{"id":1287,"date":"2015-12-26T18:17:37","date_gmt":"2015-12-26T18:17:37","guid":{"rendered":"http:\/\/hollerung.hu\/?page_id=1287"},"modified":"2016-07-04T09:47:22","modified_gmt":"2016-07-04T09:47:22","slug":"the-answered-question","status":"publish","type":"page","link":"https:\/\/hollerung.hu\/en\/the-answered-question\/","title":{"rendered":"THE ANSWERED QUESTION?"},"content":{"rendered":"<p><span style=\"font-size: 25pt;\">Zolt\u00e1n Kod\u00e1ly: Psalmus Hungaricus<\/span><\/p>\n<p><strong>9 May 2010, Italian Cultural Institute, Budapest<\/strong><\/p>\n<p><strong>Tam\u00e1s Csel\u00f3czki<\/strong><br \/>\nTenor<\/p>\n<p><strong>Budapest Academic Choral Society<\/strong><br \/>\nChorus master: Ildik\u00f3 Balassa<\/p>\n<p><strong>Budafok Dohn\u00e1nyi Orchestra<\/strong><\/p>\n<p>Good afternoon, Ladies and Gentlemen. Warmly welcome to everyone here in our concert today. This day presents a very special occasion: partly because (as I\u2019ve devoted this whole year\u2019s series to my teachers and professors) with this closing concert I wish to pay obeisance to Imre F\u00f6ldes <a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a>, which can thus be considered a symbolic event. Probably he is the most \u201cresponsible\u201d for my maniac desire to persuade my audience to comprehend, understand and love music. So first of all let me welcome Professor F\u00f6ldes here with all my heart.<br \/>\nBut this day is extraordinary also because in addition to our current members in Budapest Academic Choral Society our former singers will also perform in this concert, considering that we\u2019ve been singing together for exactly 30 years now.<br \/>\nI had two reasons for choosing Psalmus Hungaricus. The first is that we\u2019ve sung it with the choir a lot of times ever since the beginning and performing this piece has always contributed to a ceremonial moment in our life. The other reason is that (I\u2019ve really checked it) it was exactly 30 years ago when Professor F\u00f6ldes held an unforgettable lecture about Psalmus Hungaricus in the Academy of Music. I think I can remember his lecture: it was then and there, in the Music Academy lecture that I collected my current apprehension of this work and learnt everything I believe and think about it. But of course all this will turn out now \u2013 at least certainly for Professor F\u00f6ldes.<br \/>\nWe\u2019ve distributed a sheet among You, and even if You don\u2019t all read music, You\u2019ll see that relying on this staff You\u2019ll get somewhat closer to a certain miracle hidden in the leading melody of Psalmus.<br \/>\nAmong others, there\u2019s a very important thing we\u2019ve learnt from the Professor, and this strictly echoes in my ears in almost each moment of my life. Namely that we musicians must understand why each note is what it is and not something else. This quest for actual answers flashed a beam of light on my understanding that we can take in music subject to the relation between our expectations and the fulfilment of our expectations. For those who listen to music the delight in and joy of music will primarily be materialized in the fulfilment of their expectations, which can simply be called recognition.<br \/>\nFor incitement I\u2019ll now reveal You that all in all the joy of listening to music still originates from extraordinariness and suddenness, provided our endmost feeling is indeed the fulfilment of expectations and the enjoyment of recognition. I can reassure You that You similarly like the very compositions and find them the most exciting wherein the composer frequently \u201ccheats\u201d You relevant to Your expectations. We musicians also learn by first understanding the rules through less determinative masters or small pieces, and later when we meet the great masters, we try to learn the miracle from them, i.e. to identify what we expected, what we got instead and why. We musicians are capable, with some luck, of phrasing the answer for ourselves, but You can also often feel some suspicious or strange in Your innards. After all, this is one of the most essential parts of listening to music. Psalmus Hungaricus, the piece we\u2019ll introduce now, is unique in this regard.<\/p>\n<p>Let\u2019s now sing the \u201cPsalmus melody\u201d, which is in fact considered a piece of perfection engraved in stone.<\/p>\n<div id=\"mp3jWrap_0\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_0\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_0\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_0\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_0\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_0\" style=\"font-size:14px;\">1. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_0\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_0\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_0 = [\n\t{ name: \"1. Sz\u00e1m 25\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMjUubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[0] = { list: MP3jPLAYLISTS.inline_0, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1301\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus1-1.jpg\" alt=\"psalmus1\" width=\"800\" height=\"622\" \/><\/p>\n<p>Rightly we feel this is one of Kod\u00e1ly\u2019s most miraculous melodies, a kind of revelation that can sound only as it is and no other way. It\u2019s a gracious melody for us as we can identify ourselves with it, given that it\u2019s sensible Hungarian music. But why? Because, as You\u2019ll see, it has a typically Hungarian melody and structure; and just like each Hungarian folk song, this also has a four-line structure.<\/p>\n<p>Let\u2019s now have a look at the first line.