Boston University
OpenBU
http://open.bu.edu
Theses & Dissertations
Boston University Theses & Dissertations
2017
An analysis of Géza Frid’s Concerto
for Clarinets, Op. 82 (1972):
Rediscovered repertoire by a
Hungarian, Jewish, Dutch composer
Luttik, Karen
Boston University
http://hdl.handle.net/2144/21329
Boston University
1
AnAnalysisofGézaFrid’sConcertoforClarinets,Op.82(1972):
RediscoveredrepertoirebyaHungarian,Jewish,Dutchcomposer
GézaFrid(1904-1989)wasasignificantHungarian-bornDutchcomposerandpianistof
Jewishdescent.HiscompositionalstylewashighlyregardedintheDutchmusicalsceneofthe
20thcentury;hismusichasbeenprogrammedonmultipleoccasionsbytheConcertgebouw
Orchestraandin1949and1954wontheCityofAmsterdamMusicAward.Majorinfluenceson
Frid’smusicaldevelopmentstartedinhisnativeHungarywherehestudiedwithBélaBartók
andZoltanKodalybeforehismovetotheNetherlands.In1972,hecomposedasignificant
concertoforB-flat,A,E-flatandbassclarinets(Op.82)anddedicatedittoGeorgePieterson,
principleclarinetwiththeConcertgebouwOrchestra.
ScholarlydiscussionsofGézaFrid’sclarinetmusicarenottobefoundineithertheUS
basedInternationalClarinetSociety’sTheClarinet,orintheDutchbasedDeKlarinet.Intensive
WorldCatlibrarysearcheshaveyieldednorecordingsofthispiece,andcurrentlythereisnot
evenonerecordingofFrid’sConcertoforClarinetsonYouTubeorintheNaxosMusicLibrary.
TheConcertoforClarinetsisaneffectiveandinterestingpieceprovidingasignificantaddition
tothestandardclarinetrepertoire;thegoalofthisresearchistointroduceandpromotethis
hithertounknownworktotheworldwideclarinetcommunity.
SaveforsomeshortselectionsontheGézaFridwebsitesetupbyhisdedicatedson,
ArthurFrid,andaWikipediaarticle,notranslationsexistofGézaFrid’sautobiographical
material1.Hislifestoryisexceedinglyinteresting,havingbeenaJewishcomposerduringthe
1
ArthurFrid,emailconversation12/04/16.Arthurremembershow,asateenager,hewasoftenrecognizedas
“Frid’sson.”Althoughhelearnedpiano,violin,recorderandcompositionfromhisparents,hefoundhisownvoice
2
WorldWarIIyearsthatsurvivedtheGermanoccupationoftheNetherlands.FortunatelyFrid
publishedtwoautobiographicalbooksintheDutchlanguage,In80JaardeWereldRondand
OoginOogMet…[AroundtheWorldIn80YearsandEyetoEyeWith…]andnumerousarticlesfor
theDutchmusicmagazineMensenMelodie[PeopleandMelody],revealinghisdeepmusical
insights.Inthesepublications,Fridwroteextensivelyabouthisownviewsonthedevelopment
ofmusicinhistime,aswellasvariousanecdotesofexperienceswithfamouscomposershe
knewpersonallysuchasRavelandBartók.Forthepurposesofthisresearch,selectionsofhis
worksofproserelatingtohispersonalityasamusicianandcomposeraswellasportionsofhis
articlestouchingonthemusicoftheConcertowillbesummarizedandtranslatedbytheauthor
intoEnglishfromtheoriginalDutch.
ThispaperprovidesageneraloverviewofthehistoricalaspectsofGézaFrid’slife,his
WWIIexperiences,andhiscareer.AbasicanalysisofFrid’sConcertoforClarinetswillbegiven
regardingform,harmoniclanguage,andaspecialfeatureinventedbyGeorgePietersoncalled
the“tremolospecial”.SincethisconcertowasspecificallycomposedfortheReformedBoehm
systemclarinetsthatGeorgePietersonused,adiscussionofthedifferencesbetweenthe
French,GermanandReformedBoehmclarinetsystemswillbeincluded.Acorresponding
performanceaspectofthisprojectincludesahistoricallyinformedperformanceofthispiece
usingthespecificmodelsofclarinetsforwhichitwaswritten.
andbecameacriminologistassociatedwiththeLegalFacultyoftheFreeUniversityofAmsterdam.Thesedayshe’s
gladtobeknownas“Frid’sson,”andenthusiasticallypromoteshisfather’smusiconwww.gezafrid.com.
3
ThededicateeofGézaFrid’sConcerto,clarinetistGeorgePieterson,sadlypassedonin
Aprilof2016;thisprojectisintendedtobeafittinglaudationtohisexpertiseandenthusiasmin
teachingagenerationofprofessionalclarinetistsintheNetherlands,includingtheauthor.
Asaseven-yearoldprodigy,GézaFridgavehisfirstpublic
pianoperformancesintheHungariantownofhisbirth,
Máramarossziget.2ThedirectorofthelocalmusicschooltookGéza,
whoapparentlyplayedeasilyfrommemory,underhistutelage.Frid
laterrememberedthesefirstmusicalexperiencesbeing“mostly
gypsy-likeHungariansongsofdubiousquality”.Inordertosharpen
Géza’seducation,thefamilymovedtoBudapestin1912whenGéza
waseightsothathecouldstudyattheFerencLisztAcademyof
Music.3
DuringhisstudiesinBudapest,Gézabecameastarstudentof
Firstperformanceasa
childprodigyinSziget
inJune1912
GézaFrid,InTachtigJaar
(Naarden:Strengholt’s
Boeken,1984),45
BélaBartók(piano)andZoltánKodály(composition).EvenafterhisdeparturefromHungary,
heremainedclosetotheserenownedcolleagues.4Hisfinalexamsin1924wereinpianoand
composition;hewasthefirststudentinthehistoryoftheacademytotakeexamsintwo
subjectssimultaneously.
2
GézaFrid,InTachtigJaar(Naarden:Strengholt’sBoeken,1984),5.MáramarosszigetwaswithinHungarian
boarderswhileFridlivedtherefromhisbirthonJanuary25,1904until1912,whenhisfamilyleftforBudapest.
Since1918,MáramarosszigetisconsideredpartofRomania.
3
TheGézaFridFoundationwebsite:http://gezafrid.com/uk/brief-biography(accessed11/08/16)
4
Frid’spersonalaccountsofhisexperienceswithBartókandRavelareincludedinhisbookOoginOogMet…
4
NaziescalationinHungarymadeitimpossibleforGéza,aHungarianof
Jewishorigins,toremainattheschool.AfterspendingtimeinFranceand
ItalyandcompletingaseriesofEuropeanconcerttourswiththeviolinist
ZoltánSzékely,GézasettledforgoodinAmsterdam,theNetherlandsin
1929.5In1937hemarriedthesingerandpianistEllavanHallinhis
hometown,Amsterdam,andin1939theirson,Arthur,wasborn.6
DuringtheyearsoftheGermanoccupationoftheNetherlands
(1940-1945),Fridwasforbiddentoperformpublicallyandtravel.
ArthurFrid,sonof
GézaFridandElla
vanHall,bornin
1937
GézaFrid,InTachtigJaar,
86
EventuallyhewasforcedtoweartheJewishstar.Fridpassedthese
depressingmonthsandyearsoftenplayingendlesscardswithcompanions.Despitethecold,
fearandhunger,Fridorganizednearlyfiftyclandestinehouseconcertsofteninexchangefor
food.Fridwasanactiveparticipantinthemusicians’resistanceandmadecounterfeitfood
stampsandidentitycards.MiraculouslyheavoidedthefateofsomanyJewishpeoplein
Holland,andescapedarrestanddeportation.7
Inhisautobiography,Fridrelateshowhereachedacrisispointduringtheworstyearof
thewar,1943.Uncomfortablewithaninfectionofthecornea,hebelievedthatthechancesof
5
GézaFrid,InTachtigJaardeWereldRond,Naarden:Strengholt’sBoeken,1984,47.
ZoltánSzékely(1903-2001)wasaHungarianbornviolinist;astudentofKodály.Bartók’sViolinConcertoNo.2was
dedicatedtohim.Asheconfessesinhisautobiographyof1984,partofFrid’sdecisionrelatingtochoiceof
locationrelatedto“theexceptionalandformestillacuteattractionofDutchgirls!”
6
http://gezafrid.com/beknopte-biografie/
7
ArthurFrid,“DiebekendeHongaarseNederlander,”[TheWellKnownHungarianDutchman]inVervolgde
ComponisteninNederland,[PersecutedComposersintheNetherlands]ed.CarineAldersandEleonorePameijer
(Amsterdam:AmsterdamUniversityPress,2015),87-92
5
himsurvivingthewarwereminimal.Atthispointhecomposedapoemexpressinghispersonal
struggleduringthisperiodofhislife:
1943
Betweenfourwalls
Trapped,inanguishofsoul,
Bysmallandlargeworries,
Spirituallybroken,withouthope.
PerhapsIshallsurvive,perhapsnot.
IfIdo,withoutscars?
IfIdon’t,whichdark
Painfuldeathawaitsme?
Eternalfear,yearningforfreedom
Andespeciallyforrevenge,anincreasingly
Stronger,slowlygrowing
Unbearabledesireforvengeance:
Murder,rape,rage,
Love.Work.
Betweenfourwalls
Trapped,inanguishofsoul.8
Frid’s291pageautobiography,appropriatelynamedAroundtheWorldinEightyYears,
describeshisexperienceswhileonworldwideconcerttoursasaconcertpianistand
accompanist.9FridwasthefirstDutchartisttovisitIndonesia(1948)wherehegavemorethan
fortyconcertsandpianorecitalsduringatwo-monthperiod,andevensubstitutedforthe
indisposedconductoroftheRadioPhilharmonicOrchestraofJakarta.10Toursin1951and1956
sawFridagaininIndonesiaassoloist.FridmadeadditionalconcerttourstoItaly,Thailand,
8
GézaFrid,InTachtigJaar,p.75.TranslatedfromDutchbytheauthorofthispaper.
GézaFrid,InTachtigJaar.
10
ThiswasduringtheIndonesianwarforindependencefromtheNetherlandswhichlastedfrom1945-1949!
9
6
Egypt,Israel,SouthandNorthAmerica,Turkey,Surinam,theDutch
Antilles,Washington,andHungary.11Fridperformedas
accompanistforprewarstarsingersIlonaDurigoandElisabeth
Schumann;hewasduopartnerwithpianistLuctorPonseand
recordedBartók’sSonatafortwopianosandpercussionwithAntal
DorátiandmembersoftheLondonSymphonyin1960.12As
regularaccompanistforsopranoErnaSpoorenberg(1925-2004),
Fridtraveledin1963totheSovietUnion;togethertheywerethe
firstDutchmusicianstodoatourinthisregionafterWWII.In
1970FridandSpoorenbergtouredintheUnitedStates.13 Spoorenberg’shumorousbookDaarligjedanhasa
lighthearteddescriptionofherexperienceswithGézaFridasher
regularaccompanist.ShehadmethiminNijmegenatthehomeof
violinistZoltánSzélkelythat,asalittlegirl,shevisitedtogetthe
autographofthefamousviolinistandBélaBartòk(whohappened
ArtistscartoonofErna
Spoorenbergontheshoulders
ofGézaFridontheshoulders
ofTolstoy.
