Pongrácz Zoltán
Composer
Place of Birth
Diószeg
Date of Birth
1912
5 February 1912, Diószeg [Sládkovičovo, Slovakia ] – 3 April 2007, Budapest
He studied composing at the Budapest Music Academy between 1930 and 1935 as pupil of Zoltán Kodály. In 1938-1939 his master was Rudolf Nilius at the conducting department of the Music Academy of Vienna. Later in 1940-41 he studied comparing music science at the Humboldt University in Berlin. He improved his conducting skills as pupil of Clemens Krauss at the Mozarteum in Salzburg (1941).
In 1940-41 he was répétiteur of the Opera House and between 1943 and 1945 the conductor and music director of the Hungarian Radio. From 1954 to 1964 he taught electronic music in the Zoltán Kodály Secondary School for Music in Debrecen, and between 1975 and 1995 at the Ferenc Liszt Music Academy. He was the first one who introduced electronic music as a teaching subject.
From the mid ‘60s on, the artistic interest of Zoltán Pongrácz turned to the electroacoustic music. He spent the school year of 1965/66 in Utrecht, where he was engaged in electronic music – his master was Gottfried Michael Koenig. He graduated in 1966 with his composition titled Chryptothesiphon (later retitled as Phonothése) and from that moment on he became the leading representative of electronic music, both as composer and as teacher. In the beginning he realized his works abroad and in his own home-studio, but from 1974 also in the Electronic Music Studio of the Hungarian Radio. In 1974 he won first prize with his Mariphonia at the international composing contest in Bourge (the proportions of the work were adjusted to the body of his wife, while its sound and rhythm was shaped to her voice by electronic manipulations).
He took part in the establishment of the International Confederation of Electroacoustic Music (centered in Bourges), and later he became vice president and member of the international board of the organization. Since 1992 – and from 1996 to 2000 even as vice president – he was member of the Hungarian Academy of Arts.
Throughout his long career he was honored with many awards. He received the Ferenc József Prize (1939), the “Magister” rank of the GMEB-UNESCO (1988), the title Merited Artist (1989), the Euphonies d’or Prize of France (1992), the Officer’s Cross of Merit of Order of the Hungarian Republic (1992), the Ferenc Erkel Prize (1996) and the Vox electronica Prize of the Hungarian Radio (2000). His compositions were not only presented in Europe, but in North- and South-America, and even in Japan.
Major works:
Operas: Odysseus and Nausikaa (1949-1950), The last station (1989)
Oratorios and cantatas: Legend of the carapace-cutter (1985), Ut omnes unum sint (1998), Missa solemnis (2001-2003), Kossuth-cantata (1992), Apollon Musagetes (1958)
Orchestral works: Symphony (1943), Three etudes for orchestra (1963)
Chamber works: Pastorale (1941), Gamelan music (1942), Three improvisations on percussions and piano (1971), Three bagatelles for percussions (1972), Hungarian antiquities (1986)
Electronic and electroacoustic works: Phonothése (1966), Mariphonia (1972), History of a C-sharp accord (1975), Barysphere (1975), Moving closer and further (1975), Twelve round ribbons (1977), 144 voices (1977), Madrigal (1980), Praise of folly (1980), Concertino for saxophone and electronics (1982), Polar and successive contrasts (1986), Cimbalom concerto accompanied by electronic music (1988).
Books: Book of folk musicians (1965), Present music, present note writing (1971), The electronic music (1980)
He studied composing at the Budapest Music Academy between 1930 and 1935 as pupil of Zoltán Kodály. In 1938-1939 his master was Rudolf Nilius at the conducting department of the Music Academy of Vienna. Later in 1940-41 he studied comparing music science at the Humboldt University in Berlin. He improved his conducting skills as pupil of Clemens Krauss at the Mozarteum in Salzburg (1941).
In 1940-41 he was répétiteur of the Opera House and between 1943 and 1945 the conductor and music director of the Hungarian Radio. From 1954 to 1964 he taught electronic music in the Zoltán Kodály Secondary School for Music in Debrecen, and between 1975 and 1995 at the Ferenc Liszt Music Academy. He was the first one who introduced electronic music as a teaching subject.
From the mid ‘60s on, the artistic interest of Zoltán Pongrácz turned to the electroacoustic music. He spent the school year of 1965/66 in Utrecht, where he was engaged in electronic music – his master was Gottfried Michael Koenig. He graduated in 1966 with his composition titled Chryptothesiphon (later retitled as Phonothése) and from that moment on he became the leading representative of electronic music, both as composer and as teacher. In the beginning he realized his works abroad and in his own home-studio, but from 1974 also in the Electronic Music Studio of the Hungarian Radio. In 1974 he won first prize with his Mariphonia at the international composing contest in Bourge (the proportions of the work were adjusted to the body of his wife, while its sound and rhythm was shaped to her voice by electronic manipulations).
