{253.} SOURCES OF THE MUSICAL EXAMPLES*The Musical Examples are edited by Bence Szabolcsi.

Note. For the sake of better perspicuity single lines of vocal melodies have been transposed to d1–d2.

I. Ancient Magyar folk melodies. Taken from Kodály’s Hungarian Folk Music, 1937, Collection of Examples, 1952. – Map of the Great Migrations, etc. The comparative tables have been compiled by the editor. The Finnish melodies are quoted from Laulusävelmiä III. 1932; the Magyar “regös” melodies from Gy. Sebestyén’s and Béla Vikár’s collection. The Ostyák melodies are taken from the collections of Patkanov and of Karyalainen and Väisänen respectively; the Chinese dirge melody from “Hopei min chien koch’u hsuan,” Shanghai, 1953. – The Magyar melody from Kodály’s collection, the Cheremis (Mari) from Vasiliev’s collection, the Chuvash from Maximov’s, the Kalmuck from Rudnev’s, the Mongolian from Bashkuyev’s and the Chinese from Chao Fung’s. The Chinese melody in table d was recorded by the editor in Shanghai 1954.

II. Gregorian Chant in Hungary, etc. The old Hebrew melody is taken from Idelsohn’s collection (1922), the Hungarian from Kodály’s (1937). The antiphon and hymn to Mary arc quoted in Zoltán Falvy’s and Benjamin Rajeczky’s transcription, the school chant from D. Bartha’s publication of the Szalkai school notebook (1934), the rest from the sources indicated. – Polyphony: transcription by B. Rajeczky.

III. The Middle Ages and the Renaissance. Complaint of the Blessed Virgin: after F. Gennrich’s transcription (Grundriss einer Formenlehre des mittelalterlichen Liedes – Outlines of the Morphology of Mediaeval Songs, Halle, 1932). Completed with some variants. The application of the old Hungarian text by the editor. Melodies from Cantus Catholici (1651), from Tinódi’s “Cronica” (1554), from Hofgreff’s collection (1553), etc., from sources indicated in the editor’s transcription. Folk variants are quoted from Kodály’s collection. – Burgundian-French dance melody: F. Blume, Studien zur Vorgeschichte der Orchestersuite im 15. und 16. Jh. – Studies of the Antecedents of the Orchestral Suite in the 15th and 16th Centuries. (Leipzig, 1925, Musical Appendix.) The Hungarian variant is taken from D. Bartha’s Hungarian Eighteenth-Century Melodies (1935).

IV. The 16th Century. A ditty or fragment, historic songs: transcribed from the original by the editor. – Folk melodies are taken from Kodály’s collection. Regnart’s Villanella with a Hungarian text after S. Eckhardt (1913).

V. Instrumental Music. For sources and transcriptions sec B. Szabolcsi: Hungarian Dance Music of the 16th Century (Centuries of Hungarian Music, I. 1959). – Bakfark, Fantasy for lute in O. Gombosi’s transcription of the lute tablature (in his monograph on Bakfark, 1935).

{254.} VI. The 17th Century. Songs arc quoted from the Kájoni Codex: transcription of the organ tablaturc by J. Seprődi (1909); Songs from the Vietórisz Codex: transcription of the organ tablature by B. Szabolcsi (1950). – Folk melodies from Kodály’s and Bartók’s collections. Dances from the Kájoni Codex: transcription of the organ tablature by J. Seprődi; Dances from the Vietórisz Codex; transcription of the organ tablature by B. Szabolcsi. – The Stark virginal book: after the original at Sopron. – The Lőcse collection in tablature notation: transcription of the organ tablaturc by B. Sztankó (1927). – Lányi’s manuscript, published by Kodály (1952).

VII. Religious Folk Hymn and Sacred Music. Melodies are taken from the original publications. Table b compiled by the editor from publications, manuscripts and records of folk songs. – From Kájoni’s manuscripts: transcription of the organ tablature by the editor. – From Esterházy’s “Harmonia Caelestis”: compiled from the printed parts by the editor.

VIII. “Kuruc” Songs. The tables of melodies compiled by the editor from manuscripts, printed publications and records of folk songs.

IX. The 18th Century, Colleges, etc. Polyphonic settings are quoted from contemporary manuscripts: tables are compiled by the editor from manuscripts, popular prints and records of folk songs. – The melodies from students’ song-books were published in a critical, new edition in 1935, the tunes of Ádám Pálóczi Horváth’s song collection in 1953 by Dénes Bartha; the melodies of Kácsor’s school drama were discovered and published by R. Murányi in 1954.

X. The “Verbunkos”. The Arab dance melodies are taken from Rouanet (Lavignac, Encycl. V. ), partly recorded from broadcast transmissions by the editor. – The Crimean-Tartar melody is quoted from the collection of Konchevsky-Paskalov, 1924; the Gipsy tunes from Bartók’s collections of 1913 and 1934. – The Transylvanian “verbunkos” is taken from “Ethnographia,” 1910. – “Dance of Marosszék” and Transdanubian folk-dance melody were recorded by the editor. – Dances from Esztergom and Sepsiszentgyörgy are quoted from P. P. Domokos’ publication Zenetudományi Tanulmányok (Studies in Musicology) IX. 1961. and VII. 1959. For the rest see publications already indicated.

XI. The “Verbunkos” at its Height. See publications already indicated; the early Rákóczi tune is quoted from the indicated manuscript.

XII. Traces of the “Verbunkos” in Classical Literature. Transcriptions, simplified, are quoted from the relative parts of Gluck’s, Mozart’s, Haydn’s and Beethoven’s works.

XIII. Great Forms of Hungarian Romanticism. Ruzitska’s “Béla’s Flight” is quoted from the manuscript score. – Erkel’s “Bánk bán” is taken from the pianoforte arrangement, published in 1902. – Erkel’s “Dózsa György” was transcribed by the editor from the original score. – Ferenc Liszt’s “Hungaria” is quoted from the pianoforte arrangement published by Breitkopf and Härtel. – Liszt’s “Sunt lacrymae rerum” and Mosonyi’s “Funeral Music” are taken from the original publications. Leó Weiner’s “Csongor and Tünde” is quoted from the pianoforte arrangement, published in 1935 (Rózsavölgyi and Co.) by courtesy of Editio Musica, Budapest.

XIV. The 19th Century Popular Art Song. Both songs are taken from the original publications; the folk song variant is quoted from Bartók’s record (The Hungarian Folk Music, 1925).

XV. Bartók and Kodály. Quoted from Bartók’s “The Wooden Prince” and Kodály’s “Psalmus Hungaricus,” by courtesy of Universal Edition, Vienna.

Hungarian Music since 1945. Ferenc Szabó: “Felszabadult melódiák. Tíz zongoradarab” [Liberated Melodies. Ten Piano Pieces], 1949. Notturno (Zene-műkiadó {255.} Vállalat, Budapest, 1956) – Endre Szervánszky: “Hat zenekari darab” [Six Orchestral Pieces]. 1959. The opening of the first piece. (Zeneműkiadó Vállalat, Budapest, 1967). – Rudolf Maros: “Eufonia 3”, 1968. The opening of the work. (Editio Musica, Budapest–Southern Music, New York, 1968) – György Kurtág: Bornemisza Péter mondásai [Confession of Peter Bornemisza]. 1963–1968. Detail from the work. (The text dates from the sixteenth century.) Manuscript. By courtesy of the author. – Zsolt Durkó: Altamira, 1967–1968. The opening of the work. (Editio Musica, Budapest–Boosey & Hawkes, London, 1969)