GézaFrid,OoginOogmet...:
Ontmoetingenmet7grootheden[Eyeto
EyeWith...:EncountersWith7Bigwigs].(
Amsterdam:Heuff,1976),11
tobevisitingSzélkelyatthetime).FridtooklittlegirlErnaandputheronhisshoulders;this
sherememberedallherlife.Frid,asayoungboyhadactuallyvisitedtheRussianauthor
Tolstoy,whoinhisturnhadputthelittlepianoprodigy,Géza,onhisshoulders.Laterduring
11
ToursincludedItaly(1926,1955,1965)ThailandandEgypt(1951),Israël(1962,1965,1967),SouthandNorth
America(1965,1967),Turkey(1965),SurinamandtheDutchAntilles(1970),Washington(1970,1974)and
Hungary(1971,1974).
http://gezafrid.com/beknopte-biografie/.
12
Frid,Tachtigjaar,p.65;Ibid,p.170.ThisrecordingisMercuryLivingPresence,CD434362-2,1995.
13
ErnaSpoorenberg,Daarligjedan.(DenHaag:Bakker,1962),33-46
7
rehearsalsGézaandErnarememberedthesemomentsasGézapokedfunatErnabysaying,
“Watchout!Youhavesatontheshouldersofamanwhohassatontheshouldersof
Tolstoy!”14
GézaFridwasoneofalargegroupofwell-knownDutchJewishcomposer/musicians
duringtheyearssurroundingWorldWarTwo.Manyothers,suchasLeoSmit,DaniëlBelinfante
andDickKattenburg,werenotsofortunate;pluckedfromtheirhomes,sentbytraintothe
deathcamps,theymoreoftenthannotperishedatthehandsoftheNazisduringthe
Holocaust.TheLeoSmitFoundationwasorganizedin1996inordertopromotethemusicof
composers,suchaFrid,whowerepersecutedduringWWII.15TheLeoSmitFoundation
website,offeredessentialinformationusefulinthepreparationofthisproject,andultimately
ledtotherediscoveryofFrid’sConcertoforClarinets.16TheUilenbergerConcerts,yearly
concertsinAmsterdamfeaturingtheLeoSmitensemble,arededicatedtonewornewly
discoveredmusic,especiallythatofpersecutedcomposers.17
TheGézaFridFoundationwasestablishedbyArthurFridin1998inorderto“attractthe
attentionofthepublictotheextensiveandvariedoeuvreofthecomposerGézaFridandto
secureanenduringpositionforthisintheDutchandinternationalmusicworld.”18The
14
Ibid,p.37.
TheLeoSmitFoundationsitepublishesalistofpersecutedcomposersofexcellenceandhassuggestionsfor
musiciansinterestedinprogrammingtheirworks.Thispaperistheresultofcrossreferencingthislistwith
manuscriptsavailableattheNederlandsMuziekInstituutofTheHague.http://leosmit.org/componisten.php
(accessed11/12/16)andhttp://www.nederlandsmuziekinstituut.nl(accessed11/12/16).
16
http://www.leosmit.org/.
17
UilenburgerConcertsarenamedforthefirstperformancevenue,theUilenburgerSynagogueinAmsterdam.
PerformancescurrentlytakeplaceintheSplendorontheNieuweUilenburgerstraat116inAmsterdam.This
modernvenueisarestoredbathhouse;assplendoramsterdam.comadvertises:“aclubforallvarietiesofmusic,
conceivedofandestablishedby50topmusiciansandtheiraudiences.Splendorisameetingpoint,aclub,awork
place,amusicallabandmuchmore.http://splendoramsterdam.com/over-splendor/(accessed11/12/16).
18
http://gezafrid.com/uk/brief-biography/(accessed11/08/16).
15
8
Foundationmaintainsamultilingualwebsite(Dutch,HungarianandEnglish)wherebiographical
snippetsandmusicexcerptscanbefound.Aquoteonthesiteadmirablysumsuptheman
GézaFrid:
GézaFridwasaneruditemanwithunmistakableflair,aDutchmanwhoneverbeliedhis
origins,bonvivantandwidelyreadloverofliterature.Artistinheartandsoul,a
romantic,too,whocoupledanexceptionalexpertisewithanequallyexceptionalsense
ofhumor.Hismusicbreathesthis!19
The116pieceslistedontheGézaFridFoundationwebsiteareproofofhisextensive
andvariedoeuvre,makinghimakeyfigureintheworldofpost-warDutchmusic.20Hismusical
stylecanbecharacterizedbyhisstrikingsenseofrhythmandhismelodiccreativityrootedin
thefolkidiomofhisnativeHungary,clearlyinspiredbyBartók,DebussyandRavel.Thequality
ofhisworkwassoughtafterandoftencomposedoncommission.21
Hischambermusicincludesfivestringquartets,severalpiecesfortheviolinandthe
piano,aswellasvariousgroupingsforwindinstruments;additionallytherearenumerous
worksfororchestra,operaandballetmusic,inadditiontonumerousvocalworks.Besidesthe
ConcertoforClarinetsOp.82,Frid’schamberworksspecificallyincludingtheclarinetarethe
19
Ibid.
0pus’1to108;8arewithoutOpusnumber.
21
DutchviolinistChristiaanBordescribesthepowerofFrid’smusicinanarticlehttp://gezafrid.com/wpcontent/uploads/2001-Christiaan_Bor_over_Frid.pdf(accessed11/11/16):“ThepowerofFrid’smusicisinthe
conciserhythmandexcitingrhythmicalcontrasts.Likehisteachers,FridalsousedtheHungarianfolklore.Frid’s
musicisfilledwithspiritandmomentum,makinghispiecesveryalivesounding.Additionally,hiscompositionsare
extremelywellconstructed.Fridbelongedtoasmallgroupofcomposerswhopracticedtheirprofessionverywell.
Duringhislifetime,hehadgreatsuccesswithhiswork.”
20
9
SerenadeforWindsOp.4(1928),RhapsodieOp.42forclarinetandpiano,MetamorphosenOp.
54a(1963),andtheSextetOp.70(1965)22.
OftenpremièresofFrid’spieceswereinBudapest,buttheOrchestralSuite,Opus6had
aninternationallifeofitsowninitiallybeingperformedinParisbyPierreMonteux,then
followedbyperformancesbytheConcertgebouwOrchestrainAmsterdamandtheBoston
SymphonyOrchestrainNewYork.23TheConcertgebouwOrchestraofFrid’shometown
Amsterdam,hasperformedthemusicofGézaFrideleventimesduringa56-yearperiod.
GézaFrid’smusicwaswelllikedduringhislifetimeandwasoftenprogrammedinthe
Netherlands,receivingawardsonmultipleoccasions.TheAmsterdamMusicPrizewasawarded
toFridtwice,in1949forhisParadouOp.28andin1954,forhisEtudesSymfoniquesOp.47,
bothforlargeorchestra.24
22
GézaFrid,“ConcertoforClarinets,”score,(TheHague:DonemusPublishing,1972),15minutes;Serenadefor
Winds,Op.4forflute,2clarinets,bassoonandhorn,14minutes;RhapsodieforClarinetandPianoOp.42.,9
minutes;MetamorphosenOp.54afor2flutes,2oboes,2clarinets,2bassoons,hornpiano,11minutes;Sextet,
Op.70forwindquintetandpiano;9minutes;https://webshop.donemus.nl/action/front/sheetmusic/2182
(Accessed11/11/16).
23
Frenchconductor,PierreMonteuxdedicatedhimselfduringthe1920’stoperformyoungDutchcomposers.In
thenineyearswhichheworkedinAmsterdam,heconductedFrid’smusicamongothers(includingHenriette
Bosmans,andLeoSmit,twocomposersalsopersecutedinWWIIyearsandwhosemusicisfeaturedonthe
LeoSmit.orgsite);JurjenVis,Silhouetten:DecomponistLeoSmit(1900-1943),Amsterdam:StichtingMuziekGroep
Nederland/Donemus,2001,p.192.
24
ReviewsofParadouOp.28:“…Thepremière,inthehandsofEduardvanBeinumintheConcertgebouw,
evidentlypleasedtheaudienceconsiderably.GézaFridhad–ararephenomenon–toreturntothepodiumthree
timestoacknowledgetheapplause.…”
AlgemeenHandelsblad,16October1949.
“…robustlyconstructed,melodiouslywarmandlyrical,andmoreovermostlucid.…”
H.N.,deMaasbode,16October1949.
“…Theperformancewasagreatsuccessforthecomposer,whichwasnotsurprising,foritisfreshandcandid
music,exceptionallywellexecuted,freeofweightyproblems.…”
BertusvanLier,HetParool,16October1949.
10
Frid’sVariationsonaDutchFolksong,Opus29forchoirandorchestrawasrewarded
withsecondprizeina1950compositioncompetitionrunbytheDutchWorldBroadcasting
ServiceandtheKoninklijkeNederlandseToonkunstenaarsVereniging(RoyalDutchMusicians
Association).StringworksbyGézaFridwerealsorecognizedfortheir
excellence;prizeswereawardedforhisSonataforViolinandPiano,Opus
50(fromtheMinistryofEducation,CultureandSciencein1956),hisThird
StringQuartet,Opus30andFourthStringQuartet,Opus30a(respectively
thirdprizein1951andafourthprizein1956attheConcoursInternational
àCordesinLiège).25In1990GézaFridwasawardedposthumouslythe
prestigiousBélaBartókprizebytheHungarianGovernmentforhis
completeoeuvreas“internationallyrenownedmusicianofHungarian
descent”.26Sadly,GézaFrid’smusichasbeenmostlyperformedonly
DickandChristiaanBor
athomewithGézaFrid,
1964.
http://gezafrid.com/fotos/
duringhislifetime.Friendandcolleague,violinistChristianBor,findsitregrettablethatFrid’s
ConcertoforThreeViolinsandOrchestra,whilebeingafantasticpiece,wasforgottenafteronly
afewperformances.27
CD’sfeaturingGézaFrid’smusichaveappearedinrecentyearsaspartofwhatthe
DutchnewspaperTheVolkskrantcalledafledgling“FridRenaissance”.28In2001,aweekendin
25
http://gezafrid.com/beknopte-biografie/(accessed11/15/16).
http://gezafrid.com/beknopte-biografie/(accessed11/10/16).
