Horusitzky Zoltán
Composer
Place of Birth
Pápa
Date of Birth
1903
1903 July 18, Pápa - 1985 April 25, Budapest
Zoltán Horusitzky was a prominent Hungarian composer of the 20th century, a highly educated, outstanding talent of Kodály's composer school. One of the hard-life generation whose career was affected by the World War II and the subsequent external-internal isolation of the Central Eastern European historical situation. Horusitzky's versatility, musical an dintellectual abilities had enabled him, even from the 30's, to enter into the program aimed at the renovation of Hungarian music life. He played a dominant role in music education (he was director of High School of Music Budapest between 1944 and 1949), in the teaching and training of singing teachers for secondry schools and of music specialists all over the country.
On the other hand he was predestinated by his talent and education in literature, to the performance of an extremely high level musical publicist task as editor of periodical A Zene (The Music) between 1938 and 1944.
As a pianist and piano teacher he undertook a life-long obligation of being an artist and a pedagogue. Abroad, even in his last years, he interpreted his own works and led piano courses. In Hungary he had benn a teacher of the Liszt Ferenc Academy of Music for two decades.
Horusitzky resembled his master, not only in being one of the significant representatives of Kodály's musical-educational program but in his creative habit, and in several similar features: however, these internal relationships did not threaten the emergency of his sovereign creative personality. In his attitude as a composer he showed evidence mainly for two, especially important resonances: on the one hand for the primary role of the poetic inspiration, while on the other hand direct effect of his experiences in nature.
Horusitzky artistic approach was highly influenced also by Liszt. This concerned precisely Liszt's lst style-marks, foreshadowing the 20th century. Horusitzky ouvre was built not only on Kodály's and Liszt's routs, but on the comprehensive traditions of musical history (eg. Palestrina) and Hungarian and Finish folk music, as well. During the last period of his life from some points of view he approached the 12-tone composition principles, mainly in the complementary application of the tonal system.
Horusitzky's career can be divided into three periods. The first one last up to end of the World War II, and it was marked with compositions of relatively small in number but of remarkable in significance: in the field of vocal works mostly the song-cycles and his cantat entitled Fekete Hold Éjszakája (Night of the Black Moon) but Te Deum and Op.1 and Op.12 from his piano pieces and the 2nd quartet from his string quartets were also very important.
His second period, 1945-1962, bore some marks of narrowing of the Hungarian intellectual and artistic life, due to political reasons. Horusitzky, however, kept on going his own way in the field of the previously started genres, while his efforts were focused on writing his national-historical opera, entitled Báthory Zsigmond, in three acts.
His third period - when he was over sixty - at last brought him a peaceful freedom for the implementation of his artistic intentions. He could get opportunities to show his works abroad, first in Paris, then in Finland. The main milestones of his successes in France were: hi author's nights at the Hungarian Institute Paris in 1966; the contemporary concert held at Salle Rossini in 1973; the membership of jury of the international piano competition organized by Guilde Francais des Artistes Solites in the same year; and the international Cziffra Competition of pianists held in Versailles in 1976, where Horusitzky's Sonata was among the compulsory pieces. The success in France made connections with French performers, like Marion Janson, singer, who played a dominant role as an inspirator and performer of Horusitzky's works. The relations with Finland - which was established with the help of Horusitzky's former pupil Lenek Erdélyi-Rauhala - lasted from 1974 to the 80s. This cooperation incited the composer to write the last vocal compositions of his ouvre.
Awards
1954 Erkel Award
see also: Horusitzky Zoltán - pianist
Zoltán Horusitzky was a prominent Hungarian composer of the 20th century, a highly educated, outstanding talent of Kodály's composer school. One of the hard-life generation whose career was affected by the World War II and the subsequent external-internal isolation of the Central Eastern European historical situation. Horusitzky's versatility, musical an dintellectual abilities had enabled him, even from the 30's, to enter into the program aimed at the renovation of Hungarian music life. He played a dominant role in music education (he was director of High School of Music Budapest between 1944 and 1949), in the teaching and training of singing teachers for secondry schools and of music specialists all over the country.
On the other hand he was predestinated by his talent and education in literature, to the performance of an extremely high level musical publicist task as editor of periodical A Zene (The Music) between 1938 and 1944.
As a pianist and piano teacher he undertook a life-long obligation of being an artist and a pedagogue. Abroad, even in his last years, he interpreted his own works and led piano courses. In Hungary he had benn a teacher of the Liszt Ferenc Academy of Music for two decades.
Horusitzky resembled his master, not only in being one of the significant representatives of Kodály's musical-educational program but in his creative habit, and in several similar features: however, these internal relationships did not threaten the emergency of his sovereign creative personality. In his attitude as a composer he showed evidence mainly for two, especially important resonances: on the one hand for the primary role of the poetic inspiration, while on the other hand direct effect of his experiences in nature.
Horusitzky artistic approach was highly influenced also by Liszt. This concerned precisely Liszt's lst style-marks, foreshadowing the 20th century. Horusitzky ouvre was built not only on Kodály's and Liszt's routs, but on the comprehensive traditions of musical history (eg. Palestrina) and Hungarian and Finish folk music, as well. During the last period of his life from some points of view he approached the 12-tone composition principles, mainly in the complementary application of the tonal system.
Horusitzky's career can be divided into three periods. The first one last up to end of the World War II, and it was marked with compositions of relatively small in number but of remarkable in significance: in the field of vocal works mostly the song-cycles and his cantat entitled Fekete Hold Éjszakája (Night of the Black Moon) but Te Deum and Op.1 and Op.12 from his piano pieces and the 2nd quartet from his string quartets were also very important.
His second period, 1945-1962, bore some marks of narrowing of the Hungarian intellectual and artistic life, due to political reasons. Horusitzky, however, kept on going his own way in the field of the previously started genres, while his efforts were focused on writing his national-historical opera, entitled Báthory Zsigmond, in three acts.
His third period - when he was over sixty - at last brought him a peaceful freedom for the implementation of his artistic intentions. He could get opportunities to show his works abroad, first in Paris, then in Finland. The main milestones of his successes in France were: hi author's nights at the Hungarian Institute Paris in 1966; the contemporary concert held at Salle Rossini in 1973; the membership of jury of the international piano competition organized by Guilde Francais des Artistes Solites in the same year; and the international Cziffra Competition of pianists held in Versailles in 1976, where Horusitzky's Sonata was among the compulsory pieces. The success in France made connections with French performers, like Marion Janson, singer, who played a dominant role as an inspirator and performer of Horusitzky's works. The relations with Finland - which was established with the help of Horusitzky's former pupil Lenek Erdélyi-Rauhala - lasted from 1974 to the 80s. This cooperation incited the composer to write the last vocal compositions of his ouvre.
Awards
1954 Erkel Award
see also: Horusitzky Zoltán - pianist
| Year | Title | Publisher | Code | Remark |
|---|---|---|---|---|
| 2000 |
Arany felhők - Kortárs magyar szerzők dalai
(Golden Clouds - Hungarian Contemporary Songs) |
Hungaroton | HCD 32017 | |
| 2001 |
Kamarazene
(Chamber Music) |
Hungaroton | HCD 31991 |