<\/p>\n<div id=\"mp3jWrap_1\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_1\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_1\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_1\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_1\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_1\" style=\"font-size:14px;\">2. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_1\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_1\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_1 = [\n\t{ name: \"2. Sz\u00e1m 26\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMjYubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[1] = { list: MP3jPLAYLISTS.inline_1, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1302\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus2-1.jpg\" alt=\"psalmus2\" width=\"800\" height=\"221\" \/><\/p>\n<p>If You consider not only the bar lines but the other dotted vertical lines, too, You\u2019ll see that the first row of the theme is divided into four elements. This division might seem rather strange in the text but it\u2019s reasonable from a musical point of view. If we wanted to give a name to these four elements, the correct formula could be AABA, considering that the 1st, 2nd and 4th elements are very similar, whereas the 3rd is considerably different. What\u2019s more, don\u2019t forget that the 2nd and 4th elements are wholly identical.<br \/>\nIn the very first moment the central point of the melody essentially seems to be a single sound, an E tone on the bottom-most horizontal line, as it sounds twice equally in the 1st, 2nd and 4th elements. The 3rd element differs significantly: although here we similarly have an E tone but there\u2019s no repetition in tones, there are three different tones. Furthermore, the first G tone considerably outstands from the central tone, it\u2019s higher in pitch. This outstanding tone expresses the essence of the text: \u201cin great grieve\u201d.<\/p>\n<p>Now let\u2019s see a bigger part of the melody, the first and second rows together.<\/p>\n<div id=\"mp3jWrap_2\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_2\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_2\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_2\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_2\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_2\" style=\"font-size:14px;\">3. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_2\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_2\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_2 = [\n\t{ name: \"3. Sz\u00e1m 27\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMjcubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[2] = { list: MP3jPLAYLISTS.inline_2, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1303\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus3-1.jpg\" alt=\"psalmus3\" width=\"800\" height=\"371\" \/><\/p>\n<p>If we consider this melody from a somewhat remote distance and examine the first two rows together, we\u2019ll see that (how strange!) this longer melody can likewise be divided into four parts, and each meter can be considered a part on its own. What seemed to be a difference from the nearby will smooth out into resemblance from a distance, so the first and second meters can essentially be taken as identical. Still, using this division, we find the third tact discordant. Why? Because a fourth, new sound, the A tone is sung, and on top of it all, three times one after the other, which exceedingly highlights the importance of the meter. And then the fourth meter (well, who would\u2019ve thought so) is in full concord with the second. This means that if we analyze the first two rows of the theme as a single unit, it will similarly have an AABA structure where the 2nd and 4th elements are wholly identical.<br \/>\nSo our expectations will apply from this very moment on. Whether we know or not, whether we understand or not, this experience creates a certain kind of expectation. If we live through something twice, it will next appear as an expectation.<br \/>\nThe developments in the continuation are very interesting. We\u2019ve so far heard four tones that can adapt to the tonality typical in the somewhat ancient layers of Hungarian folk music, to pentatony <a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a>. Pentatony, i.e. the five-tone scale is uniquely our music here in Europe, a Hungarian peculiarity. By the way, it\u2019s also typical of Chinese music, which though doesn\u2019t really bother us, yet is most probably not a coincidence\u2026 But of course we can also play with the idea that we, you see, could do with five notes for centuries, or the other tones didn\u2019t simply get to us.<br \/>\nGoing back to the first two rows of Psalmus: we feel this is genuinely our five-tone scale because the leading melody in the first two rows perfectly fits in the pentatonic system. How many tones have we heard so far? Well, actually four: D, E, G, A. How did the new tones appear after the first two tones (D, E)? They started the 3rd element of the quadripartite divisions.<br \/>\nWhat do we expect then? Don\u2019t You think that, following the above pattern, we could consider these first two rows the first two lines of a major structure? Let\u2019s have a look at them: are these two rows really so different? Not so much, from a distance. So then if these are the first two rows, what kind of third row do we expect? It will definitely differ from the previous ones, and first of all there\u2019ll be a new tone in it. But actually we have one more tone left, the fifth tone if we stay within the frames of pentatony. That\u2019s true, still, two kinds of fifth tones can present the solution. A scale can be built on any and each of the five tones of pentatony, which means that any of the five tones can start or close a scale. Given these four tones now, there can only be two closing tones, provided the E tone which closes both rows is sung as a \u201cla\u201d or \u201cmi\u201d solfa syllable. If it\u2019s a \u201cmi\u201d, the missing fifth note will be \u201cdo\u201d, i.e. C tone. If it\u2019s considered a \u201cla\u201d, the missing fifth tone will be \u201cmi\u201d, i.e. H tone. So based on what we\u2019ve heard so far, either of these two fifth tones will have to sound now.