| dc.description.abstract | Miklós Rózsa (1907 – 1995) is best known for his Hollywood film scores, but in
addition to this he also composed many concert hall works, leading to a diverse
compositional output and the self-declaration of a ‘double life’, as expressed in the
title of his autobiography. This dissertation examines the influence had by Hungarian
folksong on Rózsa’s compositional style. Elements assessed are those identified by
Belá Bartók (1881 – 1945) in his essays and lectures. Three concert hall works
(Thema, Variationen und Finale, Op. 13a; Sonatina for Clarinet Solo, Op. 27; Sonata
per Clarinetto Solo, Op. 41) were selected for their varying periods of composition
(1933; 1957; 1987), as well as their different compositional genres (orchestral and
solo instrumental). In terms of the clarinet works, these were also chosen as the
author is a clarinettist.
The above mentioned works are motivically analysed, in order to assess whether
Rózsa’s Hungarian heritage is seen to have had an influence on their style. The
analysis has three main approaches; Form and Phrasing, Melody and Modality, and
Rhythm. These are outlined by Bartók in his essays, for both old and new style
Hungarian folksong melodies.
The rhythmic patterns described by Bartók feature most heavily in all three works,
closely followed by the usage of the typically Hungarian modalities. Hungarian
folksong form and phrasing features the least, as these works are much larger than
the average folksong. Certain themes do have specifically mentioned folksong
phrasing. The forms used, namely theme and variations, rondo, and ternary forms,
however, do display a folk music element of musical return.
Much of the research done prior has focused on Rózsa’s film career, the other side of
his ‘double life’. This study contributes to the Miklós Rózsa research base in terms of
the Hungarian elemental motivic analysis and discussion of three concert hall works.
It also adds to the clarinet research base, with its analysis of perhaps lesser known
works in the repertoire, while also creating awareness of these works for future
generations of clarinettists. | en |
