EDE TERÉNYI
Terényi, Ede (b. Târgu-Mureş, 12 March 1935), composer,
musicologist and pedagogue, studied at the music college in Târgu-Mureş
(1942-52), earned his diploma from the G. Dima Music Academy in C1uj-Napoca.
For over two decades he has been a professor of harmony, counterpoint and
composition at the same institute. He received the Enescu Scholarship in 1957
and the Enescu Prize of the Romanian Academy in 1960. He was also awarded the
scholarship of the International Courses and Festivals for Modern Music in
Darmstadt. His outstanding works include the Aphoristic Sonata for piano, Pasărea măiastră (“The Magic Bird”, variations for orchestra, available
on Electrecord ST-ECE 0907), Composition
B.A.C.H. for organ, Terzine di Dante for
baritone, trombone and piano, Symphony
for Strings in Memoriam Bakfark (Electrecord ST-ECF 01807), Madrigals to Poems by Baint Balassi, Attila
Jozsef (Electrecord ST-ECE 01160), Songs to Poems by Andre Ady for baritone and piano, Piano-Playing, a Sonatina and
Sonata for violin and piano, String Quartets No.1 and No. 2, Concerto for String Orchestra, Vivaldiana, Capriccio grazioso, Handeliana,
Golden Spring, Silver Forest, Choral Concerto and Swing Suite. Besides in Romanian musical centers, his works have
been played in Budapest, Prague, Graz, Nuremberg, Darmstadt, Hanover, Utrecht,
Paris, Brussels and Helsinki.
EdeTerényi’s language followed several stages. In his
first works we notice the influence of the Magyar folklore from Transylvania
and his superior form of expression form Bartok’s music. Then, in the ‘60s, Ede
Terényi founds himself a personal musical language characterized by the
transfiguration of the Bartok elements and the Webern serial music in a vision
in which the mark of the autochthonous folklore stays clearly perceptible.
Later, in the ‘70s, the penetration towards the music of the ‘new w. We’ of the
contemporary generation was concretized in a new composition orientation based
on the musical graphism. Gradually, this tendency to an ever concise drawing of
the musical parameters led to the search for an antipole, found in the
autochthonous music of the remotepast - XV-XVI-th century. More recently, Ede
Terényi seeks the possibilities of bringing to life again archaic elements in
an ever more modern form. In the field of musicology, Ede Terényi shows himself
permanently concerned by stylistic analyses of the contemporary music,
regarding directly the specific aspects of the musical language and
particularly of harmony. The different studies announce for the future a
general theory of harmony for the music of the first five decades of the XX-th century. His musicologic activity includes also the
field of essay, which he cultivates with a sustained frequency, some of these
essays being gathered in his book “Does the Music Stay Music?”
WORKS
(selective list)
Orchestral music:
“Brancussiana”
symphony: (The majestic bird, The bird in space, The gold bird), 1965; In
memoriam Valentin Bakfark Symphony, 1978; Symphony for 2 percussionists, 1978;
“Space and Light” symphony, 1988; “Mountains, Forests, Dreams” symphony, 1988;
“Mass-Paraphrases” for strings, 1992; “Legend of Transylvania” symphony, 1993;
“Départ” - In memoriam Benjamin Britten,
chamber symphony for strings, 1996; Five “Kodály-Portraits”, 1997;
Vocal-symphonic music:
“Te Deum
Laudamus”, 1990; “Stabat Mater”, 1990; Mass in A (Kyrie, Gloria, Credo,
Sanctus, Agnus Dei), 1991.
Concertante music:
“Vivaldiana”,
concerto for flute and orchestra, 1983; “Lullyana”, concerto for solistic
groups and orchestra, 1984; “Hommage à Telemann”, concerto for trumpet and
orchestra, 1984; “Baroque rhapsody” - Hommage à J.S.Bach, concerto for cello
and orchestra, 1984; “Scarlattiana - Capriccio grazioso”, concerto for harp and
orchestra, 1985; “Haendeliana”, concerto for viola and orchestra, 1985; “Golden
spring”, concerto for clavichord and orchestra, 1986; “The silver forest”,
concerto for percussion instruments (1 soloist), 1987; “Summertime”, concerto
for bassoon and orchestra, 1987; “La Puerta del Sol”, concerto for violin,
cello and orchestra, 1988; “The autumn fires”, concerto for two violins and
orchestra, 1989; “Queen Mab”, concerto for bassoon and orchestra; Concerto for
piano and orchestra No. 1, 1989; “The Venetian Anonymous”, concerto for piano
and orchestra No. 2, 1989-91; Jazz-Concerto for harp and orchestra, 1990; “The
seven towered castle”, concerto for violin and chamber orchestra, 1993;
“Purcell-Epitaph”, concerto for organ and symphonic orchestra, 1997.