<\/p>\n<p>Let\u2019s see what happens. Let\u2019s have a look at the third row.<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1304\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus4-1.jpg\" alt=\"psalmus4\" width=\"800\" height=\"507\" \/><\/p>\n<p>What does it begin with? Wow! A rest. This rest can have a lot of meanings. Perhaps Kod\u00e1ly wants to excite our expectations. Perhaps it suggests that the part after the rest has a special significance. And this is it: both fifth tones are used after the rest, so our puzzle comes to full completion. First we could be inclined to favouring the C tone which sounds first, considering that we\u2019ve so far felt the first appearance the most emphatic. That\u2019s true, but then the composer repeats H in the most weighty moment of the second meter in the third row. No bigger falsehood could be opposed with our expectations. Here we are thwarted and have no clue as to what key we are in. Be that as it may, the fourth row must come now, and this (as always so far) must definitely coincide with the second row. Let\u2019s sing the melody according to the above expectations, so the second row should coincide with the fourth row.<\/p>\n<div id=\"mp3jWrap_3\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_3\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_3\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_3\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_3\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_3\" style=\"font-size:14px;\">4. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_3\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_3\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_3 = [\n\t{ name: \"4. Sz\u00e1m 28\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMjgubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[3] = { list: MP3jPLAYLISTS.inline_3, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1305\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus5-1.jpg\" alt=\"psalmus5\" width=\"800\" height=\"615\" \/><\/p>\n<p>Whether You believe or not, this is the correct answer. This is how it should be or, to be more precise, this would meet our expectations. But did Kod\u00e1ly make a mistake? No. Deliberately he added a different ending to the melody. Partly because the closing tone is one fifth <a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> lower, which recalls the ancient descending nature of Hungarian folk music. Moreover, the last tone leaves the former structure and opens the door to the ideology of the whole piece.<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1306\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus6-1.jpg\" alt=\"psalmus6\" width=\"800\" height=\"610\" \/><\/p>\n<p>Regarding the leading melody of the masterpiece which moves from anguish through despair to hope Kod\u00e1ly looks for an ending that can shock the listener. As You\u2019ll see, this ending is certainly not by mere chance. Kod\u00e1ly knew very well why he composed so and not some other way that would have satisfied our expectations. But here and now I dare disclose that this \u201ccorrect\u201d ending will sound once in the piece\u2026<\/p>\n<p>Dear Ladies and Gentlemen, Perhaps the above words could already reveal that Psalmus Hungaricus is an exceptionally exciting piece. After all that excitement with the leading theme Kod\u00e1ly composed a strict structured, well-arranged and easy-to-follow dramaturgical process. The masterpiece is composed for tenor solo, mixed choir and orchestra. The tenorist plays a narrative role, a frequent role in oratorios: whereas this is King David\u2019s psalm, he represents the anguished king himself who expresses his grievance, in first person singular.<br \/>\nKod\u00e1ly used the translation (made between 1561 and 1567 by an almost wholly unknown Hungarian preacher and poet Mih\u00e1ly Kecskem\u00e9ti V\u00e9g <a href=\"#_ftn4\" name=\"_ftnref4\">[4]<\/a> from the 16th century) of a psalm in Psalmus. (Actually, this is the only poem that survived from the otherwise unknown poet.) A great number of translations were made of the psalm in the age of reformation, still, touchingly, some personal thoughts also infiltrate into this translation of the 55th psalm and petition, written in heart-sore, grief and sorrow, and this makes it a real Hungarian psalm.<br \/>\nUnfortunately, this psalm is still a kind of summary of us Hungarians. A mirror of our life, heart-sore, our bad and good relations with one another.<br \/>\nKod\u00e1ly wrote Psalmus Hungaricus on the occasion of the 50th anniversary of the unification of Pest and Buda. Let me note here that several other compositions were similarly made for this anniversary in 1923, for instance Bart\u00f3k\u2019s Dance Suite [T\u00e1ncszvit] and Dohn\u00e1nyi\u2019s Ceremonial Overture [\u00dcnnepi nyit\u00e1ny]. But in Psalmus, in place of the expected jubilation, Kod\u00e1ly extends honest, deep and elementary dimensions. What makes this composition even more specific is that the Hungarian nation began to understand its own music at this time, it began to make acquaintance with its own cultural and musical identity and this is when the linked logics of Hungarian folk music and European music evolved into an unbreakable, wholly uniform and natural for all process.