Harpa Hungarica - Erzsébet Gaál

"Farkas left us a legacy of his dedication to excellence in work, to faithfulness in national identity, to respectfulness, helpfulness, and appreciation for one another. We all would do well to follow Farkas’ legacy in our teaching, playing and composing."

The contributions of the Hungarian composer, Ferenc Farkas (1905-2000), to the harp repertoire are well known to several generations of harpists. Harpists have been enjoying playing a wealth of compositions written by Farkas during his long life. His oeuvre includes pieces written for solo harp, for various instrumental ensembles with harp, for voice and harp, as well as a concertino for harp. In addition, his orchestral works contain significant harp parts. These pieces of music vary not only in medium but also in genres, musical styles and content. However, they all are alike in the fact that when performed they are most rewarding to their players.

Farkas’ contributions to the harp repertoire are outstanding both in terms of quantity and quality. Farkas knew the harp and its capabilities extremely well. This knowledge was reflected for example in his manuscripts. In his manuscripts, Farkas marked very few corrections if any. On the other hand, Farkas was always open to harpists’ suggestions and made changes where necessary. For example, the most revision he did was on his Concertino for Harp and Orchestra, originally written in 1937. The first revision was done in the early 1950s following the advice given by Miklós Rékai, a former professor at the Ferenc Liszt Academy of Music in Budapest, Hungary. This composition was rearranged again for harp and string orchestra in 1994. For additional information regarding the Concertino, please consult my article on Ferenc Farkas that was printed in the World Harp Congress Review Spring 1991 issue. Further describing Farkas’ manuscripts, they were so clearly written and precisely marked with pedals that harpists could read them easily without any preparation and could rely on his markings. As to the aesthetics of his handwriting, it showed accuracy, order, correctness, exactness and cleanness. Another former harp professor at the Academy of Music, Hédy Lubik, who performed many of his compositions including the Concertino and participated in the first revision of this piece of music, stated that it was always easy to make a recording, for example, of his incidental music because the timing of the music was perfectly in sink with every scene of the film. These most valuable qualities displayed by Farkas in his writings can be wonderful examples for us to follow as harp players in our work.

In one of his letters dated September 26, 1991 to the author of this article, Farkas speaks of his deep concern regarding his own writing for the harp: “I am going to write a short piece of music for solo harp. However, of late, writing does not come easily to me [when composing for the harp] because my recent compositions are fairly chromatic and it is important to pay attention to the diatonic nature of the harp.” Farkas not only paid attention to the technical possibilities of the harp and to its idiomatic writing but also to the performer of his music. He was most generous in giving of his time to work with harpists who played his music as he also was with the author of this article with whom he worked for many years. It was a lifelong experience for every musician to work with Farkas and to see how much he cared about each piece of music that he composed. While preparing for a performance, he was attentive to the details of the interpretation as well as kind and openhanded with guidance such as in finding the meaning of his music, or in shaping the musical phrasing of his pieces. Thus he gave us an important example of how we should approach and treat all music. Following a performance, Farkas always recognized and acknowledged the effort that a musician put forth in giving the best performance possible of Farkas’ composition by presenting a most beautiful bouquet of flowers along with a thank you note showing his great respect for the performer at a recital.

Furthermore, Farkas urged harpists to adopt some of his compositions to the harp repertoire that were not specifically written for harp. This advice brought wonderful results in many cases as he himself interchanged instrumentations of his own compositions like using a harp instead of a piano for instance in accompanying songs. There are also several examples among his chamber music pieces where he as a master of orchestration gave the options regarding instrumentations such as playable parts with either violin or flute. This resulted in multiplying the variety of possibilities for ensembles including the harp that adds to the number of compositions that were intended specifically for harp. Being able to increase the number of possibilities makes it difficult to determine how many of his compositions are playable on the harp other than the ones so designated. At the same time, this practice of Farkas allows us to feel free in adopting his works for the harp.

Another type of freedom can be found in the content of Farkas’ compositions. The content of his works sprang from Hungarian culture and his music is closely related to authentic Hungarian folk music. For example, his own melodies always resemble Hungarian origin. They are accessible to Hungarian instrumentalists and also to international players in that Farkas was a cosmopolitan composer. His education was rooted in Hungarian traditions, but he extended his education in Italy and traveled throughout the West working, for example, in Vienna, Austria and in Copenhagen, Denmark. His music is undoubtedly recognizable to Hungarians as well as perceptible to international audiences as the author of this article had the privilege to experience while introducing many of his works in Hungary, throughout Europe and America in live performances and on her CD recording Harpa Hungarica.

What messages does studying Farkas’ compositions, manuscripts, bibliography, the background of his works, and the history of his interactions with musicians convey? Certainly, there is information that can be drawn from these studies that aid the understanding and the interpretation of his music. Furthermore, Farkas gave us valuable lessons beyond his music. In summary, Farkas left us a legacy of his dedication to excellence in work, to faithfulness in national identity, to respectfulness, helpfulness, and appreciation for one another. We all would do well to follow Farkas’ legacy in our teaching, playing and composing.

