Tag: Antal Doráti

“Children of the night – what beautiful music they make!” So says Hungarian superstar Bela Lugosi in his signature role of Dracula. The observation (spoken in response to the howling of wolves) might equally be applied, under less chilling circumstances, to three of Lugosi’s composer-compatriots, whose nocturnal meditations we’ll enjoy this Sunday night on “The Lost Chord.”

Miklós Rózsa, himself a figure with cinematic associations, wrote nearly 100 film scores and won three Academy Awards – for “Spellbound” (1945), “A Double Life” (1947), and “Ben-Hur” (1959). He was also an active concert composer, writing concertos for Jascha Heifetz, Leonard Pennario, Gregor Piatigorsky, and Pinchas Zukerman.

In the summer of 1962, Rózsa composed “Hungarian Nocturne” on a commission from Edward B. Benjamin, a New Orleans millionaire with a fondness for quiet music. However, in order to maintain interest, the composer realized, there was no way he could remain quiet for the entire span of the piece. So the nocturne eventually builds to a climax before returning to the serene mood of its opening. His patron wasn’t entirely pleased, though he did draw enjoyment from the quieter parts. The piece was an attempt by the composer to recapture the rare beauty of nights on his estate in rural Hungary.

Though Antal Doráti would ultimately become world famous as a conductor, he studied composition at the Franz Liszt Academy under Zoltán Kodály and Leó Weiner. He also studied piano with Béla Bartók. A fine Bartok interpreter, Doráti would later conduct the world premiere of his teacher’s Viola Concerto.

Doráti’s own music has always been regarded as something of a sidelight. His “Night Music,” from 1970, is a collection of evocative miniatures for flute and orchestra. We’ll hear it performed by Alison Young, now a host for Minnesota Public Radio.

Unlike Rózsa and Doráti, who were both natives of Budapest, Zoltán Kodály was born in a small town in Southern Hungary. He claimed that his first exposure to folk music was through the singing of servant girls in his own home. He went on to become one of the most important figures in Hungarian musical life, as composer, ethnomusicologist, and educator.

Kodály will be represented by his orchestral idyll, “Summer Evening,” music originally composed in 1906, then revised in 1929, to fulfill a commission from Arturo Toscanini. Kodály himself will conduct, on a gorgeous recording with the Budapest Philharmonic.

That’s “Children of the Night” – Hungarian composers take wing – this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

IMAGE: “New Moon,” by Mihály Zeller

“Children of the night – what beautiful music they make!” So says Hungarian superstar Bela Lugosi in his signature role of Dracula. The observation (spoken in response to the howling of wolves) might equally be applied, under less chilling circumstances, to three of Lugosi’s composer-compatriots, whose nocturnal meditations we’ll enjoy this Sunday night on “The Lost Chord.”

Miklós Rózsa, himself a figure with cinematic associations, wrote nearly 100 film scores and won three Academy Awards – for “Spellbound” (1945), “A Double Life” (1947), and “Ben-Hur” (1959). He was also an active concert composer, writing concertos for Jascha Heifetz, Leonard Pennario, Gregor Piatigorsky, and Pinchas Zukerman.

In the summer of 1962, Rózsa composed “Hungarian Nocturne” on a commission from Edward B. Benjamin, a New Orleans millionaire with a fondness for quiet music. However, in order to maintain interest, the composer realized, there was no way he could remain quiet for the entire span of the piece. So the nocturne eventually builds to a climax before returning to the serene mood of its opening. His patron wasn’t entirely pleased, though he did draw enjoyment from the quieter parts. The piece was an attempt by the composer to recapture the rare beauty of nights on his estate in rural Hungary.

Though Antal Doráti would ultimately become world famous as a conductor, he studied composition at the Franz Liszt Academy under Zoltán Kodály and Leó Weiner. He also studied piano with Béla Bartók. A fine Bartok interpreter, Doráti would later conduct the world premiere of his teacher’s Viola Concerto.

Doráti’s own music has always been regarded as something of a sidelight. His “Night Music,” from 1970, is a collection of evocative miniatures for flute and orchestra. We’ll hear it performed by Alison Young, now the host of American Public Media’s “SymphonyCast.”

Unlike Rózsa and Doráti, who were both natives of Budapest, Zoltán Kodály was born in a small town in Southern Hungary. He claimed that his first exposure to folk music was through the singing of servant girls in his own home. He went on to become one of the most important figures in Hungarian musical life, as composer, ethnomusicologist, and educator.

Kodály will be represented by his orchestral idyll, “Summer Evening,” music originally composed in 1906, then revised in 1929, to fulfill a commission from Arturo Toscanini. Kodály himself will conduct, on a gorgeous recording with the Budapest Philharmonic.

That’s “Children of the Night” – Hungarian composers take wing – this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

IMAGE: “New Moon,” by Mihály Zeller