Ferenc Erkel (1810-1893)
Piano
Works
Chamber
Music
The
Hungarian composer, conductor and pianist Ferenc Erkel was born at Gyula in
South-Eastern Hungary. The Erkel family had a long association with Bratislava
(the Hungarian Pozsony), where the name appears in records dating back to the
15th century. Ferenc Erkel's grandfather and father were both musicians, and
the former was invited in 1806 to move with his family to Gyula in the service
of Count Ferenc Wenckheim, an admirer of Beethoven, who was anxious to form his
own musical establishment there. Ferenc Erkel's grandfather was employed by the
Count as a steward and his father assumed the duties of schoolmaster and
conductor of the church choir. The latter married the daughter of a farm
bailiff in the service of the Count, and Ferenc Erkel was the second of the
couple's ten children. As a child Erkel had frequent opportunities to hear
chamber music played by his father, the leader of astring quartet in which
Albert Rosty, head of the county administration, played second violin, with the
viola-player Brunszvik and cellist Josef Wagner. Both Rosty and Wagner were to
be of material assistance to Ferenc Erkel in his later career.
At
the age of twelve Erkel moved to Bratislava to study at the Benedictine school,
where his teachers included the cathedral organist Heinrich Klein and the
pianist Károly Turányi. Bratislava, known in German as Pressburg, was near
enough to Vienna to share something of the cultural life of the time, and here
Erkel had the opportunity to attend concerts, see operas and even hear the
popular Hungarian music of Janós Bihari, who played there at the coronation of
Queen Carolina Augusta in 1825.
In
1827, now aged seventeen, Erkel took employment as music master in the
household of Count Kálmán Csáky at Koloszvár (the modern Romanian town of
Cluj-Napoca), the centre of a district of great importance in the development
of Hungarian theatre and opera. Here, during the course of the next seven
years, he won a reputation for hirnself as a pianist and had his first known
experience as a conductor of opera with a company that moved first to Nagyvárad
and then to Buda, where it formed the basis of the later Hungarian National
Theatre.
Erkel
was quick to establish himself as a leading pianist in the twin cities of the
capital. He spent two years as conductor of the Municipal German Theatre in
Pest and then, with the help of Albert Rosty,was appointed chief conductor of
the Hungarian National Theatre. From 1853 he conducted the concerts of the Hungarian
Philharmonic Society and from 1875 until 1887 was the principal piano teacher
and director of the newly established Academy of Music, of which Liszt, a
regular visitor, was president. Erkel retained his abilities as a performer,
and one year after Liszt's death in 1886 was able to play, at a Liszt birthday
concert, that composer's Fantasy on I Puritani. To celebrate his own eightieth
birthday he played Mozart's D minor Piano Concerto, with his own cadenza. His
last appearance as a conductor was in 1892, when his Second Royal Anthem was
performed. He died in 1893.
Erkerˇ¦s
early compositions are lost. The first of his works to survive is the Duo
Brilliant of 1837. His Introduction and Capriccio, Erinnerungen an H.W. Ernst
was written in 1840, under the inspiration of the famous violinist's third
concert, on 31st May, 1840, at which he had played his own Elégie sur la mort
d'un objet chéri, published in that year and his variations on Cara mia Mamma,
Le carnaval de Venise. Within three months Erkel had published, with the help
of the former cellist of his father's quartet, Josef Wagner, his own tribute to
Ernst, making use of the therne of the Elegy in his introduction and adding
nine virtuoso variations of the popular Venetian song that Ernst had used for
his own variations.
Two
relatively insignificant Albumblätter survive in manuscript. The first of them
was dedicated to Julia Bauholzer, a pupil of Erkel and of Liszt, to mark the
occasion of the award of a Liszt scholarship in 1882. The second, without
dedication,"mit Verschiebung", was written in 1839, perhaps for
Erkers pupil Nina Baldieri, who gave frequent performances in Pest. The
Original Ungarischer was published in Pest in the journal Der Spiegel in 1845.
It is in two sections, of which the second was to reappear 29 years later as
part of a March in the opera Brankovics Gyärgy.
Erkel
conducted the first performance of András Bartay's comic opera Csel (Ruse) in
Pest on 29th April, 1839. He later wrote three works basedon themes from the
opera, the third of which survives in an autograph of 1839 with the German
title Begleitungs-Stimmen zu den Csel Variationen (Accompanying Parts to the
Csel Variations), apparently for piano quintet, for which the string parts were
never written. The work opens with a section marked Animato, followed by a
slower section, based on a traditional Hungarian recruiting dance from the
opera. Three variations follow, the first and third marked at the end ˇ§segue
tuttiˇ¨, implying the repetition of the first section with the strings. After
the third variation there are three slow bars, to which the present performer,
István Kassai, has added an untitled work by Erkel, an Adagio and a Presto,
ending with an extended cadenza. The word ˇ§tuttiˇ¨ appears again above the autograph
of the Presto, and the paper and ink used suggest still more strongly that
these were intended as part of the same composition.
Souvenir
for Liszt: Rakóczy's March (Emlékül Liszt Ferenczre Rakóczy indulója) was
written under the inspiration of concerts given by Liszt in Pest between 27th
December, 1839, and 12th January, 1840. On three occasions, on 4th, 9th and
11th January, Liszt played the patriotic Rákóczy March. Erkel had already
written three versions of this, now lost, but now he published through Wagner
aversion that contemporary press accounts describe as a passable imitation of
Liszt's style, although Erkel presumably intended the work for lesser talents.
The
Introduction and Verbunkos for Viola and Piano was found in the possession of
one of Erkel's granddaughters. The manuscript, without title, bears the date
1890, and was written in Budapest. The twenty pages of the autograph offer a
complete piano part, with the viola part only up to page 11 and for the last
seven bars. There are various corrections in the existing viola part, which has
been completed by the Hungarian conductor, composer and music historian Amadé
Németh. The work opens with an introduction followed by the Verbunkos theme,
three variations and a coda.
The Duo brillant en forme de fantaisie sur
des aires hongrois concertant, for violin and piano, is Erkel's first published
work and was played by the young Vieuxtemps with the composer at three concerts
in Pest in 1837, the year of its composition. The following year Erkel played
it with Jansa, in 1841 with Sivori and again with Vieuxtemps in 1843, followed
in 1850 by a performance with Wilma Neruda. In 1838 the Duo was published
abroad by Schott, through the agency of Vieuxtemps, whose own name was added,
with a change of title to its present French form. Presumably Vieuxtemps had
some hand in the writing of the violin part. The Duo opens with an introduction
followed by a Hungarian theme, from a Verbunkos by Antal Csermák. There is a
ritornello partly based on motifs from the Rákóczi March, three variations, a
modified repetition of the ritornello, leading to the appearance of a new theme
with three variations, before a final Verbunkos and a concluding Presto.
Dezsó
Legány (English adaptation by Keith Anderson)
István
Kassai
István
Kassai was born in Budapest in 1959 and was admitted to the Bartók Conservatory
at the age of ten. In 1972 he was first prize-winner in the Czechoslovakian
International Youth Piano Competition. He then went on to study under Pál
Kadosa at the Ferenc Liszt Academy and won first prize in the Hungarian
Broadcasting Company's Piano Competition. In 1982 Kassai was granted his
diploma by the Academy later going on to win first prize in the Debussy
International Piano Competition. Having won a scholarship to study at the
European Conservatory of Music in Paris he gained a master diploma with the
highest distinction in 1984. Since 1987 he has been one of the pianists of the
Cziffra Foundation.