Organ music:
“Composition -
B.A.C.H. Mass”, 1967; “Variations on a theme from 17th-century”, 1970;
“Ciaconna” - Hommage a Messiaen, 1978; “Odae cum harmoniis” / Honterus, 1548 /
1983; “Septem dolores”, 1988; “Stella aurorae”, 1988; “Introitus”, 1988;
“Semper felice”, 1988; “Octo felicitatis”, 1989; “Et in Terra Pax”, 1990;
“Kyrie” (with solo voice), 1990; “Die sieben Worte des Erlosers am Kreuz” (with
baryton solo and percussion), 1990; “Hymnus pro Dominica Palmarum” (vocal
soloist and organ), 1990; “Glocken” (vocal soloist and percussion), 1991;
“Messianesques” - In memoriam Messiaen, No. 1-3, 1993; “In solemnitate corpores
Christi”, 1993; “Die Trompeten Gottes”- In memoriam G.W. Berger, 1995;
“Epiphania Domini”, 1997.
Chamber music:
Sonatinas for
violin and piano No. 1,2, 1955, 1984; Stringquartet No. 1,2,3,4, 1974, 1984,
1992, 1996; Sonata no.1 on Bartókians motivs for violin and piano, 1980; Quartets for
percussion instruments: No.1. - Swing Suite – “Tahiti”, 1985; No.2. - For Four
– “Hommage to America”, 1986; No.3. - Parade – “Hommage à Satie”, 1988;
“Sky-Skep” - Paganiniana, quintet, 1995; “Lydian Quartet” with percussion,
1987; “Figures”, duet for clarinet and percussion, 1992; “White Trajectory”,
septet, 1993; “Musica Design No.1”, septet, 1996; “In the “boutique” of Don
Quijotte”, sextet for percussion instruments, 1996; “Bernstein-Variations”,
quartet for two pianos and two percussion partys, 1996; “Oasis in the Demented
Desert”, trio for soprano, clarinet and piano, 1997
Music
for soloist instruments:
“Un poco alla
Bartók”, piano, 1957; Praeludiums for solo flute No. 1, 2-3, 1961, 1972;
“Sonata Aforistica” for piano, 1961; Sonata for violin solo, 1985;
“Scarlattiana”, 4 sonatas for piano, 1986; “Rhythmes” for piano solo, 1991;
Song cycles:
“Medals” for
baritone and piano, No. 1-3, 1968; “In memoriam Ady” for baritone and piano,
No. 1-3, 1968; “Terzine di Dante” for baritone, trombone and piano No. 1-3,
1972; “Ady songs”- series I-II for baritone and piano, No. 1-3, 4-6, 1977;
“Songs form Transylvania” – series I (No. 1-4), II. (No. 1-4), III. (No. 1-5),
1981, 1981, 1986; “Dumbshows” [Pantomime] for mezzo-soprano, piano and
percussion instruments, 1982; “Romantic Lieds” - No. 1-20 (text in German) -
for soprano, mezzo-soprano and piano, 1984; “The forest’s heart” (lyrics by
Lucian Blaga) for mezzo-soprano and piano, 1986, “Gipsy Songs” for soprano and
piano, No. 1-4, No. 5-14, 1986, 1998; “Vier biblische Lieder” / Münchener Codex /,
for soprano and organ, 1989; “Carmina Angelica” - No. 1-4, for soprano and
piano (text in Latin), 1991; “Maria Madre” - No. 1-5 (lyrics in Spanish by
Alfonso X.: “Las cantigas de Santa Maria”) for mezzo-soprano and piano, 1992;
“Il. cantico del Sole” - No. 1-10 (lyrics in Italian by San Francisco d'Assisi)
for baritone and piano, 1994; “Les vagues à l'âme” (lyrics in Franch, by
Tristan Tzara) for soprano and piano, 1995; Days and nights of nomads (lyrics
in Gypsy, collected by folklore) for soprano and piano, 1985-1998 “Hortus
deliciarum” (lyrics in English), for soprano, percussions and harpsichord, 1985; “Behind of
silence” (haikus by Şerban
Codrin), 1998: “Japonese flovers” (haikus in japonese,
by M. Basho), 1998; “Kalevala”, one act opera (lyrics in finish by Elias Lönrroth), 1999;
“Mephistofaust” (lyrics in German by Goethe), for soprano and piano, 1999;
Choral
music:
Five madrigals
for mixed choir, 1972; Madrigals for women's choir No. 1-12, 1988; Five chorus
on biblical texts for mixed choir, 1990; Mass for three equal voices (Kyrie,
Gloria, Credo, Sanctus, Agnus Dei), 1993; Chorus for equal voices,
(collection), 1996; “Asperges me”, mixed chorus, 1993; “Black-Red”, mixed
chorus, 1994; “The doors of sky”, mixed chorus, 1996; “Veni, veni Jesu”, chorus
for equal voices, 1997; Collection for children's and women’s choir, 1997;
Collection for mixed choir, 1997;
Pedagogic
works:
“Playsongs for children” - series I-II-III, 1973-75;
“Pianistic games” series I-VIII, 1973-75.
Editions
– Scores:
Madrigale No.