<br \/>\nPsalmus is a genuine romantic work. It uses the tools of romanticism in all its elements, from na\u00efve modulations to weighty and dramatic contrapositions. Right in the very beginning it starts like furious. No musical composition would have such a beginning. Just keep Your ears open to the starting moments when we feel as if we were jabbed with a dagger.<\/p>\n<div id=\"mp3jWrap_4\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_4\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_4\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_4\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_4\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_4\" style=\"font-size:14px;\">5. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_4\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_4\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_4 = [\n\t{ name: \"5. Sz\u00e1m 29\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMjkubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[4] = { list: MP3jPLAYLISTS.inline_4, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>As early as in the introduction Psalmus reaches one of its highest peaks. We immediately understand that it will be about life and death, since our composer immediately initiates us into the most serious drama. Then we hear the miraculous leading theme which doesn\u2019t really seem to take part in the entire musical process; it appears to be not a part but a quasi frame of the work. We hear it several times as a small recurring musical unit, a so-called ritornello.<\/p>\n<div id=\"mp3jWrap_5\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_5\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_5\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_5\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_5\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_5\" style=\"font-size:14px;\">6. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_5\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_5\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_5 = [\n\t{ name: \"6. Sz\u00e1m 25\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMjUubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[5] = { list: MP3jPLAYLISTS.inline_5, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>Later on this evolves into a process of wondrous power ranging from psalm obsecration through bitterness to curse.<\/p>\n<div id=\"mp3jWrap_6\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_6\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_6\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_6\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_6\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_6\" style=\"font-size:14px;\">7. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_6\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_6\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_6 = [\n\t{ name: \"7. Sz\u00e1m 30\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzAubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[6] = { list: MP3jPLAYLISTS.inline_6, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>Here we hear something that\u2019s been the tool of na\u00efve madrigalism <a href=\"#_ftn5\" name=\"_ftnref5\">[5]<\/a> for centuries and that can the most typically express grief.<\/p>\n<div id=\"mp3jWrap_7\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_7\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_7\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_7\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_7\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_7\" style=\"font-size:14px;\">8. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_7\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_7\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_7 = [\n\t{ name: \"8. Sz\u00e1m 31\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzEubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[7] = { list: MP3jPLAYLISTS.inline_7, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>This arch of melody is called a \u201ccrying motif\u201d or moan. Just listen how many dozens of times we hear it in the piece. And then of course, after the orchestra, this gesture of two adjacent half-tones will also be sounded by the singer and in the various parts of the choir. This is real tremendous anguish. There\u2019s a lot of infantile simplicity in it, yet concurrently it\u2019s immensely impressive. Sadly enough, this motif slightly characterises our national history, it even appears in the culmination of our Anthem (\u201cAtoning sorrow hath weighed down All the sins of all his days\u201d).<br \/>\nThis is then again followed by simple sound-painting. Pay attention to what\u2019s happening in the orchestra.<\/p>\n<div id=\"mp3jWrap_8\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_8\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_8\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_8\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_8\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_8\" style=\"font-size:14px;\">9. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_8\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_8\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_8 = [\n\t{ name: \"9. Sz\u00e1m 32\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzIubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[8] = { list: MP3jPLAYLISTS.inline_8, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>What does this orchestral play symbolize? A twirl within itself. Then the tenorist sings \u201cNightly and daily go they about me, Seeking how they may take me in the snare\u201d. The now well-known crying motif almost shouts as it breaks the twirling motif: this part is actually weeping, almost lamentation; the psalmist (King David) gets into a more and more unsettled emotional mood.