Bibliography of Works for Harp by Ferenc Farkas
Compiled by Erzsébet Gaál

Harp Solos:

Allegro impetuoso for harp 1991, Hungarian Harp Center, Budapest 1993
Dedicated to Nóra Mercz

Christmas Shepherd Dance for Harp 1938, Manuscript
Dedicated to Erzsébet Gaál

Four Preludes for Harp 1987, Bèrben, E. 3740 B., 1994
Dedicated to Erzsébet Gaál

Old Hungarian Melodies for Harp ca.1950, Ascolta, 1997

17th Century Hungarian Dances for Harp 1943
Rearranged by Liana Pasquali, Editio Musica Budapest, Z. 8627, 1979

Sonatina based on Hungarian Folk Songs from Moldau for Harp 1954, Manuscript

Concerto:

Concertino for Harp and Orchestra 1937
Dedicated to Mrs. Anna Molnár and the Budapest Municipal Orchestra
Revision 1956, Universal Edition, Vienna
Arrangement for String Orchestra 1994, Library of Ferenc Liszt Academy of Music, Budapest

Chamber Music:

“As You Like It”
Two Movements for Violin or Flute, Viola, or 2 Violins and Harp 1937, Manuscript

17th Century Hungarian Dances for Violin, Viola and Harp 1958, Manuscript

Eclogue-Burattinata
Two Pieces for Flute or Violin and Harp 1987, Manuscript
Dedicated to Heidi Molnar-Berner

Eclogue for Cello or Flute and Harp, Manuscript

Fantasy by Bálint Bakfark (1506/7- 1576)
arranged by Ferenc Farkas for 2 Harps or Harpsichord and Harp 1943, Manuscript

Introduzione for Flute, Viola and Harp, Manuscript

Petite Overture for Flute, Horn and Harp, Manuscript

Rumanian Folk Dances from the County of Bihar 1950, Editio Musica Budapest, Z.958, 1953
For Violin (or viola, flute, clarinet) and Piano or Harp

Voice and harp:

Come Away, Death for Voice and Harp 1954, Manuscript
From Twelfth Night by Shakespeare

Five French Troubadour Songs for Voice and Harp 1947, Manuscript

Sonnet VII de Louise Labé for Voice (or Voice, Flute) and Harp 1944, Manuscript
Dedicated to Boldizsár Keönch, Nóra Mercz, Tihamér Elek