He took part in the establishment of the International Confederation of Electroacoustic Music (centered in Bourges), and later he became vice president and member of the international board of the organization. Since 1992 – and from 1996 to 2000 even as vice president – he was member of the Hungarian Academy of Arts.
Throughout his long career he was honored with many awards. He received the Ferenc József Prize (1939), the “Magister” rank of the GMEB-UNESCO (1988), the title Merited Artist (1989), the Euphonies d’or Prize of France (1992), the Officer’s Cross of Merit of Order of the Hungarian Republic (1992), the Ferenc Erkel Prize (1996) and the Vox electronica Prize of the Hungarian Radio (2000). His compositions were not only presented in Europe, but in North- and South-America, and even in Japan.
Major works:
Operas: Odysseus and Nausikaa (1949-1950), The last station (1989)
Oratorios and cantatas: Legend of the carapace-cutter (1985), Ut omnes unum sint (1998), Missa solemnis (2001-2003), Kossuth-cantata (1992), Apollon Musagetes (1958)
Orchestral works: Symphony (1943), Three etudes for orchestra (1963)
Chamber works: Pastorale (1941), Gamelan music (1942), Three improvisations on percussions and piano (1971), Three bagatelles for percussions (1972), Hungarian antiquities (1986)
Electronic and electroacoustic works: Phonothése (1966), Mariphonia (1972), History of a C-sharp accord (1975), Barysphere (1975), Moving closer and further (1975), Twelve round ribbons (1977), 144 voices (1977), Madrigal (1980), Praise of folly (1980), Concertino for saxophone and electronics (1982), Polar and successive contrasts (1986), Cimbalom concerto accompanied by electronic music (1988).
Books: Book of folk musicians (1965), Present music, present note writing (1971), The electronic music (1980)
| Year | Title | Publisher | Code | Remark |
|---|---|---|---|---|
| 1979 |
Magyar elektronikus zene
(Hungarian Electronic Music) |
Hungaroton | SLPX 11851 | LP |
| 1995 | Aritmia | Hungaroton | HCD 31624 | |
| 2001 |
Magyar Elektronikus Zene - Pongrácz Zoltán, Patachich Iván
(Hungarian Electroacoustic Music by Zoltán Pongrácz & Iván Patachich) |
Hungaroton | HCD 31985 |
Own |
| Title | Type | Year |
|---|---|---|
| 144 Sounds | Electroacoustic music | 1977 |
| Legend of the Carapace-Scraper | Solo voice(s), choir & solo instrument(s) | 1985 |
| The Praise of Folly | Electroacoustic music | 1980 |
| The Two Bajthays | Film music | 1944 |
| Christmas of the Heartking | Music for the theater | 1929 |
| The Wild Smith | Solo voice(s) with solo instrument(s) | 1944 |
| Give Me Your Eyes | Solo voice(s) with solo instrument(s) | 1946 |
| Apollon Musaget | Choir and solo instrument(s) | 1958 |
| The Last Station | Opera | 1989 |
| The devil´s gift | Ballet / Choreographic work | 1936 |
| The devil´s gift - Suite | Solo voice(s), choir & orchestra | 0 |
| The Old Lady´s Visit | Music for the theater | 1967 |
| Ballo ongaro for Orchestra | Ensemble | 1955 |
| Barysphere | Electroacoustic music | 1975 |
| Berlin Diary | Film music | 1941 |
| Burlesque | Orchestral work | 1937 |
| Concerto for Cimbalom with Electronic Accompaniment | Electroacoustic music | 1988 |
| Concertino for Saxophone and Electronics | Electroacoustic music | 1982 |
| In Csallóköz, in Patas | Children's choir | 1931 |
| Song About the Child Jesus | Choir a cappella | 1933 |
| Bagpipe Song | Mixed choir | 1934 |
| Story of a C-Sharp Major Chord | Electroacoustic music | 1975 |
| On the Spot | Solo voice(s) with solo instrument(s) | 1997 |
| Once a Prince - Folk Romance | Children's choir | 1935 |
| Exegi monumentum | Mixed choir | 1934 |
| Village-mocking | Children's choir | 1933 |
| French Salad | Electroacoustic music | 1981 |
| Wind Quintet | Chamber Music | 1956 |
| Gamelan Music | Chamber Music | 1942 |
| Sets and Pairs | Live and prerecorded music | 1968 |
| Sounds and Murmurs | Symphony orchestra | 1966 |
| Six Soliloquies | Instrumental solo | 1955 |
| Three Bagatelles | Live and prerecorded music | 1972 |