27
InthewordsofChristianBor:“Eenhartstikkegoedstuk....Helaasishetdaarnaindevergetelheidgeraakt.Heel
jammer.”[Afantasticallygoodpiece….Sadlyithasbeencondemnedtooblivion.Suchapity].
http://gezafrid.com/wp-content/uploads/2001-Christiaan_Bor_over_Frid.pdf.
28
ArthurFrid,“DiebekendeHongaarseNederlander,”[TheWellKnownHungarianDutchman]inVervolgde
ComponisteninNederland,[PersecutedComposersintheNetherlands]ed.CarineAldersandEleonorePameijer
(Amsterdam:AmsterdamUniversityPress,2015),87-92.
26
11
the
Dutch
cityof
GézaFridChoral
Works,CD,
(Budapest:Hungaraton
Records,2005)
EindhovendedicatedtoGéza
FantasiaTropica:
FourString
QuartetsofGéza
Frid,CD(Budapest:
Budapest–
Amsterdam
ChamberMusicof
GézaFrid,CD
HungaratonRecords,
2013)
(Budapest:Hungaraton
Records,2009)
Frid’s
musicbroughtsomewell-deservedattentiontosomeofhisorchestralandchambermusic.29
Thetimeisripeforthe“FridRenaissance”toincludehisConcertoforClarinetsOp.82.
Composedin1972forConcertgebouwOrchestraprincipleclarinetistGeorgePieterson,this
workcallsforthesoloisttoperformsequentiallyonfourdifferentmembersoftheclarinet
family,theA,B-flat,E-flatandBassclarinets.Thepieceeffectivelyexploresthewholegamutof
29
http://gezafrid.com/uk/arthur-frid-father/(accessed11/12/16).
12
clarinetrangeandcharacter.Inhisprogramnotesforthispiece,Friddelightsintheuniqueness
ofthisunusualrequestofthesoloist:
“AsfarasIknow,untilnow,notasinglecomposerhasattempted,especiallynotina
solowork,tohavethefourclarinetsplayedbyonesoloist.Idaredtodothisonly
becauseofthecurrenthighartisticlevelofclarinetplayingandtheavailabilityofa
numberofexceptionallygiftedtoplevelplayersintheNetherlands.”30
SolelytheAclarinetisusedinthefirstmovement,Allegrorisoluto,insonataformwitha
shortintroductionandacadenzausinganinventionofGeorgePietersoncalled“tremolo
speciale.”Theslowmovement,Andantecantabile,stillfeaturestheAclarinetand,asFrid
describesinhisownprogramnotes,isa“ternarysongformintroducedbyaviolintutti.”31The
bassclarinetmakesitsappearanceneartheendoftheAndantesingingthecantilenainalower
range.ThefinalmovementAllegrettopesante,isthemostcomplexmovementregardingform
aswellasinstrumentusage.ThetwothemegroupsoftheexpositionareforB-flatclarinet.
Duringthesecondtheme,thesoloinstrumenthasasecondaryrole.TheE-flatclarinet
accompaniesastringpizzicato-fuguewithshrillcountermelodies.Reminiscencesofthefirst
twomovementsfollowwiththeAandbassclarinets.TheB-flatclarinethasthefinalwordina
shortfugatowhichroundsoutthepiece.32
Movement
1.Allegretto
risoluto
DiagramofConcertoforClarinets
ClarinetsUsed Form
A
ShortIntroductionm.1-14
Sonataform
Exposition
ThemeAm.15
ThemeBm.33
30
GézaFrid,programnotesaccompanyingDonemuspublicationofthescore,op.82.
https://webshop.donemus.nl/action/front/sheetmusic/6258(accessed11/30/16)
32
Ibid.
31
13
ClosingThemem.41
Developmentm.59
Cadenzawith‘tremelospeciale’m.
108
Recapitulation
ThemeAm.125
ThemeBm.131
ClosingTheme(augmented)m.135
2.Andante
3partsongform
cantabile
A
ThemeA:m.1
ThemeB:m.29
Bass
ThemeA:m.47
3.Allegretto
SonataForm
pesante
Exposition
B-flat
ThemeA:m.1
ThemeB:m.21
Development
E-flat
StringpizzicatofuguewithE-flat
countermelodym.70
Recapitulation
A
FromMovement1:m.112
Bass
FromMovement2:m.126
B-flat
Fugato:m.138
Generally,Frid’swholeoeuvreandspecificallyhisConcertoOp.82,demonstratethe
deepinfluenceofBélaBartók;thestyleandinfluenceofHungarianfolkloreareclearlyevident
inallofFrid’sworks.Ashisstudent,FridaccompaniedBartókonhisfamousjourneys
searchingforauthenticHungarianfolksongsanddances;Géza’semergingmusical
developmentwasfundamentallyinformedbythesefolksongs’rhythmandmelodicline.33
RhythmicmotivesoriginatingfromHungarianfolkdanceoftenprovidetheinspirationalseed
33
WouterPaap,“TheComposerGézaFrid,”MensenMelodie25no.4,(1970):101.
14
foreachofFrid’scompositionsincludingtheConcertoforClarinetsOp.82ascanbeseenfrom
thefollowingpulsingexcerptfromthefirstbarsofthepiece:34
Example1
Dynamicandmotoricrhythmicmotivefromfirstmovement
InFrid’smusic,thisdynamicandmotoricmotivetypicallycontributestowardsthematic
development,which,accordingtoFrid’scolleagueandMensenMelodieeditorinchief,Wouter
Paap,oftenprogressesalongviaacontrapuntalroute,wherethemeswrestleandanswer,
mutuallysynergizingtheother.35Inthefollowingexampleweseethisprocesshappen,wherea
figurefromthefirstmovementreturnsinthefinalmovementinthecontrapuntalformofa
fugato:
34
AllmusicexamplesarefromtheGézaFrid,Concertvoorclarinettenenstrijkorkest.(Amsterdam:
Donemus,1973).(LicensetoperformissuedtoKarenLuttik)
35
Ibid.
15
Example2
Firstmovement
Thethemefromthefirstmovement
isexpandedinthelastmovementin
afugato.Therhythmisamirror
imageatfirstthencontinuesin
runningsixteenthsinafugato.
Example3
Lastmovement
16
HarmonytendstobesubservienttorhythminFrid’smusic.Furthermore,sincethe
diatonicworldofHungarianfolksongwassuchaninfluenceforFrid,hecouldnotwhollyfindhis
musicalvoiceintheatonalworldofSchönbergorWebern,althoughsomeofhiscompositions,
Seventympaniandabrassband,andSymfoniëttaforexample,makeanattemptatreconciling
thetwelvetonesystemwithtonality.36Fridrecognizedthattheexperimentalatonalityofhis
contemporarycomposercolleagueswassomethingforhimtoexplore,whichheconsciously
did.Hismottowas:“Lookintoallthingsandretainthegood.”37
UniquelycharacteristicofFrid’smusicishissparseinstrumentation.InhisSuitefor
Orchestraforexample,differentorchestralgroupingsperformtogether;aPassacagliaisfor
stringsandharp,aScherzoforwinds,andanAriaforoboesolo.TheFinaleofthispiecepowers
forthasaperpetuummobilewithatypically“Fridian”powerful,rhythmicallyadamant
characterwhichisfoundinmuchofhismusic.38InOpus82,Fridonlycallsforastringorchestra
withthesoloclarinets.
AseditoroftheDutchmusicjournalMensenMelodiefrom1946-1973,WouterPaap
(1908-1981)knewandappreciatedFrid’smusicandwritings.Ina1970articlefocusingon
Frid’smusic,henotesthat,althoughFridhademigratedtotheNetherlandsandwasespecially
36
Ibid;Ibid,p.103.
“Onderzoektalledingenenbehoudthetgeode”,Ibid,p.103.
38
Ibid,p.100.
37
17
respectedbyDutchmusiciansofthetime,heretainedhisownmusicalvoiceandavoided
veeringtowardsthetypicallyDutchcalmstateofmindeitherpersonallyormusically.Paap
recognizestheadvantageousinfluenceFridhadonDutchcomposerswithhisbrightanddeeply
coloredmusicalpalate.39Fridlovedmusicalcontrasts;thecadenzainthefirstmovement
featureswildandinventivewritingfortheclarinetexpandingfromthelowesttooneofthe
highestnotesontheinstrument(lowEtohighF-sharp).40Incontrasttothistherecapitulation
atm.125returnswithitscalmpulsingmotivewhichexpandsfromthesmallestofintervals,a
halfstep(F-sharp---E-sharp)toadiminishedfourth(E-sharp--A).
39
Ibid;Ibid.
GézaFrid,“PleidooivoordepianocompositiesvanBartók,”MensenMelodie2,no.11(November1947):342.
Ina1947articlepromotingBartók’spianocompositionsinanagewhentheyweren’tfamous,Fridmentionshis
piecesFortheChildrenandMikrokosmos;hepointsoutthatdespitetheirbrevity,thesepiecesarenotonly
musicallybutpianisticallyworthwhile.Theirstrengthlies,hebelievesintheirwealthofcontrast.Hefollowed
Bartóksexamplehereaswell;Frid’sConcertoforclarinetsisalsorichincontrast.
40
18
LowE
HighF-sharp
Registralextremesfromlowesttohighestnotesinfirstmovementcadenzawith
“tremelospeciale”
Example4
Extremecontrastinfirstmovement
Recapitulationwithonlyslight
intervalexpansionfromminor
secondtodiminishedfourth.
19
TheMarch1960issueofMensenMelodiefeaturesanarticlepennedbyGézaFrid
entitled“TheGoldenRatioandFormRelationshipsinArt”.41Fridremindshisreadersthatthis
ratiohasbeenpleasingtotheeyeinvisualartforcenturies,andsuggestsitspractical
applicationinmusic,forinstance,bymultiplyingthenumberofmeasures(orinmodernmusic
thenumberofmetricunits)by0.618.42
FridpointsoutthattheHungarianmusicologistandBartókspecialistErnöLendvaimade
surprisingdiscoveriesrelatingthegoldenratiotoBartóksmusicandwroteextensivelyabout
theminhisbookBartókstilusa.43LendvaianalyzesBartók’sSonatefortwopianosand
percussioninreferencetothegoldenratioandsuccessfullyillustrateshowBartókfollowedthis
principletotheminutestdetailofthepiece.Onthebasisofthis,Friddecidestoanalyzethe
greatclassicsofHaydn,MozartandBeethoven
usingthegoldenratio.Hegoesevenfurtherand
A
suggeststhatexperiencedcomposerscandecide
howlongtheirpiecesshouldbebyusingthis
formulaasdescribedinthefigureshownhere:44
Ratiosofthegoldenratio:
theratioof(A)to(B)is
equaltotheratioof
(B)to(A)+(B).
Forgoldenratiomultiplyby
0.618.
