades, Op. 52 | Instrumental solo | 0 |
| Blumen, Op. 39 | Instrumental solo | 0 |
| Deux Valses Lyriques, Op. 79 | Instrumental solo | 1919 |
| Divan | Instrumental solo | 0 |
| Elfengeschichtchen, Op. 40 | Instrumental solo | 0 |
| En voyage, Op. 60 | Instrumental solo | 0 |
| Episodes a la cour, Op. 93 | Instrumental solo | 0 |
| Fantasie, Op. 35 | Instrumental solo | 0 |
| Love Adrift | Opera | 1922 |
| Fleurettes, Op. 46 | Instrumental solo | 0 |
| Folies d´autrefois, Op. 90 | Instrumental solo | 0 |
| Fünf Vortragsstücke, Op. 13 | Chamber Music | 0 |
| Lustgärtchen, Op. 63 | Instrumental solo | 0 |
| Lyrische Stücke, Op. 36 | Instrumental solo | 0 |
| Marionettes | Instrumental solo | 0 |
| Masken, Op. 44 | Instrumental solo | 0 |
| Petit Décaméron, Op. 43 | Instrumental solo | 0 |
| Poésies, Op. 74 | Instrumental solo | 0 |
| Rosen, Op. 56 | Instrumental solo | 0 |
| Trois Morceaux, Op. 67 | Instrumental solo | 0 |
| Trois morceaux, Op. 15 | Instrumental solo | 0 |
| Vortragsstudien, Op. 70 | Instrumental solo | 0 |
| Walzer-Frühling, Op. 59 | Instrumental solo | 0 |
| Walzerbuch, Op. 42 | Instrumental solo | 0 |
| Reveille | Male choir | 0 |