Scan 31
Groves Dictionary Of Music And Musicians,vol.5 L-m, 1900
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1the most important. The latter resulted in a particularly rich harvest: a representative selection of it was published in a Transylvanian periodical and an important part, whose evaluation may considerably modify the current view concerning the origin and development of Magyar music, was prepared for publication in 1950.
3Lajtha's conception of folk music, shared by most students of the phenomenon, is of the "dynamic" school of thought and may be best summarized in his own words:
5… la … mélodie enregistrée mécaniquement ne donne qu'un instantané du chant vivant, alors que celui-ci, ayant essentiellement un caractère d'improvisation continue, modifie sinon essentiellement, du moins dans une mesure importante, ses éléments caractéristiques. La musique populaire vit d'une vie organique … elle change comme change par exemple le visage d'un homme à différents moments, différentes conditions, ou différents états d'âme (p. 11).
7La musique populaire a créé dans ses chants, ses mélodies, ses airs de danse, un style qui est sorti de l'âme du peuple sans qu'on en découle l'origine, et dont la tradition s'est perpétuée, modifiée involontairement au cours des siècles … (p. 17).
9La musique populaire produit du nouveau, soit par un processus de variations, soit sous l'effet d'influences étrangères ou d'influences nationales artistiques (p. 19).1
11His interest in the subject led him to investigate other, related manifestations of folk art: he is a leading authority on folk dance. He also served the cause of folk music by taking part in many conferences and joining the international organizations. He participated, together with Bartók, in the first International Congress of Folk Art, held in Prague in 1928, at which their suggestions resulted in the adoption of a number of far-reaching resolutions. In fact the Congress constituted the first step towards the setting up of the International Folk Music Council, ante-dating its official foundation by some twenty years.
13As a teacher Lajtha exercises an influence necessarily less than that of the professors at the State Academy, which absorbs by far the greater number of music students of the country; yet in encouraging his pupils to study the Latin musical culture he did a great service to the indigenous development of a healthy musical life. Being a professor of theory and practice of Hungarian music, he was the first to introduce folk music into the ordinary curriculum, based partly on Bartók's book ("Hungarian Folk Music") and partly on practical exercises in the Ethnographical Museum. In his composition class he insists on the investigation of modern, especially French music. In general he does not attach great importance to an academic, prescribed course of study, but relies on the intellectual curiosity of his students, which he stimulates with his sharp-witted conversation and by allowing free discussion of controversial points.
151 'Musique et chansons populaires: dossiers de la Coopération Intellectuelle' (Société des Nations, Institut International de Coopération Intellectuelle. Preface. Paris, 1934).
17BIBLIOGRAPHY
18CHAMFRAY, CLAUDE, 'Lajtha' ('Beaux Arts', Paris, 1 May 1936).
19CŒUROY, ANDRÉ, 'Bartók, Lajtha, musique hongroise' ('Beaux Arts', Paris, 1 June 1936).
20EWEN, DAVID (ed.), 'Composers of To-day' (New York, 1934).
21FÁBIÁN, LÁSZLÓ, 'Lajtha Triószerenádja' ('L.s Trio-Serenade') ('Muzsika', Vol. II, Nos. 1-2, Budapest, Jan.-Feb. 1930).
22' Lajtha zongoratriója'('L.s Piano Trio') ('Muzsika', Vol. I, No. 3, Budapest, Apr. 1929).
23GOMBOSI, ORTÓ, 'Ladislas Lajtha' ('Melos', Vol. VIII, Nos. 5-6, Mainz, May-June 1929).
24HAMMERSCHLAG, JÁNOS, 'Lajtha László uj zongoranégyese' ('The New Piano Quartet of L. L.') ('Crescendo', Vol. I, No. 7, Budapest, Feb. 1927).
25HEINZEN, C., 'Lajtha's III. Streichquartett' ('Musik', Vol. XXV, No. 2, Berlin, 1933).
26HOÉRÉE, ARTHUR, 'Trio par Lajtha' (Rev. Mus., Vol. XVII, No. 167, Paris, July-Aug. 1936).
27KERNTLER, J., 'Lajthas Sonatine' ('Musik', Vol. XXV, No. 4, Berlin, 1933).
28SZELÉNYI, ISTVÁN, 'Lajtha László zongoraquartettje' ('The Piano Quartet of L. L.') ('Zenei Szemle', Vol. XI, Nos. 4-5, Budapest, Feb.-Mar. 1927).
29WFISSMANN, J. S., 'The Contemporary Movement in Hungary' ('Music To-day', I, 1949).
31CATALOGUE OF WORKS
32OPERA
33Op.
3451. 'Chapeau bleu', opera-comique in 2 acts (libretto by Salvador de Madariaga) (1948-52).
36BALLET
3719. 'Lysistrata', based on the comedy of Aristophanes (1933), prod. Budapest, Royal Hungarian Opera House, 25 Feb. 1937.
3838. 'Les Bosques à quatre dieux' (1943).
3939. 'Capriccio' (1944).
41FILM MUSIC
42'Hortobágy.'
43'Shapes and Sounds' (documentary).
44'Murder in the Cathedral' (after T. S. Eliot).
46CHORAL WORKS
47Op.
4816. 2 Choruses for mixed voices (Lajos Aprily) (1932).
4923. 2 Choruses for mixed voices (Charles d'Orléans).
5029. 'Quatre Madrigaux' (Charles d'Orléans) (1939).
5132. Chorus for mixed voices (Aprily) (1940).
5250. Mass for chorus & orch. (1949-50).
5354. Mass for chorus & organ (1951-52).
55ORCHESTRAL WORKS
5621a. Petite Suite (1935).
5721b. 'Enterrement; Galopade sur la grande plaine' 2 pieces (1935).
5821c. 'Orage' (1935).
5924. Symphony No. 1 (1936).
6025. 'Divertissement' No. 1 for small orch. (1936).
6127. Symphony No. 2 (1938).
6230. 'Divertissement' No. 2 (1939).
6333. 'Les Soli' for stgs. (1941).
6435. 'In Memoriam' (1941).
6537. 'Évasion — Fuite — Liberté', symph. poem (1942).
6638. Suite (1943).
6739. 'Capriccio' (1944).
6843. 'Sinfonietta' for stgs. (1946).
6944. '11 Variations sur un thème simple' (1947-48).
7045. Symphony No. 3 (1947-48).
7148. Symph. Poem for chamber orch. (1948-49).
7252. Symphony No. 4 ('Le Printemps') (1951).
7355. Symphony No. 5 (1952).
74— 3 Transylvanian Songs (1952).
75— 4 Dances from Udvarhely (1952).
76— 2 Transylvanian Dances (1952).
78VIOLIN AND ORCHESTRA
7915. Concerto (1931).
81CHAMBER MUSIC
823. Sextet for stgs. (1921).
834. Quintet for stgs. & pf. (1920-22).
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