B
41
GroveArtOnline.OxfordArtOnline.OxfordUniversityPress,accessedNovember12,
2016,http://www.oxfordartonline.com.ezproxy.bu.edu/subscriber/article/img/grove/art/F012253.
42
GézaFrid,“DeGuldenSnedeendeVormverhoudingenindeKunst”,MensenMelodie,1960,p.68-69.
43
ErnöLendvai,BélaBartók:Ananalysisofhismusic.London:Kahn&Averill,1971.
44
GézaFrid,“DeGuldenSnedeendeVormverhoudingenindeKunst”,MensenMelodie,1960,p.68-69.
Onceaturningpointisreachedinthecomposition,thecomposershouldcountthenumberofmeasure
anddivideby0.618andhewillknowhowmanymeasurestostillcompose!
20
OnemightthenassumethatFridadoptedthisfundamentalformulainhisown
compositions.Meaningfulmusicaleventscanindeedbefoundnearthegoldenratiomoments
ineachmovementofOpus82.45
Movement
Numberof
Measuresin
movement
I.Allegretto
risoluto
148
II.Andante
cantabile
III.Allegretto
pesante
Apply
Golden
RatioFormula
(…..X.618)=
GoldenRatiomeasure
Measure91
EventnearGoldenRatio
66
Measure40
Measure41accelerandotofermata
endingtheAclarinetmelody;
switchtobassclarinet
193
Measure119
Measure121endstheAclarinet
melody,switchtobassclarinet.
Measure126meterchange.
Measure89pocomaestosometer
andtempochange
AnotherofBartók’sideasthatdeeplyinfluencedFridwashisnotionthat,“Eachmusical
soundoriginateswithamovingobject,whichproducessound.Thecloserthesoundproducing
objecttothehumanbody,thebettersincethehumanelementmaintainsdirectcontrol.”46
45
ArthurFrid,“DeGuildensnedeendeVormverhoudingenindeKunst”,MensenMelodie,1960p.70
Fridfindsitappropriatetosearchforacomposition’s‘high’or‘low’pointnearthegoldenratio;“The
conclusionisthattheturningpointrepeatedlyintheneighborhoodofthegoldenratiomeasure,nearly
nevermorethan16measuresbeforeorafter;namelyinlargerworks(asonataorrondo)nearthereprise,
inmenuettiorscherzobetweentrioanddacappo,inslowmovementsbytherepriseoratthedynamic
highpoint,andinthemeandvariations,mostlybeforeoraftertheslowvariation.Ihavealsofounda
strongcorrelationinromanticperiodworks,possiblywithawidergap,astrikingsimilaritybetween
mathematicalandmusicalhighpoints.
46
GézaFrid,“BartókendeAvant-Garde”,MensenMelodie,1970,p.105.
Bartókmaintainedthat‘Themostdirectconnectioniswithoutadoubtthehumanvoice,…lessdirectisthe
connectonwiththewindsandstrings….theharpandpianohaveevenlessdirectcontactwiththeharp
andpianobeingtheworst.’
21
Soundproductionontheclarinetinvolvesthesamelungs,musclesandairusedforthe
humanvoice,withtheclarinet’sreedreplacingthevocalchords.ForFrid,thismeantthatthe
clarinetfamilywasonlyonestepremovedfromthehumanvoiceandwasthusanaturalchoice
forhisconcerto!OthersimilaritieswithBartók’smusicincludedancelikerhythmssuchasthe
clarinet’sopeningthemeinthefirstmovement(seeExample1above),virtuosowindwriting
suchasthecadenza,andhistendencytocomposeforthewholeclarinetfamily.47
FridwasbusywithhisDuoforviolinandcelloOpus80(1972)atroughlythesametime
ofhisConcertoforClarinets,Op82.ThisDuorepresentsFrid’sthinkingaboutcomposing
duringthetimethathewrotetheConcertoforClarinets.Althoughhenolongeradheredto
stricttonalityintheDuo,hestillemployedstandardforms,suchassonataformtoorganizethe
middlemovement.Unusualinstrumentaltechniquessuchasspiccato,tremoloandglissando
arefeaturedintheDuo.Thedifferentcharactersoftheviolinandcellofeatureprominentlyin
theDuoandthemusicisunmistakablyHungarianduetoitscharacteristicrhythmicdriveand
manyunisonpassages.48
Likewise,theConcertoforClarinetsshowssimilartendencies;traditionaltonalityis
absent,yetheusestheconventionalvehiclesofsonataformandternaryformtoshapethe
movements.Theuniquesonorityofeachclarinetismeaningfullyexploitedtocreatecharacter
diversity;theAclarinethasthebulkofmaterial,withexcursionstothelowdepthsofthebass
clarinetsoundinthesonglikemiddlemovement,andtotheshrillE-flatdecorationsofthelast
47
Bartók’sduetmovementGiuocodellecoppieinhisConcertoforOrchestrafeaturesvirtuosowindwriting;Bartók
usesE-flatandbassclarinetsinBluebeardandMiraculousMandarin.
48
MiepZijlstra,“GézaFrid:70jaar”,MensenMelodie,March,1974,p.90.
22
movement.Unusualinstrumentaltechniquesaboundintheformofglissandos,andflutter
tongue,aswellapreviouslyunheardof‘tremolospeciale’developedbydedicateeGeorge
Pietersonspecificallyforthispiece.
Ina1950articleinMensenMelodie,Fridclearlyexpressedthreepointsofopinionregardingthe
placeofmelodyinacomposition.Frid’spoints,translatedfromthisarticle,arereflectedinhisConcerto:
1.
Notonlymelody,butalsorhythmaswellascolor(whichlaterdevelopsinto
harmony)belongtotheprimarylanguageofmusic.
2.
Amelody,evenifverybeautiful,onlydeservestoexistifitisweavedintothe
thematicmaterialofthecomposition…thatistosay,ashortandpregnantmotiveeven
ofonlyafewtonescaneventuallysupportmeaningfulharmonies,andcanplayamuch
biggerroleinthethematicmaterialthanalongmelodicline.
3.
Composerswhohaveaspecialtalentformelody,butlessskillinotherareasof
composition,oftenfallshortintheirreputation.Andtheoppositeistrue:composers
whowriteshortmelodicfragments,yetarestronglydevelopedinharmonic,rhythmic
andcontrapuntalareascancomposemasterworks.49
WhileFridheldcloselytoallthreeofthesepointswhencomposinghisConcertofor
ClarinetsOpus82;thispaperwillfocusonhisfirstpointaboutrhythmandcolorbelongingto
theprimarylanguageofmusic.Examplesillustratingthispointcaneasilybetracedfromthe
firstmovementofOpus82.Theconcertofeaturesmelodicmotivesthatarerhythmically
important:allhaveforwardmomentumandbuildtoaclimaxinthemiddleofeach
movement.50Theconcertoalsofeaturescolorinspecialinstrumentaleffectsandtimbre.
49
GézaFrid,“OverdeAchteruitgangvanhetMelodischeElementindeHedendaagseToonkunst”,Mensen
Melodie,1950,p.105-106.
50
GézaFrid,“Uitgeteld?”,MensenMelodie,1971,p.123.
Inapieceaboutthedangersofstudentsusingametronome,Fridopinesthatcountingorlistingtoclicks
isunnecessarybecause‘themusiccountsitself!’Hebelievesthatagoodpieceofmusicshouldhavea
23
Thefirstmovement,Allegrettorisoluto,hasgreatforwardmomentumduetoa
developingrhythmic‘pickup’motive:Thesixteenthnotefigureatm.19encompassingan
intervalofathird,leadstorepeatedpickupmotivesinm.41andlatertheinvertedand
intervalicallyexpanded‘pickup’motivewithgracenotesatm.65.
Firstmovement:pickupmotivem.19
Firstmovement:pickupmotivem.41
Firstmovement:invertedpickupmotivewithgracenotesm.65
ExamplesofFrid’suseofwildcolorcanbefoundinthefluttertongueand“tremelospeciale”
passagesinthecadenzaofthefirstmovement.51
Firstmovementcadenzawithfluttertongueand‘specialtremolo’
continuousmovementwhichfunctionsasapulsetodeterminemeterandcharacter.Op.82isagood
exampleofthiscontinuouspulse.
51
“tremelospeciale”isdiscussedindepthonpage…
24
Thesecondmovement,Andantecantabile,againfeaturesforwardmomentuminrhythmic‘pick
up’motivesrangingfromquartersinmeasureone:
Secondmovementpickupmotiveinquarternotes
To32ndnotepickupmotivesatm.29:
32ndnotepickupmotives
Expandingtotripletpickupm.35:
Tripletpickupmotives
Pickupmotivesreachaclimaxatm.41:
Climaxofpickupmotives
25
Besidesthestrongrhythmicdrivecharacterizinghisconcerto,otherelementsreturning
repeatedlyinthepiecelendflavortoFrid’suniquemusicalvoice.Forinstance,Fridenjoys
shiftingrepeatedintervals,especiallyingracenotefigures.Inthefirstmovement,ingrace
notesintheclarinet,hewidenstheintervalofanaugmentedsecondbetweenB-flatand
C-sharpinmeasure128tothatofatritoneG–C-sharp:
Firstmovement,m.128intervalexpansion
Inthethirdmovementatmeasureninety,healternatestheintervalinrapidclarinetgrace
notesbetweenamajorandaminorthird,A-C-sharpandA-Cnatural.
Thirdmovementm.90
26
Fridalsoseemstobetoyingwiththeideaofaccentpatternssuchas
AccentPatterns
Long
Ʋ
Short
dactyl,iamb,anapest,andtroche.Thesepatternsarecommonly
foundinhisnativelanguage,Hungarian.52
ʋʋ Dactyl‘merrily’
ʋ
Trochee‘happy’
ʋ Iamb ‘away’
ʋʋ Anapest‘seventeen’
Dactyl(Lowernotes)andiamb(uppernotes)accent
patternsinmeasure60-70,firstmovement
Iamb,dactyl,trocheeandanapestaccentpatternsinthirdmovement,
measures20-25
52
Dactyl:Ametricalfootofthreesyllables,onelong(orstressed)followedbytwoshort(orunstressed),asin
happily.https://www.teachervision.com/poetry/resource/10389.html(accessed11/25/16);
Iamb:Ametricalfootoftwosyllables,oneshort(orunstressed)andonelong(orstressed).Therearefouriambsin
theline"Comelive/withme/andbe/mylove,"fromapoembyChristopherMarlowe.(Thestressedsyllablesare
inbold.)Theiambisthereverseofthetrochee.https://www.teachervision.com/poetry/resource/10389.html#s
(accessed11/25/16).
Anapest:Ametricalfootofthreesyllables,twoshort(orunstressed)followedbyonelong(orstressed),asin
seventeenandtothemoon.https://www.teachervision.com/poetry/resource/10389.html(accessed11/25/16).