| Three Improvisations | Live and prerecorded music | 1971 |
| Three Small Pieces for Orff-Ensemble | Ensemble | 1956 |
| Three Folk Songs for Children | Children's choir | 1935 |
| Three Slovak Folk Songs | Solo voice(s) with solo instrument(s) | 1938 |
| Three Orchestral Etudes | Symphony orchestra | 1963 |
| Three Kings´ Day | Male choir | 1933 |
| Such a Great Love | Music for the theater | 1958 |
| Ispirazioni | Choir and orchestra | 1965 |
| Christmas Cantata No. 1 | Choir and orchestra | 1935 |
| Christmas Cantata No. 2 | Solo voice(s), choir & orchestra | 1948 |
| Peasant Songs form Kisalföld | Male choir | 1936 |
| Kispócs Famous Old Town | Mixed choir | 1934 |
| Salute to Kodály (Variations on a theme by Kodály) | Symphony orchestra | 1962 |
| Kossuth Cantata | Choir and orchestra | 1992 |
| Blue Song | Solo voice(s) with chamber orchestra | 1944 |
| Two Peasant Songs for Children´s Choir and Orchestra | Choir and orchestra | 1933 |
| Approaching and Moving Away - Audio Drama | Electroacoustic music | 1975 |
| Les parfums - Multimedia on Colors, Scents and Sounds | Electroacoustic music | 1976 |
| Loreley | Solo voice(s) with solo instrument(s) | 1928 |
| Luna 9 | Electroacoustic music | 1967 |
| Birds | Music for the theater | 1938 |
| Madrigal | Live and tape music | 1980 |
| Bird Song | Solo voice(s) with solo instrument(s) | 1942 |
| Hungarian Eclogues | Symphony orchestra | 1933 |
| Hungarian Folk Songs and Folk Dances | Chamber Music | 1965 |
| Hungarian Antiquities for Thirteen Solo-Instruments | Ensemble | 1986 |
| Maryphony | Electroacoustic music | 1972 |
| Heavenly Comedy | Solo voice(s) with chamber orchestra | 1944 |
| Missa solemnis | Choir and orchestra | 2003 |
| Négritude | Choir and solo instrument(s) | 1962 |
| Fourth Time | Film music | 1942 |
| Music of Nyírség | Solo voice(s), choir & chamber orchestra | 1965 |
| Name Day Greetings | Choir a cappella | 1934 |
| Odysseus and Nausikaa | Opera | 1950 |
| King Oedipus | Music for the theater | 1959 |
| Pange lingua | Female choir | 1933 |
| Pastorale | Chamber Music | 1941 |
| Phonotése | Tape music | 1966 |
| Plávaj milá (Swim Darling) | Mixed choir | 1934 |
| Polar and Successive Contrasts | Electroacoustic music | 1986 |
| Wild Roses of Bratislava | Solo voice(s) with solo instrument(s) | 1930 |
| Rhapsody | Choir and chamber ensemble | 1976 |
| Rotations | Electroacoustic music | 1975 |
| Rosary-Song | Mixed choir | 1933 |
| Sesquialtera | Electroacoustic music | 1979 |
| Suite futuriste - Suite for Piano in Five Movements | Instrumental solo | 1929 |
| Poor Zsuzsi at the Camp | Solo voice(s) with solo instrument(s) | 1933 |
| St. Emeric Canon | Choir a cappella | 1933 |
| Symphony - For Symphony Orchestra | Symphony orchestra | 1943 |
| Symphony - For String Orchestra | String orchestra | 1938 |
| Slovak Folk Dances | Instrumental solo | 1939 |
| Sad Lad´s Song | Mixed choir | 1934 |
| Sonett for Violonello and Piano | Chamber Music | 1929 |
| Beautiful Hungarian Comedy | Music for the theater | 1961 |
| Colors and Lines | Symphony orchestra | 1971 |
| Virgin Mary´s Lamentation | Female choir | 1938 |
| Dragon | Music for the theater | 1970 |
| On a Sea-Steamer | Solo voice(s) with solo instrument(s) | 1944 |
| Toccata | Instrumental solo | 1957 |
| Ut omnes unum sint | Choir and orchestra | 1998 |
| Variation boucles (Twelve Tapes) | Electroacoustic music | 1977 |
| Recruiting Suite | Orchestral work | 1934 |
| Versenymű cimbalomra és elektronikára | !to be determined | 0 |
| String Quartet | Chamber Music | 1938 |
| String Quartet Movement | Chamber Music | 1929 |
| At the Fair | Solo voice(s) with solo instrument(s) | 1944 |
| Music for Five Violoncellos | Chamber Music | 1955 |
| Zoophony - Animal Sounds | Electroacoustic music | 1973 |
| And the Blind See | Film music | 1943 |
| New Tones - Folk Songs for Two Part Children´s Choir | Children's choir | 1935 |
| Úz Bence | Film music | 1938 |
| I Guard Your Eyes | Solo voice(s) with chamber orchestra | 1939 |
| After Autumn Dew | Choir a cappella | 1935 |