The Legacy of Ferenc Farkas For Harpists Erzsébet Gaál
	"Farkas left us a legacy of his dedication to excellence in work, to faithfulness in national identity, to respectfulness, helpfulness, and appreciation for one another. We all would do well to follow Farkas’ legacy in our teaching, playing and composing." The contributions of the Hungarian composer, Ferenc Farkas (1905-2000), to the harp repertoire are well known to several generations of harpists. Harpists have been enjoying playing a wealth of compositions written by Farkas during his long life. His oeuvre includes pieces written for solo harp, for various instrumental ensembles with harp, for voice and harp, as well as a concertino for harp. In addition, his orchestral works contain significant harp parts. These pieces of music vary not only in medium but also in genres, musical styles and content. However, they all are alike in the fact that when performed they are most rewarding to their players. Farkas’ contributions to the harp repertoire are outstanding both in terms of quantity and quality. Farkas knew the harp and its capabilities extremely well. This knowledge was reflected for example in his manuscripts. In his manuscripts, Farkas marked very few corrections if any. On the other hand, Farkas was always open to harpists’ suggestions and made changes where necessary. For example, the most revision he did was on his Concertino for Harp and Orchestra, originally written in 1937. The first revision was done in the early 1950s following the advice given by Miklós Rékai, a former professor at the Ferenc Liszt Academy of Music in Budapest, Hungary. This composition was rearranged again for harp and string orchestra in 1994. For additional information regarding the Concertino, please consult my article on Ferenc Farkas that was printed in the World Harp Congress Review Spring 1991 issue. Further describing Farkas’ manuscripts, they were so clearly written and precisely marked with pedals that harpists could read them easily without any preparation and could rely on his markings. As to the aesthetics of his handwriting, it showed accuracy, order, correctness, exactness and cleanness. Another former harp professor at the Academy of Music, Hédy Lubik, who performed many of his compositions including the Concertino and participated in the first revision of this piece of music, stated that it was always easy to make a recording, for example, of his incidental music because the timing of the music was perfectly in sink with every scene of the film. These most valuable qualities displayed by Farkas in his writings can be wonderful examples for us to follow as harp players in our work. In one of his letters dated September 26, 1991 to the author of this article, Farkas speaks of his deep concern regarding his own writing for the harp: “I am going to write a short piece of music for solo harp. However, of late, writing does not come easily to me [when composing for the harp] because my recent compositions are fairly chromatic and it is important to pay attention to the diatonic nature of the harp.” Farkas not only paid attention to the technical possibilities of the harp and to its idiomatic writing but also to the performer of his music. He was most generous in giving of his time to work with harpists who played his music as he also was with the author of this article with whom he worked for many years. It was a lifelong experience for every musician to work with Farkas and to see how much he cared about each piece of music that he composed. While preparing for a performance, he was attentive to the details of the interpretation as well as kind and openhanded with guidance such as in finding the meaning of his music, or in shaping the musical phrasing of his pieces. Thus he gave us an important example of how we should approach and treat all music. Following a performance, Farkas always recognized and acknowledged the effort that a musician put forth in giving the best performance possible of Farkas’ composition by presenting a most beautiful bouquet of flowers along with a thank you note showing his great respect for the performer at a recital. Furthermore, Farkas urged harpists to adopt some of his compositions to the harp repertoire that were not specifically written for harp. This advice brought wonderful results in many cases as he himself interchanged instrumentations of his own compositions like using a harp instead of a piano for instance in accompanying songs. There are also several examples among his chamber music pieces where he as a master of orchestration gave the options regarding instrumentations such as playable parts with either violin or flute. This resulted in multiplying the variety of possibilities for ensembles including the harp that adds to the number of compositions that were intended specifically for harp. Being able to increase the number of possibilities makes it difficult to determine how many of his compositions are playable on the harp other than the ones so designated. At the same time, this practice of Farkas allows us to feel free in adopting his works for the harp. Another type of freedom can be found in the content of Farkas’ compositions. The content of his works sprang from Hungarian culture and his music is closely related to authentic Hungarian folk music. For example, his own melodies always resemble Hungarian origin. They are accessible to Hungarian instrumentalists and also to international players in that Farkas was a cosmopolitan composer. His education was rooted in Hungarian traditions, but he extended his education in Italy and traveled throughout the West working, for example, in Vienna, Austria and in Copenhagen, Denmark. His music is undoubtedly recognizable to Hungarians as well as perceptible to international audiences as the author of this article had the privilege to experience while introducing many of his works in Hungary, throughout Europe and America in live performances and on her CD recording Harpa Hungarica. What messages does studying Farkas’ compositions, manuscripts, bibliography, the background of his works, and the history of his interactions with musicians convey? Certainly, there is information that can be drawn from these studies that aid the understanding and the interpretation of his music. Furthermore, Farkas gave us valuable lessons beyond his music. In summary, Farkas left us a legacy of his dedication to excellence in work, to faithfulness in national identity, to respectfulness, helpfulness, and appreciation for one another. We all would do well to follow Farkas’ legacy in our teaching, playing and composing. Bibliography of Works for Harp by Ferenc Farkas Compiled by Erzsébet Gaál Harp Solos: Allegro impetuoso for harp 1991, Hungarian Harp Center, Budapest 1993 Dedicated to Nóra Mercz Christmas Shepherd Dance for Harp 1938, Manuscript Dedicated to Erzsébet Gaál Four Preludes for Harp 1987, Bèrben, E. 3740 B., 1994 Dedicated to Erzsébet Gaál Old Hungarian Melodies for Harp ca.1950, Ascolta, 1997 17th Century Hungarian Dances for Harp 1943 Rearranged by Liana Pasquali, Editio Musica Budapest, Z. 8627, 1979 Sonatina based on Hungarian Folk Songs from Moldau for Harp 1954, Manuscript Concerto: Concertino for Harp and Orchestra 1937 Dedicated to Mrs. Anna Molnár and the Budapest Municipal Orchestra Revision 1956, Universal Edition, Vienna Arrangement for String Orchestra 1994, Library of Ferenc Liszt Academy of Music, Budapest Chamber Music: “As You Like It” Two Movements for Violin or Flute, Viola, or 2 Violins and Harp 1937, Manuscript 17th Century Hungarian Dances for Violin, Viola and Harp 1958, Manuscript Eclogue-Burattinata Two Pieces for Flute or Violin and Harp 1987, Manuscript Dedicated to Heidi Molnar-Berner Eclogue for Cello or Flute and Harp, Manuscript Fantasy by Bálint Bakfark (1506/7- 1576) arranged by Ferenc Farkas for 2 Harps or Harpsichord and Harp 1943, Manuscript Introduzione for Flute, Viola and Harp, Manuscript Petite Overture for Flute, Horn and Harp, Manuscript Rumanian Folk Dances from the County of Bihar 1950, Editio Musica Budapest, Z.958, 1953 For Violin (or viola, flute, clarinet) and Piano or Harp Voice and harp: Come Away, Death for Voice and Harp 1954, Manuscript From Twelfth Night by Shakespeare Five French Troubadour Songs for Voice and Harp 1947, Manuscript Sonnet VII de Louise Labé for Voice (or Voice, Flute) and Harp 1944, Manuscript Dedicated to Boldizsár Keönch, Nóra Mercz, Tihamér Elek Copyright © 2004, Harpa Printed originally in the No. 24, June 21, 2004 issue of Harpa Internet Magazine. Used by permission.

		BACK TO PERFORMING BACK TO CD