Trochee:Ametricalfootoftwosyllables,onelong(orstressed)andoneshort(orunstressed).Aneasywayto
rememberthetrocheeistomemorizethefirstlineofalightheartedpoembySamuelTaylorColeridge,which
demonstratestheuseofvariouskindsofmetricalfeet:"Trochee/tripsfrom/longto/short."
https://www.teachervision.com/poetry/resource/10389.html#s(accessed11/25/16).
27
TheharmoniclanguageofOpus82isoftendrawnfromtheoctatonicandhexatonic
scales.This,coupledwithextendedtertiansonoritiesfoundinthemelodicandrhythmic
motives,withinarichchromatictexture,makesupforthemusicalbuildingblocksofthepiece.
TheoctatoniccollectionwasafavoriteofBartókandthe
octatonicisaregularlyrecurringelementthatlendscohesiontoFrid’s
Opus82.53Adistinctivefeatureof8-28(0134679T)isthatitis
symmetrical,bothtranspositionallyandinversionally.Itmapsonto
Octatonic
scale
itselfatfourlevelsoftranspositionandfourlevelsofinversion;hence,
itonlyhasthreeformsthatareidentifiedwiththelowestpitch-class
semitonethatuniquelydefinesthem:54
OCT₀ ₁:[0,1,3,4,6,7,9,10]
OCT₁ ₂:[1,2,4,5,7,8,10,11]
OCT₂ ₃:[2,3,5,6,8,9,11,0]
ManysubsetsinOpus82areoctatonicinnature,forinstance,thefournotesatthebeginning
oftheclarinetentranceatmeasure15withinthefirsttheme,C-sharp--E-flat--F-sharp--A(0258)
arefromOCT₂ ₃:
Firstmovement,clarinettheme,measure15
OCT₂₂ ₃
53
http://soundmath.blogspot.com/2010/05/geometry-in-music.html(accessed11/23/16).
JosephN.Straus,IntroductiontoPost-TonalTheory(ThirdEdition),UpperSaddleRiver,NewJersey:Pearson,
PrenticeHall,2005,144.
54
28
Theclarinetlineinmeasures89-99ofthefirstmovementisanexamplebasedwhollyonthe
followingoctatonicscale:
Firstmovementmeasures89-94fromOCT₀₁
Firstmovementfrommeasure89,drawnfromOCT₀₁collection
TheHexatonicCollectionSetclass6-20[014589],acommoncollectioninposttonal
musicisalsotranspositionallyandinversionallysymmetricalatthreelevels,resultinginfour
versionsofthissetclass:55
HEX₀
HEX₁
HEX₂
HEX₃
₁[0,1,4,5,8,9]
₂[1,2,5,6,9,10]
₃[2,3,6,7,10,11]
₄[3,4,7,8,11,0]
55
Straus,149.
Hexatonic
29
Thehexatonicscalewhenwrittenoutconsistsofintervalsof1’sand3’s:
Similartotheoctatoniccollection,becauseofits
transpositionalcharacteristics,thehexatonic
collectionhasalimitedtertianstructureconsistingofthemajorseventhchord,themajoror
minortriadandtheaugmentedtriad.ThesechordsarefrequentintheConcertoforClarinets,
resultinginmusicthatsoundssomewhattraditionalyetisbasedonthehexatoniccollection.
Aharmonicanalysisoftheconcertorevealstraditionalminorsoundingdyadsinmeasure45(B
–D)andmajorsoundingdyadsinmeasure49(F-sharp—A-sharp)ofthefirstmovementthat
togethermakeup(0148),asubsetofF6-20(014589),thehexatonicsetofnotes:
Firstmovement,measure49,F-sharp—A-sharp,
Asubsetofhexatonicset(014589)
Firstmovement,measure45,B--D
Asubsetofhexatonicset(014589)
30
Theaugmentedtriadsubsetofthehexatoniccollectionisfoundintheclosingthemeofthefirst
movementatmeasures135and138:
Firstmovement,measure135,
E-flat–A-flat--C--E(0148)
Asubsetofhexatonicset(014589)
Firstmovement,measure138,
G-sharp--C-sharp--E--A(0158)
Asubsetofhexatonicset(014589)
Morehexatoniccollectionsarefoundintheverticalandhorizontalviolinnotesofthesecond
movement.Themelodicnotesofmeasuresonetoeight:G-sharp--A--C--C-sharp--E--F(014589)
comprisethecompletehexatoniccollection.Theverticalchordsinmeasuresone,B--G—E--C
(0158),andtwo,A-sharp—F-sharp—F--C-sharp(0158),aresubsetsofthehexatoniccollection:
Secondmovement,measure1-8
Melody(horizontal)andharmony(vertical)aremembersofhexatonicset(014589)
31
Additionally,thelastchordofeach
movementarecomprisedofhexatonicnote
collections:
Secondmovementlastchord
C-sharp—E—G-sharp--C(0148)
Asubsetofhexatonicset(014589)
Firstmovementlastchord
A—E—A—E—C—G-sharp
(0148)
Asubsetofhexatonicset
(014589)
Lastmovementlastchord
B—D-sharp—F-sharp—A-sharp(0158)
Asubsetofhexatonicset(014589)
32
GézaFrid’sConcertoforClarinetswasperformedintheMainHalloftheConcertgebouw
inAmsterdambyGeorgePietersonwiththeDutchChamberOrchestraconductedbyDavid
ZinmanonFebruary24,1975.ReviewsofthepremierefromDutchnewspaperclippingsfound
inGézaFrid’sscrapbookshowthatthepiecewaswellreceivedintheNetherlands.56
“GeorgePieterson,forwhomthisfinepiecewascomposed,playedwithcomplete
technicalcontrolandevenwiththeadditionofanewconcept,the‘tremelospeciale.’
(B.LKullberg,NewspaperandDateUnknown)57
“Theexistenceoffourmembersoftheclarinetfamilywasreasonenoughforwhimsical
composerGézaFridtoincludethemallinamusicalwork.Theconcepttohaveone
soloistplayallfourtypesofclarinetwasanintriguingidea,onewhichdidn’tguaranteea
compellingpieceofmusic.Thethreemovement,18minutelongConcertoforClarinets
andStringsplayedbyGeorgePietersonandtheDutchChamberOrchestra,provedtobe
alivelyandconvincingwork,duetothevirtuosoperformanceofthesoloist,aswellas
thecreativeandmasterfulandtransparentstyleofthecomposer.”
(HugovanEeden,NieuwUtrechtsDagblad,Febuary24,1975)
“TheplayfulcharacterofFrid’screativelyinstrumentedConcertoisenlivenedbythe
gameofthesoloistwhojuggleswithfourclarinets.Dedicatee,GeorgePieterson,
performedhispartnotonlybrilliantly,butexpandeditwithhisowninventions,the
stunningtremeloeffectforinstance.Hecombinedtheprofessionalismoffourmaster
clarinetistsinone!”
(CornélieHonendervanger,EindhovensDagblad,February24,1975)
“’ConcertoforfourClarinets’isatitlewhichmakesitclearthatwearedealingwitha
composerwhowantstobeacomposerwhowantstoventureoffthebeatenpath.But
GézaFridgoesfurther;hecomposedthispieceforonesoloistwhosuccessivelyplays
theA,B-flat,E-flatandbassclarinets.Akindofartisticcircusroutine….nicelyand
playfullymusical,wherebythecomposerbetsonthetalentofaperformerlikeGeorge
Pieterson,towhomtheworkwasdedicated,andwhoisatthemoment,the
Netherlandsbestclarinetist.”(G.v.Z.,HetBinnenhof,February23,1975)
56
57
NewspaperreviewsoftheperformancearetranslatedfromtheoriginalDutchtoEnglishbytheauthor.
http://gezafrid.com/recensies-over-frid-cds(accessed11/27/16).
33
Followingtheinitialpremiere,arecordingofFrid’sconcertowiththesameperforming
forcesasusedinthepremierewasmadeonFebruary22,1975;thisrecordingwasbroadcast
viatheDutchWorldServiceandhassincebeenunavailableforpurchase.Luckily,anEnglish
clarinetistandresearcher,MichaelBryant,hastakenaninterestinforgottenandunpublished
works.Herespondedtotheauthor’sinquiryontheinternationalclarinetonlineforum
regardingFrid’spiece,spentmanyhourssearchinginhisattic,andeventuallyuncovereda
recordingoftheactualradiobroadcastofFrid’sConcertoforClarinets.58Thishekindlyshared
withtheauthor.59HearingPieterson’sperformancewasessentialindeterminingwhat
specificallywasmeantby“tremelospeciale.”
OneofthemoststrikingfeaturesoftheConcertoforClarinetsisFrid’suseofa
techniqueinventedbyGeorgePietersonspecificallyforthispiece,the“tremelospeciale”.In
hisownprogramnotesforthispiece,Fridincludedthephrase:“The‘tremelospeciale’usedin
thecadenzaisaninventionofGeorgePieterson.”60OntheDonemuseditionofthemusicthis
phraseisagainwrittenoutinthecomposer’sownhand:
“Tremelospeciale”asit
appearsinthescore
Notefollowingasteriskinscore
Translation:LicensedtoKarenLuttikforperformance
*TremelospecialeofGeorgePieterson
58
http://www.woodwind.org/clarinet/Help/Michael_Bryant.html(accessed11/19/16)..
GézaFrid,ConcertoforClarinets,withGeorgePieterson,B-flat,A,E-flatandbassclarinets,NederlandsChamber
Orchestra,DavidZinman,conductor,“DutchConcertRostrum,”RadioNetherlandsTheDutchInternational
Service,BobEllis,host,1975.
60
GézaFrid,programnotesaccompanyingDonemuspublicationofthescore,op.82.
59
34
Ontheprintedpage,theexactnatureofthe“tremolospecial”remainsamystery.Thewords
occurfourtimesinthecadenzaforAclarinetinthefirstmovement:
Tremelospecialeincadenzaoffirstmovement
Theoccurrencesof‘tremelospeciale’followtripletfigures,andfluttertonguednotes;these
eventsbuildoneachotherandcreateaclimaxinmeasure123.
PartoftheresearchforthisprojectinvolvedcontactingelevenofGeorgePieterson’s
previousstudents,hissonTaro,andwife;fewhadevenheardoftheFridConcertoandmost
knewnothingaboutthe‘tremolospeciale’.61Some,knowingGeorgePieterson,made
suggestionsastowhatthetremolocouldbe.
61
StudentsandrelativesofGeorgePietersoncontactedforthisresearch:Frankv/dBrink,ArnoStoffelsma,
MichaelHesselink,LuteHoekstra,JetteAlthuis,IvarBerix,CelesteZewald,HansColbers,CecileRongen,Henkde
Graaf,friendandcolleague,TaroPieterson,son,KarinVrielingeditorofdeKlarinet.