<\/p>\n<div id=\"mp3jWrap_9\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_9\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_9\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_9\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_9\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_9\" style=\"font-size:14px;\">10. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_9\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_9\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_9 = [\n\t{ name: \"10. Sz\u00e1m 33\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzMubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[9] = { list: MP3jPLAYLISTS.inline_9, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>We, the listeners also got in a scary emotional state. But this will still intensify: the choir enters and they also accompany the psalmist\u2019s immense gust with a mighty and common cry. Still, we\u2019re not yet at the real zenith. The real zenith is curse. We all know very well that for the professed man the curse he utters himself is impossible. A Christian must not accurse anyone. Yet art in its own soaring is always trivially humane. And we, humans curse each other (at least allegorically) rather frequently and, unfortunately, more often than required. What\u2019s more, the gesture of profanity can truly be found in highly pious works. A poet must inevitably show the antagonisms that would not exist in us, humans without one another. Actually, religion doesn\u2019t exist without irreligion, love without curse or glorification without profanity.<br \/>\nSo then the piece reaches its zenith when the psalmist cries out: \u201cSmite them with destruction, O Lord, and slay them\u201d. Actually, nowadays we also say so with some other ruder words and, unfortunately, rather frequently. Kod\u00e1ly phrases this curse with soul-stirring elementarity.<\/p>\n<div id=\"mp3jWrap_10\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_10\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_10\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_10\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_10\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_10\" style=\"font-size:14px;\">11. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_10\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_10\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_10 = [\n\t{ name: \"11. Sz\u00e1m 34\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzQubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[10] = { list: MP3jPLAYLISTS.inline_10, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>Take note of the contraposition. This is what the psalmist sings: \u201cBut it was thou, my friend whom I trusted, Did we not take sweet counsel together? Thou whom I reckon&#8217;d true friend and faithful Thou art the man whose hand would have struck me down!\u201d. This is how he confronts the benignant and kind friend who in fact was an enemy. Some say if we utter the curse, we\u2019ll ease up. We have no other choice but faith, confidence and hope. The psalmist\u2019s farewell is in fact exactly about this: miraculously, now he already sings about love, hope, turning to the Lord and even turning to men.<br \/>\nLet\u2019s listen to the delightful end of the aria. Kod\u00e1ly uses miraculous orchestral sounds to develop the mood. The harp plays an important role, as King David\u2019s harp must be sounded in this piece. In addition to the harp, a violin solo plays the leading role here. The violin solo represents a typical Kod\u00e1ly-style character: in his orchestral pieces Kod\u00e1ly always composes the overflowing emotions for a violin solo, whereas in his choral works they appear in a soprano solo.<br \/>\nThe psalmist\u2019s last sound brings about wondrous relief. From here on Kod\u00e1ly doesn\u2019t give any more role to the soloist in this work.<\/p>\n<div id=\"mp3jWrap_11\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_11\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_11\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_11\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_11\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_11\" style=\"font-size:14px;\">12. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_11\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_11\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_11 = [\n\t{ name: \"12. Sz\u00e1m 35\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzUubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[11] = { list: MP3jPLAYLISTS.inline_11, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>Let\u2019s now on turn our attention to the choir. The choir has so far seemed to have a subordinated role. We\u2019ve heard them very rarely, they crossed the psalmist\u2019s song with the leading melody. After hearing the leading melody, we hear it one fifth higher, in the higher voices, reacting to the psalmist\u2019s intense emotional mood.<\/p>\n<div id=\"mp3jWrap_12\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_12\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_12\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_12\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_12\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_12\" style=\"font-size:14px;\">13. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_12\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_12\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_12 = [\n\t{ name: \"13. Sz\u00e1m 36\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzYubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[12] = { list: MP3jPLAYLISTS.inline_12, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>Then getting higher and higher in this circle of fifths <a href=\"#_ftn6\" name=\"_ftnref6\">[6]<\/a> and following a major augmentation the choir sings in really triumphal height.