1-5 pentru cor mixt [Five madrigals for mixed chorus], Bucharest, 1977; Cvartet
de coarde No. 1. [String-quartet No. 1.], Bucharest, 1979; “In memoriam
Bakfark” - Simfonie pentru orchestră de coarde “In memoriam Bakfark” symphony
for string-orchestra], Bucharest, 1983; Sonata No. 1. on bartókians motivs for
violin and piano, Bucharest, 1986.
Musicology books:
“The music
remain music? - studies, essays as concerns the phenomenon of the 20th century
music”, Kriterion, Bucharest, 1978, 152 p.; “Veress Sándor monography” -
composer and musicologist, Berna, Schweiz, Zenemukiadó, Budapest, 1982, 100 p.
(joint authors: Berlász Melinda, Demény Janos); “The harmony of the modern music
(1900-1950) - Harmony handbook, Academia de Muzică "Gh.Dima", Cluj,
1983, 198 p.; “Hungarian composers from Romania - monography, partial published
in: Igaz Szó No. 1-9, Târgu-Mureş,
1983, aprox. 40 p.; Brockhaus-Riemann
Zenei Lexikon, Zenemükiadó, Budapest, 1983-84, aprox. 50 p. (33 composers); Radio Budapest, three conferences,
April, 1991; “The periodical evolution theory of the European polyphonic
music”, I.M.F. Congres, Budapest, 1987; “Cluj, the city of the music - Video
monograph and musicological study”, Radio-TV, Budapest, Debrecen, 1992;
“Musical centers in Transylvania - monographic study”, Radio Budapest, 1993;
“Church music documents from Transylvania - monographic study” Hungarian Art
Academy Edition, Budapest, 1994; “Balassa Sándor - composer, Budapest –
monography”, Hungarian Art Academy Edition, Budapest, 1995.
Musicological
studies:
“The problem of
the polyvalence in the modern harmonize”, LM, i (1965); “Some aspects of the
diminished octave”, LM, ii (1966); “Types of cadences finale in the
contemporary music”, LM, iv (1968); “Specific accords successions to the modern
music”, LM, v (1969); “Structures of accord stratas in the 20th century music”,
LM, vi (1970); “Types of clusters”, LM, vii (1971); “Creators, works, styles –
musical drama study”, Zenetudományi Írások, Kriterion, Bucharest, (1977); “The
harmonic world of George Enescu's Chamber
Symphony”, LM, viii--ix (1979); “Harmony a determinating agent in the
evolution of European music culture”, LM, x-xi (1979); “Harmonic aspects
specific to the period of renewing autohtonous music, with special reference to
the creation of the composers of Cluj-Napoca”, LM, xii-xiii (1979); “Sigismund
Toduţă's harmonic concept in the light of his a cappella choral music”, LM, xiv
(1979); “The major triad in the 20th century music - the theory of the
harmony”, Zenetudományi Írások, Kriterion, Bucharest, (1981); “Enescu in 1981”,
Igaz Szó, No. 8, Târgu-Mureş, (1981); “Bartókiana - studies, essays”, Utunk, Cluj,
(1981); “Laudatio musicae - study of musical stylistics”; Revue musicale
suisse, No. 4, Zürich, (1982) and: Zenetudományi Írások, Kriterion, Bucharest,
(1983); “The teaching of music at the level of the present days demands”,
Korunk, No. 8, Cluj, (1983); “The contemporary romanian music: 1.
Folklorism-Neofolklorism, 2. Archaism-Neoarchaism, 3. Serialism-Repetitive
music, 4. Romantic symphony - Jazz symphony, 5. Opera music and oratorio
music”, Broadcasts, Germany, (1984); “Central Harmonic Patterns in the Sonata for Violin and Piano No. 3 by
George Enescu” LM, xvii-xviii (1985); “The harmonic world of Claude Debussy
reflected in the 24 Preludes for piano
(I.)”, LM, xix-xx (1986); “Pianistic games -- Games with piano, study by
modern technique of the piano”, Zenetudományi Írások, Kriterion, Bucharest,
(1986); “The church music of Transylvania, XVI-XXth century”, The Church Music
Festival, Budapest, (1992); “Commeinorations-Essays John Cage, Olivier Messiaen
Sándor, Lajtha László, and others”, Helikon, Cluj, (1992-93);
Prizes:
The
Prize of the Union of Composers and Musicologists from Romania, for the following works: “Stringquartet No. 1”, 1974; “In memoriam
Bakfark - symphony for string orchestra”, 1978; The
“George Enescu” Prize of the Romanian Academy, for
the following work: “In memoriam Bakfark”, 11 July 1980; The “Bartók-Pásztory” Prize
on Foundation Bartók-Pásztory USA Hungary behalf, Budapest, 1994
Bibliography:
The New Grove
Dictionary of Music and Musicians, Edited by Stanlez Sadie,London, 1992, p.
693-694; Brockhaus-Riemann Lexikon, vol. III, Budapest 1983; Bulletin d
'Informations de l 'Union des Cornpositeurs, Roumanie, September, 1995,
p.41-49; V. Cosma: Muzicieni români (Bucharest, 1970); I. Sava - L. Vartolomei:
Dictionar de muzică (Bucharest, 1979.)