35
GézaFrid’sson,ArthurFrid,remembersvariousoccasionswhenGeorgePieterson
wouldcometotheFridfamilyhomeanddiscussandplaythroughfinishedportionsofthe
concertowithhisfather.Hebelievesthattheconcertowaspossiblyperformedafewtimesin
1975,butnotagainafterthat.62
DuringaradiointerviewonDutchWorldServiceGeorgePietersonmadesome
enlighteningstatementsthatprovetobehelpfulindeterminingthemeaningof“tremelo
speciale.”63InadiscussionabouthisownrecordingoftheBartókContrastsPietersonsaid,
“Sometimesitmightnotbeappreciated,butIamactuallylightlyhystericalbynature”;this
accountedforthehighlycontrastingmannerinwhichheperformedthepiece.Further,
Pietersonexplainedthat,“Ioftenletmyselfjustgototheextreme,andthentheplayingcan
passaboundarywhichyoucansometimeshear…..ButIalwaystrytofindtheextremesbecause
thatinterestsme.”64
OneofGeorgePieterson’sstudents,HansColbers,oftheHaguePhilharmonic,
remembersfromhislessonsthatGeorgetookgreatpleasurefromandwasveryinterestedin
changingthetimbreoflongnotesbytrillingwithapinkykey.65Thiscausesachangingeffectin
thequalityofthenote,butnotnecessarilyachangeinpitch.66Afterhearingtherecordingof
62
“Ofhetconcertvoorklarinettenvakerisgespeeld,konikhelaasnietergensvinden.Indatzelfdejaarwel,meen
ikmeteherinneren,maardaarnanietofnauwelijksmeer.”FromemailwithArthurFrid,Nov.5,2016.
63
AgainmanythankstoMichaelBryantforsendingthisauthorarecordingofthisinterviewfromhiswell-stocked
attic.
64
TranscribedfromRadiointerviewwithGeorgePietersonbroadcastonRadioNederland,2002.Tapefrom
MichaelBryant,whohasitfromPeterVloeimans,Leeuwarden,theNetherlands.
65
ConversationswithGeorgePieterson’sson,hisotherstudentsandDutchclarinetistswerealsoimportantinthis
research.Thanksverymuchto:Frankv/dBrink,ArnoStoffelsma,MichaelHesselink,LuteHoekstra,JetteAlthuis,
IvarBerix,CelesteZewald,HansColbers,CecileRongen,HenkdeGraaf,TaroPieterson,KarinVrieling.
66
FromemailconversationwithHansColbersNov.5,2016.
36
thetremelospecialeinFrid’sConcerto,MicheleGingras,ProfessorofclarinetatMiami
University,andauthorof“ClarinetSecrets”said:
Lovethiseffect!My(humble)opinionisthatitisaTRILLwithfluttertonguecombined,
usingtheB-flatrighthandtrillkey.”67
Givenhowthetremelospecialesoundsontherecording,andtakingintoconsideration
George Pieterson’s personality and enthusiasm for extremes, as well as his student’s
recollectionsofhisexperimentationwithtimbrallyalteredlongnotes,onecanconcludethat:
Tremelospecialeisatimbraleffectmadebycombiningfluttertonguewithatimbretrill.68
George Pieterson had some very insightful comments during the Dutch World Service
radio interview about how a composer composes specifically for the dedicatee in mind.
According to Pieterson, it was clearly Bartók’s intention to compose the Contrasts specifically
withBennyGoodman’sclarinetsoundinmind:
“The pieces are composed for Goodman, of course with the composer considering
Goodman’smannerofplaying.JustlikeHindemithalsodedicatedhisClarinetConcerto
toGoodman,althoughitisn’tajazzypiece,hewasstillconsideringthesoundofajazz
clarinetist.”69
Likewise,wecanassumethatGézaFridcomposedtheConcertoforClarinetswithGeorge
Pieterson’sdistinctiveclarinetsoundinmind;actually,thispieceseemstohaveresultedfrom
collaborativecontributionsofbothcomposerandperformersincemultiplemeetingshadtaken
67
FromemailconversationwithMicheleGingrasOctober23,2016.
Timbretrill:trillingakeywhichaltersthequalityofthenote,notthepitch.
69
Radiointerview,GeorgePieterson,broadcastonRadioNederland,2002;TapefromMichaelBryant,whohasit
fromPeterVloeimans,Leeuwarden,theNetherlands.(exactaddressunknown)
68
37
placetodiscussthepieceinitsdevelopmentalstages. EmailconversationswithGézaFrid’sson,
Arthur,shedsubstantiallightonthesynergisticaspectofFrid’scompositionalprocess:
“Andinanswertoyourquestion,‘isitpossiblethatyourfatherhadGeorgePieterson’s
soundinmindwhenhecomposedthispiece?’Icanbebrief:YES!IrememberthatGeorge
visitedourhomeonseveraloccasionsduringthecreationofthispiecefordiscussionrunthroughs.”70
Given this interaction between composer and performer, we can also assume that Frid’s
expectations for the clarinet sound were based on George Pieterson’s characteristic playing,
namelyhisgutsytoneandimmensevarietyofsoundcolorfromverydelicatetoaggressive.
Additionally,ArthurFridremembersthatGeorge’splayinggreatlyinfluencedhisfather:
“IbelievethatmyfatherrealizedthatandbenefittedfromthefactthatGeorge,inhis
eyes,wasnoordinaryclarinetist.”71
GeorgePieterson’sdistinctivesoundcameinpartfromhisinstrumentalsetup,aswellas
hisapproachtobreathingandphrasing.PietersonusedWurlitzerReformBoehmClarinets,and
performedonthemfortheFridConcerto.TheseclarinetsfitperfectlywithPieterson’sdesireto
find the extremes, since they are instruments that project well and can be delicate yet also
uniquelyforcefulwiththecorrectbreathsupport.72
70
Eninantwoordopjevraag“……misschienishetookzodatjevaderhadGeorgePieterson'sklankinzijnhoofd
toenhijdezestukheeftgemaakt?......”kanikkortzijn:YES!IkherinnermedatGeorgetijdenshetontstaanvan
dezecompositieverschillendekerenbijonsthuiskwamvooroverlegenvoorspelen.”Fromemailconversation
withArthurFrid,Nov.5,2016.
71
‘VolgensmijrealiseerdemijnvaderzichwelenprofiteerdehijdaarookvandatGeorgeinzijnogengeen
‘gewoneklarinettist’was’.FromemailconversationwithArthurFrid.
72
TheauthormadetheswitchfromFrenchboreBuffetstoGermanboreWurlitzersduringherstudieswithGeorge
Pieterson;herecommendedthechangebecauseoftheWurlitzer’sexcellentprojectionandincreaseddynamic
range.Headvisedthatthechangewouldtakeayeartogetaccustomedtoandgavelongscaleexercisestogetthe
breathingrightfortheinstruments.
38
Until World War Two, French and German clarinets were very separate instruments,
mainlybecauseoftheirdifferingfingeringsystems.TheGermanclarinetwasclosetothe18th
andearly19thcenturydesign,withholesspacedsimilarlytorecorderholes,andkeyworkadded
forintonationpurposes.ThecurrentGermanfingeringsystemiscalledthe‘Oehlersystem’and
has20-30keys.73TheFrenchBoehmfingeringsystemwasdesignedinthe1850’sandfocuses
onfluidfingerings,sometimesdescribedbytheGermansas“easy.”Theboreoftheinstruments
is what makes the two instruments really different. Classic German bore is cylindrical to the
bottom F/C hole. The French bore has an expanded lower flare going up to G/D hole and
sometimesfurther.TheGermanstraighterboreoffersmoreresistanceandfirmertone,while
theFrench,longerflaremakesforfreerblowingandatonethatsometimescanseemabitthin
(byGermanstandards).ThemainadvantageofGermanboreisthatitisasmoothsound,always
even, with no bad notes. The disadvantage of a purely German system is that fingering is
awkward and the lowest two notes are very flat. The disadvantage of French system lies in
inequalitiesbetweennotes.TheadvantageoftheFrenchboreisthatlowernotesareintune,
andfingeringismorefluid.74NearlyallDutchandahandfulofAmericanclarinetistshavefound
asolutionintheReformBoehmclarinetinventedin1935byFritzWurlitzerandlaterdeveloped
73
http://www.the-clarinets.net/english/boehm-german.html(accessed11/19/2016).Germanboreclarinets
(discussedbelow)offermoreresistanceandthereforeneedmoreforcefulbreathsupport;thisincombinationwith
theboreandplacementofthekeysallowsformoreevennotes,aslightringtothetoneandhence,more
projection.ThissituationmeansthattheperiodofadjustingfromaninstrumentwithaFrenchboretoonewitha
Germanboreusuallylastsoneyear.Theauthorhashadmadethisswitchofinstrumentsandcanattesttothis
longperiodofadjustment.
74
JohnPlayfair,“EuropeanUnion:CantheFrenchandtheGermanClarinetMakePeace?”ClarinetandSaxophone,
Spring,2010,p.41.
39
byHerbertWurlitzer.75TheseclarinetsfeatureaGermanborewithBoehmfingeringandmany
extraventsfortuning.
AhistoricallyinformedperformanceofGézaFrid’sConcertoOp.82takesinto
considerationGeorgePieterson’ssoundandideasregardingdynamicextremes.Thespecific
modelsofclarinetsforwhichitwaswrittenandonwhichPietersonplayedshouldbe
considered.
InspirationfromthePastandHopesfortheFuture
GeorgePietersonrecentlypassedoninApril2016;hispersonableclarinetteachingand
performanceshaveinspiredmanyclarinetistsovertheyears,theauthorincluded.A
revitalizationofGézaFrid’sConcertothathechampioned,willhopefullybeasmalltributeof
histeachingtoagenerationofprofessionalclarinetistsintheNetherlandsandbeyond.
GézaFridwasanextraordinarilytalentedmusician,composerandwriter.Hismusicis
deservingofmorerecognitionandshouldbeprogrammedmoreregularly.HisConcertofor
Clarinetsoffersaparticularlyattractiveandmeaningfuladditiontotheclarinetrepertoire;
contemporaryclarinetistsneedtomasterallfourinstrumentsfeaturedinthisworkandthe
preparationofthispiecewillcontributetoaclarinetist’sfluencyandcapabilityoneach
instrument.
75
TheauthorperformsFrid’sConcertoonReformBoehmclarinets.SeeAppendixCforacurrentlistof
internationalsoloartistsusingtheReformBoehmsystem.