<\/p>\n<div id=\"mp3jWrap_13\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_13\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_13\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_13\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_13\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_13\" style=\"font-size:14px;\">14. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_13\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_13\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_13 = [\n\t{ name: \"14. Sz\u00e1m 37\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzcubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[13] = { list: MP3jPLAYLISTS.inline_13, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>How strange! The choir didn\u2019t finish where it should\u2019ve finished. Kod\u00e1ly can miraculously demonstrate that you cannot simply finish singing in such an emotional mood, so he also composes the process of satisfaction. We start and feel that the choir has a really important role when it follows the soloist in mentioning the words \u201cbelief\u201d and \u201chope\u201d. \u201cI give Thee honour, Lord, and worship Thee, Evening and morning and at the noonday, Thou that abidest, Thou art my helper When those that hate Thee sorely do oppress me.\u201d This represents the first occasion for the choir to become a partaker in the dramaturgy of the piece, though true, not on its own but as the soloist\u2019s echo.<\/p>\n<div id=\"mp3jWrap_14\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_14\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_14\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_14\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_14\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_14\" style=\"font-size:14px;\">15. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_14\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_14\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_14 = [\n\t{ name: \"15. Sz\u00e1m 38\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzgubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[14] = { list: MP3jPLAYLISTS.inline_14, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>After the psalmist\u2019s beautiful aria the choir is left alone, thereby expressing that the community has understood the psalmist\u2019s words and is now capable itself of continuing these thoughts. Just as in so many pieces, here again a core element in the dramaturgy of the work is relationship between individual and community, the chosen and the mass, men\u2019s loneliness and their disengagement in the community.<br \/>\nGetting to the closing part of the piece, Kod\u00e1ly is exceedingly lively, yet fascinating as he moulds the biggest lesson into sounds from the lips of the choir: \u201cThou art our One God, righteous in judgment, Vengeance is Thine for those that do evil, Thou shalt not bless them, trusting in vain things, Thou shalt take them away as with a whirlwind\u201d. The first word is again devoted to curse, as a peculiar phenomenon in human nature is that it expects the Lord to destroy its own enemies and first it thanks for this.<\/p>\n<div id=\"mp3jWrap_15\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_15\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_15\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_15\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_15\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_15\" style=\"font-size:14px;\">16. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_15\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_15\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_15 = [\n\t{ name: \"16. Sz\u00e1m 39\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzMzkubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[15] = { list: MP3jPLAYLISTS.inline_15, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>\u201cAs for the righteous, Thou dost preserve them, They that shew mercy shelter find in Thee. Those that are humble Thou dost raise on high Those that are mighty scatter&#8217;st and destroyest. Whom for a space Thy wrath has chastised, And has like silver tried in the furnace, Forth from the fire Thou suddenly tak&#8217;st him,\u2026\u201d The text is wonderful and especially exciting is the musical process here. Kod\u00e1ly devotes a stand-alone musical gesture to each thought. Just take notice of the warmth as the choir sings about the righteous, the cosseting melody the composer designs to address the merciful, the incredible strength he exerts in hoping to elevate the humble and the almost devastating blow whereby he \u201cdestroyest\u201d the mighty. And then he needs a single run to help us flee from the almost burning fire of the orchestra. Delight in this exquisite beauty.<\/p>\n<div id=\"mp3jWrap_16\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_16\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_16\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_16\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_16\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_16\" style=\"font-size:14px;\">17. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_16\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_16\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_16 = [\n\t{ name: \"17. Sz\u00e1m 40\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzNDAubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[16] = { list: MP3jPLAYLISTS.inline_16, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>But then something happens and reasons why I spent so much time at the beginning of our concert today on explaining the structure of the leading theme to You. If You can still remember, I tried to show You a certain ending of this melody that would meet our expectations, that Kod\u00e1ly chose to replace with something else and that has by now become a quasi natural ending for us all. Sensibly, Kod\u00e1ly invests special efforts in closing this succeeding section and expressing a thought that can accomplish the previous rows: \u201cForth from the fire Thou suddenly tak&#8217;st him, Once more in honour Thou wilt raise him on high!