Kodály’s songs are slightly less well-known than
his chamber and piano music which date from the same period of
his life (1900-1920). They did however serve the same purpose:
enabling him to develop an individual style. However, it is interesting
that even his earliest songs possess more individuality than
the corresponding chamber and piano works. It’s also of
note that he did not totally neglect songs even after he had
moved on to the great orchestral and choral/orchestral works
by which he is best known.
Songs make up the composer’s Op. 1: in fact, sixteen original
songs to folk-texts, some actually using folk patterns in the
melodic line. The order of these songs varied for several years
before being finally established. They also vary from frank imitation
of Debussy, Kodály’s idol, to several that are quite
distinctively “Kodály”. One of the most notable
is no. 3 , The cage is open wide, which is absolutely
beautiful. No. 10, Ah, my beloved, is also distinctive
in the way it builds in intensity from beginning to end. But
the gem of the entire set would be No. 15, Ah, but you know.
This demonstrates the composer’s successful combination
of folk-style with contemporary harmony in a very enjoyable way.
The next three songs are a world recording premiere - three songs
written in 1906-07 as gifts. They are to texts by the famous
Hungarian poet Béla Balázs and while simple, show
further progress towards complete individuality. This is continued
in the Op. 3 set. Although the second song, Nausikaa,
is one of the composer’s best-known, I found the last, My
heart aches, written for a play in 1917, the most effective
by far. Its wonderful descending melody and unremitting sense
of gloom definitely stays with one. The last of the composer’s
youthful songs are contained in the Seven Songs Op. 6, sometimes
known as Belated Melodies. Among these the song Solitude stands
out in the way Kodály uses modality to portray a sense
of total isolation. Similar in feeling, but very different in
execution is Meridian of life. Even better is the fifth
song The Forest, which is very cunningly constructed.
One must also note the last song for its unusual (for Kodály)
sense of irony.
Approaching the age of thirty caused the composer to dwell on
eternal questions of existence and this is evident in the Op.
5 and Op. 9 songs. It is interesting that the Op.5 were the first
songs that he chose later to orchestrate. Approaching winter is
really a vocal scena with a wonderful sense of the music gradually
freezing as we listen to it, with interludes of despair and uncertainty
before freezing for good. No wonder the composer orchestrated
it. Cry, cry is not as massive as Approaching winter,
but is equally dramatic as well more dissonant.
The five songs of Op. 9 span the greatest range of emotions of
any group in this set. Adam, where are you is a transcendental,
almost cinematic, song of triumph - a great contrast to the songs
of Op. 5. Totally different is Sappho’s love Song which
is almost Mediterranean in feeling, while Night is an
atmospheric mood-piece. My little flower starts outs simply
enough, but becomes progressively more mysterious. The Forest returns
to the mood of the Op.5 but with a notable advance in construction
and a very individual chordal structure.
The three songs of Op. 14 were written at the same time as the
famous Psalmus Hungaricus. They are all big songs
and were also later orchestrated by the composer. More importantly
they reach a new level of subtlety and freedom of expression,
especially in Behold, my open soul and Woe it
is. Fly, sweet bird is simpler but shows a new flexibility
in the setting of words. All three songs are completely mature
and demonstrate that the composer had finally arrived at his
own, completely integrated, style.
After The Quick Reapers of the Grove (1925) Kodály
did not write any songs for almost thirty years. Actually, the Epigrams started
life as nine instrumental miniatures for teaching purposes, although
they have more than pedagogic value. Words were added by Melinda
Kistétényi and they can now be sung - this is their
first recording as songs. They are all simple and charming and
vary in mood. Perhaps the most interesting is Cloud, although
the piece entitled Dream is very evocative. Alpine
Dream provides a surprisingly stark ending to the set - one
can almost hear the wind at the top of the mountain. The Epitaphium
Joannis Hunyadi was written as a sight-singing piece but
also possesses greater value. It is extremely powerful and could
be described as mini-version of Prokofieff’s Alexander
Nevsky in its subject matter and intensity.
Among the singers Brickner is definitely the star. His renditions
of the Balázs songs and the Op. 14 are top-notch. Korondi
is also good. She has a real feeling for her songs and a remarkably
clear voice. Szegedi’s version of Approach of Winter is
somewhat disappointing, but he sings Epitaphium with great
spirit. Meláth is also disappointing in the Op.1 songs,
but in Alas, from the Four Songs, is very impressive.
The two pianists are uniformly good. Recording, however, is very
variable, especially of the piano. This set is part of Hungaraton’s
new versions of the complete Kodály and Bartók
and whatever its limitations, stands as the basic version for
anyone interested in Kodály’s songs or his career
in general.
William Kreindler
Track listing
CD 1
Sixteen Songs on Folk melodies Op. 1 (1906-07) (Three the ways I may
go; Come to me my little birdie; The cage is open wide; I neither toil nor
spin;
My delightful brown-haired mistress; Oh, how long it is; He who loves a fair
one; I have always wondered; Slender is a silk thread; Ah, my beloved; Let
not your anger rise; Now it’s clear and now it’s cloudy; Never
again shall I do; Do you think that I would sorrow; Ah, but you know; I plucked
the
fairest flowers)
Three songs on poems of Bála Balázs Op. post. (Why are you
saying you do not love me; Wherever I have walked; Sleep, sleep)
Four Songs (Alas, alas; Nausikaa; Meadow song; My heart aches)
Seven Songs Op. 6 (Solitude; Letter fragment to my lady friend; The meridian
of life; Spring; The forest; Suppression; Carnival)
CD 2
The quick reapers of the grove
Two Songs Op.5 (The approaching winter; To cry, to cry, to cry)
Five Songs Op. 9 (Adam, where are you?; Sappho’s love song; Night;
My little flower; The forest)
Three Songs Op. 14 (Woe it is; Behold, my open soul; Stay sweet bird)
Epigrams (Love of my country; Approaching summer; Sadness; Lily of the
Valley; Spring; Lullaby; Cloud; Dream; Alpine Dawn)
Epitaphium Joannis Hunyadi