40
AppendixA
ProgramnotesforConcertoforClarinetsOp.82
WrittenbyGézaFridfortheDonemuspublication76
Thefourtypesofclarinets,A,B-flat,E-flatandbass,collectivelycontainawidevarietyofrange
andcharacter.Togethertheyformamuchusedcomponentofthecurrentdayorchestra,
whereeachinstrumentisusuallyplayedbyseparatemusicians;sometimesoneperformer
doublesontwo.AsfarasIknow,untilnow,notasinglecomposerhasattempted,and
especiallynotinasolowork,tohavethe4clarinetsplayedbyonesoloist.Idaredtodothis
onlybecauseofthecurrenthighartisticlevelofclarinetplayingandtheavailabilityofanumber
ofexceptionallygiftedtoplevelplayersintheNetherlands.
Ofcourse,thetwomaininstruments,theAandB-flataregiventhemainrollinthisconcerto
forclarinetsandstrings.OnlytheAclarinetisusedinthefirstofthethreemovements,Allegro
risoluto(amainformwithashortintroductionandanaddedcadenzabeforetheend).TheA
clarinetremainssoloinstrumentalsointheslowmovement;anAndantecantabile,whichisa
threepartsongformintroducedbyaviolintutti.AttheendofthemovementtheAclarinet
stepsasidemakingroomfortheBassclarinetwhichsetsforththecantilenafromthebeginning
inalowerrange.
TheAllegrettopesante,isthemostcomplexmovementoftheconcerto,regardingformaswell
astheuseofthe4instruments.TheB-flatclarinethastheexpositionofthetwotheme
groups.Duringthe2ndtheme,wherethestringshaveallkindsofcontrapuntalmelodies,the
soloinstrumentplaysonlyasecondaryrole.Butwhenthestringsbeginapizzicato-fugue,the
E-flatclarinetaccompaniesthemwithitsshrilldecoratedinterwovencountermelodies.
ReminiscencesofthefirsttwomovementsfollowassistedbytheAandBassclarinets.The
workisroundedoffbyashortfugato,inwhichtheB-flatclarinethasthefinalword.
The'tremolospeciale'usedinthecadenzaisacreationofGeorgePieterson.-GÉZAFRID
76
Dutch-EnglishtranslationbyArthurFrid,emailconversationattachmentOct.30,2017.
41
AppendixB
GézaFrid-TimeLine77
1904
BornonJanuary25inMáramarossziget(Hungary)
1910
Firstpublicperformance
1912
MovetoBudapest,inordertostudywithKodaly(composition)andamongothers,
Bartók.
1924
GraduationwithdegreesinpianoandcompositionfromCollegeforMusicinBudapest
1926
Italianconcerttour
1927
PremiereperformanceofStringQuartetNo.1inBudapestandLondon
1927-1929
ConcerttourswithviolinistZoltánSzékelyinEurope
1929
ImmigrationtoAmsterdam
1930
PremiereperformanceofSuiteforOrchestrainParisbytheOrchestraSymphonyof
Paris,directedbyPierreMonteux;theninAmsterdambytheConcertgebouwOrchestra
andagaininBostonandNewYorkbytheBostonSymphonyOrchestradirectedbySerge
Koussevitzky.
1935
PremiereofConcertoforPianoandChorusinLondonatB-FLATC,GézaFrid,piano.
1940-1945
NopublicperformancesortravelduringtheoccupationofTheNetherlands;Frid
participatesinartistsresistancemovement1940–1945.DuringGermanoccupationof
Holland,Fridisnotallowedtoperforminpublic.Heorganizedaseriesofsecrethouse
concertsandisactiveintheartist’sresistancemovement.Herecordedalistof45
clandestineconcerts
May281945 LiberationdayconcertinFrid’shouseinAmsterdamFridperformswithAustrianviolinist
AlmaRosé
1948
FridbecomesaDutchcitizen
1948–1949
Indonesiantour;48soloconcertsandtemporaryconductorforRadioPhilharmonic
OrchestrainJakarta.
1949
WinsMusicAwardofAmsterdamwith“Paradou”,afantasysymphony
1950
WinsSecondPrizeoftheWorldBroadcastingServicesK.N.T.V.with“Variationsona
DutchFolksongforOrchestraandChoir
77
GézaFrid,OoginOogMet…:Tolstoj,ThomasMann,bomans,Mussolini,Mengelberg,Bartók,enRavel,
Niewkoop:UitgeverijHeuff,1976,68-70.
42
1951
WinsThirdPrizeattheInternationalCompetitionforStringQuartetsinLuik,Belgium
withtheStringQuartetNo.3,“TropicalFantasy”;SecondtourofIndonesia,Thailand
andEgypt.
1952
CompositionofConcertoforTwoViolinsandOrchestra,performedmultipletimesinthe
Netherlandsandabroad
1954
AgainWinstheMusicAwardofAmsterdamforasecondtimewith“EtudesSymphony”
1956
TwentyfifthperformanceofConcertoforTwoViolinsandOrchestrawiththe ConcertgebouwOrchestrawithFerencFricsaydirecting.ConcertsinLondonandParis
withErnaSpoorenberg.
SecondprizefromtheMinistryofEducation,ArtsandSciencesfortheSonataforViolin
andPiano,Op.50
FourthprizefromtheInternationalCompetitionforStringQuartetsinLuik,Belgiumfor
theStringQuartetNo.4.
ThirdIndonesiantour.
1959
Premiereofthecomedyopera“TheBlackBride”intheMunicipalTheatre;
commissionedbytheAmsterdamLiteratureBall.
1963
SovietUnionconcerttourwithsopranoErnaSpoorenberg
1964
AppointmenttotheUtrechtConservatory,asProfessorofChamberMusic
1965
SecondIsraëlconcerttour.AlsoconcertsinTurkeyandItaly.SouthandNorth Americanconcerttour.
1967
CompositioneveningsintheNetherlands,Israël,andBudapest
1969
ConcertswithDickandChristiaanBor(twoviolinsandpiano)
1970
TourwithErnaSpoorenbergtoSuriname,theNetherlandsAntilles,Venezuelaandthe
UnitedStates;compositioneveninginNewYork
1971
ConcertinFrid’sbirthcity,Máramarossziget(theninRomania),after60yearsof
absence
1974
CelebrationofFrid’s70thbirthdaywithananniversaryconcertintheConcertgebouw;
compositioneveningintheNetherlandsandaconcerttouroftheUnitedStates,
includingthepremiereof“ToccataforOrchestra”inWashingtonD.C.bytheNational
SymphonyOrchestradirectedbyAntalDorati;concertsinHungary.
43
AppendixC
ListofProfessionalClarinetistsusingReformBoehmWurlitzerClarinets78
StephenBates
Clarinet,BassClarinetandE-flatClarinet,
KennedyCenterOperaOrchestra,Washington,
DC
Prof.FrancescoBelli
Soloist,teacherandconductor
NicolaBulfone
OrchestraSinfonicadelFriuliVeneziaGiulia,
Udine,
ConservatorioStatalediMusicaJacopodo
Tomadine,Udine
MiguelRomeoChicote
OrquestaSinfonicadeExtremadura,Madrid
GioraFeidman
InternationalSoloist
JuanA.Fenollar
ProfesordelaBanda,MunicipaldeValencia
FabioFuria
CarboniaSardegna
Prof.BrunoDiGirolamo
Napoli,Roma
KarenLuttik,BostonFreelancer
Prof.MarcoOrtolani,
VagliaItaly
GeorgePieterson
PrincipalSoloClarinet(retired),Royal
Amsterdam,ConcertgebouwOrchestra
JosephRabai
PrincipalClarinet(retired),MetropolitanOpera
Orchestra
CharlesStier
AmericanSoloist
ArnoStoffelsma
SoloClarinet,ConcertgebouwOrchestra
MartinTow
Principal,BuenosAiresPhilarmonicArgentina
(retired)
chambermusicandteaching
PierreWoudenberg
PrincipalSoloClarinet,RadioPhilharmonic
OrchestraHilversum
KoninklijkConservatorium,theHague
78
Fromhttp://www.wurlitzerklarinetten.de/Wurlitzer_Clarinets/Why_Wurlitzer.html(accessed11/20/16).
44
AppendixD
Frid’sshortthesisstatementsaboutvarioussubjects
1) Countinginmusicandthemetronome:
“Thestubbornzealofmanymusiceducatorsinmakingstudentscountoutloud,fillsmewith
amazementandaversion.Howeverwellintentioned,thisamateuristicurgenearlyalwayshasan
oppositeeffect…theconfusingmixofnumbersandmusicdivertsattentionfromtheessential
substanceofthemusic[…]Themetronomeisahelpfulmeanstodeterminethetempo,butbecause
ofitsdetrimentalsoundisuselessduringstudy.Furthermoreuseofthemetronomeleadstoa
mechanicalapproachtoperforming,oneofthegreatestenemiesoftheperformingarts.[…]
Countingortickingduringstudyisactuallycompletelyunnecessary:Themusiccountsitself!Inevery
pieceofmusicthereacontinuousmovement(withorwithoutchanges)thatdeterminesmeterand
characterasapulse.”79
2) Microphones:
“Musiciansaresensitivecreatures.Thisiswellknown.[…]Whatdecidedlydoesn’thelpiscriticism
fromothers,adviceontheperformance;inshort,actionswhichirritatetheartist’ssensitivityand
disturbhisowninterpretationoftheworkathand.Thispsychologicalsituationisdoublypresentin
themusicianifhemustperformforamicrophone.[…]…atruepathofsuffering!”80
3) Composers:
“Oneofthemostwelcomeoccurrencesinthecareerofacomposeristoreceiveacommission.[…]
Regardlesswherethecommissionoriginates,thecomposermustretainhisownfreedomregarding
conception,style,andformofthepiece.”81
4) 12tonemusic
“FridstudiedthetwelvetonemusicofSchönbergandtheserialtechniquesofWebernextensively
butcametotheconclusionthatthiscouldnotbehismusicalworld”82
5) Playingfrommemory
“Thecharacterofthepieceshoulddeterminewhetherornotweperformitfrommemory.Aslong
asapiecehasmoreofagenerallyclassicthansubjectivenature,itseemstomethatperforming
frommemoryisnotdesirable.Assoonasthepiecehasadominatingpersonalcharacter,however,
thenplayingfrommemoryisinorder.”83
79
GézaFrid,“Uitgeteld?”,MensenMelodie:AlgemeenMaandbladvoorMuziek,October1971,122-123.
GézaFrid,“DesKunstenaarsLijdenswegVoordeMicrofoon”,AlgemeenMaandbladvoorMuziek,2:12,December
1947,390-391.
81
GézaFrid,“ComponistenOpdracht”,MensenMelodie:AlgemeenMaandbladvoorMuziek,10:4,April1955,98.
82
WouterPaap,“DeComponistGézaFrid”,MensenMelodie:AlgemeenmaandbladvoorMuziek,25:4,January
1970,101.
83
GézaFrid,“EnkeleNotitiesOverHetUit-Het-Hoofd-Spelen”,MensenMelodie:AlgemeenMaandbladvoor
Muziek,4:4,196-197.