\u201d. The composer phrases these words in the last two rows of the leading melody and closes them just as he closed the leading theme in the beginning of Psalmus.<\/p>\n<div id=\"mp3jWrap_17\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_17\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_17\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_17\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_17\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_17\" style=\"font-size:14px;\">18. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_17\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_17\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_17 = [\n\t{ name: \"18. Sz\u00e1m 41\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzNDEubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[17] = { list: MP3jPLAYLISTS.inline_17, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>As we\u2019ve heard this melody with this ending several times in the piece, we expect to hear it now again, this would meet our expectations. But Kod\u00e1ly takes off once more and, lo and behold, just once he after all shows the \u201ccorrect\u201d ending which would\u2019ve been the expected ending when we heard the piece for the first time.<\/p>\n<div id=\"mp3jWrap_18\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_18\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_18\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_18\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_18\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_18\" style=\"font-size:14px;\">19. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_18\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_18\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_18 = [\n\t{ name: \"19. Sz\u00e1m 42\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzNDIubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[18] = { list: MP3jPLAYLISTS.inline_18, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" class=\"aligncenter size-full wp-image-1307\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus7-1.jpg\" alt=\"psalmus7\" width=\"800\" height=\"330\" \/><\/p>\n<p>An indeed marvellous zenith that takes us up right to the sky is created with this \u201ccorrect\u201d ending \u2013 but now we\u2019ll show it to You not with the choir but the orchestra. We seem to have the impression that such a romantic hearted composer as Kod\u00e1ly must\u2019ve composed Psalmus for this very zenith. Listen to this gloriously sounding, poignant triumph, the heart-stirring and joyful hullabaloo of the trumpets, the timpano and the entire orchestra.<\/p>\n<div id=\"mp3jWrap_19\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_19\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_19\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_19\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_19\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_19\" style=\"font-size:14px;\">20. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_19\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_19\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_19 = [\n\t{ name: \"20. Sz\u00e1m 43\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzNDMubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[19] = { list: MP3jPLAYLISTS.inline_19, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>But then there\u2019s a loophole and evidently the triumph doesn\u2019t last forever: the key turns from major to minor, from the glorious height we fall back again to the deep. Even if there was some rejoicement, it was a mere dream that has dissolved; we\u2019ve got back to where we\u2019ve started from. What will follow now? Nothing else but what this masterpiece began with. Now again we can listen to the psalm song. The big question is how Kod\u00e1ly would close it this time. Can the so far once heard ending which brought about triumph and which I called \u201ccorrect\u201d still return, or will the leading melody logically end just like in its first appearance? The latter seems to be odds-on, given that the dream has dissolved, the belief whereby the Lord elevates the righteous exists in our hopes only but, unfortunately, not in the actual present. And just as expected, the melody will indeed end as heard for the first time: with the feeling of renouncement.<br \/>\nBut then, almost beyond the ending, the tenor part sings the ending that materializes the zenith \u2013 very soft, from a distance, as a message from eternity. The two different closing tones of these two different farewells sound concurrently and so close the entire piece, and we, the audience can decide, relying on our feelings and thoughts, what catharsis we will reach by the end of Psalmus Hungaricus.<\/p>\n<div id=\"mp3jWrap_20\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_20\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_20\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_20\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_20\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_20\" style=\"font-size:14px;\">21. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_20\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_20\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_20 = [\n\t{ name: \"21. Sz\u00e1m 44\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzNDQubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[20] = { list: MP3jPLAYLISTS.inline_20, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" src=\"http:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus8.jpg\" alt=\"psalmus8\" width=\"800\" height=\"555\" class=\"aligncenter size-full wp-image-1611\" srcset=\"https:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus8.jpg 800w, https:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus8-300x208.jpg 300w, https:\/\/hollerung.hu\/wp-content\/uploads\/2015\/12\/psalmus8-768x533.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><\/p>\n<p>In Psalmus Hungaricus Kod\u00e1ly melodised eternal thoughts and irresolvable antagonism, and for this he consciously used our own Hungarian musical ideology, our existing or at least anticipated expectations. I\u2019m afraid Hungarian folk music, the elementary recognition of its elements might be a bit distant for us; this language is not so much ours as we\u2019d prefer, still, we understand and feel our musical mother tongue expressed by Kod\u00e1ly.<br \/>\nAll these thoughts reveal an eternal message and eternal lesson. We may all decide which specific tone we hear last and which tone we\u2019re ready to build our life on. I think this is the message I can be grateful for to Professor F\u00f6ldes and I hope I managed to transfer this message to You, too.<br \/>\nSo let\u2019s listen to the ending and then the entire piece.<\/p>\n<div id=\"mp3jWrap_21\" class=\"mjp-s-wrapper s-graphic unsel-mjp  verdana-mjp\" style=\"font-size:14px;\"><span id=\"playpause_wrap_mp3j_21\" class=\"wrap_inline_mp3j\" style=\"font-weight:700;\"><span class=\"gfxbutton_mp3j play-mjp\" id=\"playpause_mp3j_21\" style=\"font-size:14px;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<\/span>&nbsp;<span class=\"group_wrap\"><span class=\"bars_mp3j\"><span class=\"loadB_mp3j\" id=\"load_mp3j_21\"><\/span><span class=\"posbarB_mp3j\" id=\"posbar_mp3j_21\"><\/span><\/span><span class=\"T_mp3j\" id=\"T_mp3j_21\" style=\"font-size:14px;\">22. Psalmus Hungaricus<\/span><span class=\"indi_mp3j\" style=\"font-size:9.8px;\" id=\"statusMI_21\"><\/span><\/span><\/span><\/div><span class=\"s-nosolution\" id=\"mp3j_nosolution_21\" style=\"display:none;\"><\/span><script>\nMP3jPLAYLISTS.inline_21 = [\n\t{ name: \"22. Sz\u00e1m 45\", formats: [\"mp3\"], mp3: \"aHR0cDovL2hvbGxlcnVuZy5odS93cC1jb250ZW50L3VwbG9hZHMvMjAxNS8xMi9wc2FsbXVzNDUubXAz\", counterpart:\"\", artist: \"\", image: \"\", imgurl: \"\" }\n];\n<\/script>\n\n<script>MP3jPLAYERS[21] = { list: MP3jPLAYLISTS.inline_21, tr:0, type:'single', lstate:'', loop:false, play_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pause_txt:'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;', pp_title:'', autoplay:false, download:false, vol:100, height:'' };<\/script>\n<p>&nbsp;<\/p>\n<p>________________________<\/p>\n<p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]<\/a> Imre F\u00f6ldes (1934): music historian, musicologist. A key personality in G\u00e1bor Hollerung\u2019s work and mentality.<br \/>\n<a href=\"#_ftnref2\" name=\"_ftn2\">[2]<\/a> Pentatony: a five-tone scale which does not yet use two typical sounds from the later European musical system, the half-tones, i.e. the \u201efa\u201d and \u201eti\u201d solmization notes.<br \/>\n<a href=\"#_ftnref3\" name=\"_ftn3\">[3]<\/a> Fifth: five-tone interval.<br \/>\n<a href=\"#_ftnref4\" name=\"_ftn4\">[4]<\/a> Mih\u00e1ly Kecskem\u00e9ti V\u00e9g: 16th century protestant songwriter. No accurate information is available of his life. His 54th (55th, according to Vulgata) psalm overtops the psalm translations of that era: he conveys the original words in powerful images, in poetic picturesque style.<br \/>\n<a href=\"#_ftnref5\" name=\"_ftn5\">[5]<\/a> Madrigalism: a name originating from the word-painting technique used in madrigals, when music expresses the sense of not a whole sentence but the words one by one.<br \/>\n<a href=\"#_ftnref6\" name=\"_ftn6\">[6]<\/a> The circle of fifths depicts the 12 columns of superordinated and finally reverting fifths in a single circle. Consequently, the circle of fifths shows the key signatures in their logical sequence. Progressing upwards, i.e. in the direction of the (#) sharp keys in the circle of fifths means a kind of elevation, whereas descending downwards to the direction of the flat keys calls forth the feeling of some downfall.<\/p>\n<p><em>Translated by <a href=\"mailto:helga@gauss.t-online.hu\">Helga P\u00e1rkai<\/a><\/em><\/p>\n<div id=\"themify_builder_content-1287\" data-postid=\"1287\" class=\"themify_builder_content themify_builder_content-1287 themify_builder themify_builder_front\">\n\n\t<\/div>\n<!-- \/themify_builder_content -->","protected":false},"excerpt":{"rendered":"<p>Zolt\u00e1n Kod\u00e1ly: Psalmus Hungaricus 9 May 2010, Italian Cultural Institute, Budapest Tam\u00e1s Csel\u00f3czki Tenor Budapest Academic Choral Society Chorus master: Ildik\u00f3 Balassa Budafok Dohn\u00e1nyi Orchestra Good afternoon, Ladies and Gentlemen. Warmly welcome to everyone here in our concert today. This day presents a very special occasion: partly because (as I\u2019ve devoted this whole year\u2019s series [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/pages\/1287"}],"collection":[{"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/comments?post=1287"}],"version-history":[{"count":63,"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/pages\/1287\/revisions"}],"predecessor-version":[{"id":1755,"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/pages\/1287\/revisions\/1755"}],"wp:attachment":[{"href":"https:\/\/hollerung.hu\/en\/wp-json\/wp\/v2\/media?parent=1287"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}