80
45
6) Mechanicalmusic:
“Theuseofthemechanicalelementinthecreativearts–Iamthinkingofelectronicmusicandthe
computer–wouldhavesurelyfilledhim[Bartók]withabhorrence.”84
7) Oncomposersyettobe‘discovered’:
”I’mstillwaitingforafollowingphasewhentheavant-gardefinallyshall‘discover’Bartók!”85
“HavetheyoungpianistsnotyetrealizedthatBartókleftusaveryextensivepianorepertoire,such
as,sinceDebussy,noothermoderncomposerhasdone?”86
“InordertoperformBartók’spianorepertoirewell,youmustknowhismostimportantworks,
otherwise,youwillhavenogroundtounderstandthisgreatmasteronpiano.Butonceyouhave
masteredhisgreatworks,youcanbringgreatvariationinyourprograms,andlikewisegiveBartók
hisrightfulplaceinthepianorepertoirelegacy.”87
8) Frid’scallingcard
“IfImaysayso,onlyseldomdoesonefindsuchaunityofmelodyandtext.Evenwithoutharmony
andinstrumentation,thismelodyiscompletelyandsimplybeautiful.Idiscoveredthetextonawall
muralinamountainvillageinWallis,Switzerland.[…]Iwasobsessedwithitstextandmusic,whatI
wouldlatercallmy‘callingcard’.Ihaveusedthismelodyovertheyearsinallpossible
combinations,vocallyaswellasinstrumentally.[…]Muchtomydelight,whenmyteacher,Kodály,
undoubtedlyoneoftheworld’sbestmusicians,sawthismelodyandtextatDonemuspublishersa
fewmonthsbeforehisdeathin1966,wasfullofadmirationandpraiseforit.”88
GézaFrid’sCallingCard
Happyarethosewhosedaysincludejoy
andsorrow,creatingandenjoying,
communityandsolitude.
JohannWolfgangvonGoethe
84
GézaFrid,”BartókendeAvant-Garde”,MensenMelodie:AlgemeenmaandbladvoorMuziek,25:12,December
1970,106.
85
Ibid,107.
86
GézaFrid,“PleidooivoordePianocompositiesvanBartók”,MensenMelodie:Algemeenmaandbladvoor
Muziek,November,1947,342.
87
Ibid,343.
88
GézaFrid,InTachtigJaardeWereldRond,Naarden:Strengholt’sBoeken,1984,152-153.
46
AppendixE
Translationof(portionsof)KodalyChapterfrom“OoginOogMet…”89
Aftervarioussidetracks,Iwillnowattempttoresumethebiographicallineofmymemories.
Twomenstandout,BartókandKodály:thetwomasters,whomeantsomuchforHungarian
musicduringtheirlivesandindeedinternationally,the‘chosenones’ofourcentury.[…]For
years,thehabitexistedofmentioningbothBartókandKodály,thetwomostprominent
representativesofthenewHungarianmusic,inonebreath.Thisisjustifiablebecauseofafew
remarkablesimilarities:theyarecontemporaries–Bartókwasbornin1881,Kodályin1882–
andtheysharedthesameteacher,HansKoessler(1853-1926),astudentofBrahms.Theycame
ataboutthesametimetotheconclusionthatthethenexistentHungarianmannerof
composingneededtobefreedfromthedestructiveinfluenceofGermanromanticmusicand
thatfolkloreofferedtheonlyescape.Together,theybegancollectingfolksongs(around1906),
whichindeedledtounprecedentedperspectivesforthemselvesandforthefollowing
generation.
Soonbigdifferencesbetweenthesetwobecamemoreandmoreapparent.Kodálywasadeeply
religiousman,Bartókhadatheistictendencies,especiallyinhisyouth.WhileKodálywasonly
interestedincollectingHungarianfolksongs,Bartókcollectedwithzealalsothefolksongsof
nearbySlavicpeoples,suchasRomanian,Slovakian,etc.WhileKodálykepttheoriginalsinhis
arrangements,BartókmadenotonlytranscriptionsfromHungarian,RomanianandSlovakian
folksongs,butlateralsoBulgarianandothersaswell.Butalsointhecompositions,wherethey
didn’tusefolksongsdirectly,themusicofKodályhasmuchmoretypicalHungarianidiomthan
thatofBartók,whereSlovakianelementsoftendominate.Additionallytherearemore
opposites:WhiletheinstrumentalelementisdominantinBartók’soeuvre,Kodályismoreofa
vocalcomposer.Andlastly:BartókregularlydeclinedtogivelessonswhileKodályneedstobe
consideredoneofthebestteachersofEuropeatthetime.[…]
Kodálywasnotaprolificcomposer.Bigbreaksoccurredinhiscreativity.Whenajournalist
askedduringaninterviewifhewascurrentlyworkingonacomposition,heanswered‘No’.
Whenaskedthereasonforthis,Kodályresponded,‘Becausemymusedidn’tspeaktome.”[…]
AsastudentofKodály,IwouldliketoshareaboutthefourmemorableyearsIwasabletostudy
withthisuniquemaster.Mostremarkably,Kodálytotallydidn’tfollowthetraditional
pedagogicalmethodsofacompositionteacher,suchaspreparingateachingplanaheadof
time,andtheregularassessmentofthestudents;heletustotallyfree.Ononepointhowever,
hewasruthlesslystrict,namelyincounterpointexercises.Fortwocompleteyearswedid
nothingotherthantwoandthreevoicedexercises,withthecantusfirmusindifferentvoices.
89
GézaFrid,OoginOogMet…:Tolstoj,ThomasMann,bomans,Mussolini,Mengelberg,Bartók,enRavel,
Niewkoop:UitgeverijHeuff,1976,23-29.
47
WeneededtoknowthetwoandthreevoiceinventionsfromJ.S.Bachbackwardsand
forwards;Iexperiencedthispersonallywhentherewasnomusicpresentatonelesson,andit
wasdecidedthatI,astheonlypianistinthemidstofthecomposers,shouldplayoneofthe
inventionsfrommemory!WhenIwasunabletodothis,IreceivedsuchascoldingthatI
couldn’tmemorizeallBach’sinventionsfastenough!
48
AppendixF
Photos90
1932GézaFridandZoltánSzé𝒌𝒆𝒍𝒚intheConcertgebouw,
Amsterdam(fromscrapbook)
1938GézaFridcomposingonhis
balconyintheVanEeghenstraat
1940ArthurFridwithhis
parentsduringWWII
GézaFrid,60yearcelebration
90
Allphotosunlessotherwisenotedarefromhttp://gezafrid.com/fotos/.
1969GézaFrid65yearsold
49
BélaBartókPrize,1990
PortraitofGézaFriddrawnbyson
Arthurforthebook
“OoginOogmet…”
1971GézaFridandsonArthurin
Budapest
50
ConcertsoftheRoyalConcertgebouwOrchestrafeaturingGézaFrid’smusic
http://archief.concertgebouworkest.nl/en/archive/search/(accessed12/01/16)
2001Eindhoven“GézaFrid:ComposerPortrait,”threedayfestivalin
Eindhoven,2001.
http://gezafrid.com/blog/frid-festival-2001/(accessed12/01/16)
51
2016GézaFrid.comwebmastersArthurand
IrahFrid,withparrotsBélaandBartók
PhotofromemailconversationNovember11,2016
MichaelBryanthadtheonly
recordingoftheFridConcerto
forClarinets!
Photofrom
https://www.facebook.com/michael.bryant.
180072
MichaelBryant’ssearchforthesole
survivingrecordingoftheFrid
Concertotookaweekend!
PhotofromemailconversationofOctober10,2016
52
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Frid,Géza.InTachtigJaardeWereldRond[AroundtheWorldinEightyYears].Amsterdam:
Strengholt,1984.
Frid,Géza.“DesKunstenaarsLijdenswegvoordeMicrofoon.”[TheArtist’sPathofAgony
WorkingwiththeMicrophone]MensenMelodie2no.11(November1947):390-391.
Frid,Géza.“MuziekenPolitiek.”[MusicandPolitics]MensenMelodie(October1971):304305.
Frid,Géza.OoginOogmet...:Ontmoetingenmet7grootheden[EyetoEyeWith...:Encounters
With7Bigwigs].Amsterdam:Heuff,1976.
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Frid,Géza.“OverdeAchteruitgangvanhetMelodischeElementindeHedendaagse
Toonkunst.”[AbouttheDeclineoftheMelodicElementinContemporaryMusic]Mensen
Melodie5no.4(April1950):105-108.
Frid,Géza.“PleidooivoordePianocompositiesvanBartók.”[AnAppealforthePiano
CompositionsofBartók]MensenMelodie2no.11(November1947):342-343.
Frid,Géza.“TienJaarnadeDoodvanBartók.”[TenYearsafterBartók’Death]MensenMelodie
10no.7(July1955):277-278.
Frid,Géza.“TwaalfContraTwaalf.”[TwelveAgainstTwelve]MensenMelodie9no.12
(December1957):366-369.
Frid,Géza.“Uitgeteld?”[DownfortheCount]MensenMelodie(April1971):122-124.
Frid,Géza.“ZoltánKodályVijfenzeventigJaar.”[ZoltánKodálySeventyFiveYears]Mensen
Melodie9no.12(December1957):385-387.
Hoeprich,Eric.TheClarinet:TheYaleMusicalInstrumentSeries.NewHaven:YaleUniversity
Press,2007.
Lendvai,Ernö.BélaBartók:Ananalysisofhismusic.London:Kahn&Averill,1971.
MacDonald,MarthaFrances.“TheClarinetinTwentieth-CenturyDutchChamberMusic.”DMA
diss.,UniversityofTexas,1986.http://search.com.ezproxy.bu.edu/docview/303439868
(accessedSeptember15,2016).
Paap,Wouter.“DeComponistGézaFrid.”MensenMelodie25,no.4(January1970):99-106.
Rudge,Olga,andEzraPound.WhatThouLovestWell….NewHavenCT:YaleUniversityPress,
2008,p.107-108.
Spoorenberg,Erna.DaarLigJeDan.Amsterdam:BertBakkerBoeken,1962.
Vis,Jurjen.Silhouetten:DecomponistLeoSmit[Portraits:TheComposerLeoSmit].Arizona:
ArizonaStateUniversity,2002.
Zijlstra,Miep.”GézaFrid70Jaar.”MensenMelodie(March1974):89-90.
Discography
Frid,Géza.ConcertoforClarinets.GeorgePieterson,B-flat,A,E-flatandBassclarinets;
NederlandsChamberOrchestra,DavidZinman,conductor,recorded1975.Featuredon“Dutch
ConcertRostrum,”RadioNetherlands,TheDutchInternationalService,BobEllis,host,2002;
radioprogramrecordedbyPeterVloeimans,Leeuwarden,theNetherlands.(exactaddress
unknown);MichaelBryant,privatelyownedreeltoreelrecordingsharedonCDwithauthor.
54