It has long been known that Italian musicologists have been writing for three hundred years that there is a special racial music in Europe, known to everyone as Hungarian music. And it is peculiar and peculiar because it differs from the racial music of all European folk races; unlike the well-known church and art music, and as a whole it cannot be invented in the people of other parts of the world. Musicologists can even show how Hungarian music differs from others, even for natural, phonological and arithmetic reasons. It has a different tone, a different sound system, a different rhythm or pitch.
That we have this peculiar racial music: it is acknowledged even by many foreign musicians wandering around us, and perhaps even by the teachers of the Royal Academy of Music. By the way, I’m not sure about that. But Haydn admitted, for example. He stole enough of our music. Admittedly, for example, Wagner, the divine Wagner, who in the early 1960s did not think without jealousy what the so-called-208-Hungarian music, if added, if a flame spirit like Wagner’s took it. He also admitted Liszt, only said that it was not Hungarian music. He said that he has the music, beautiful, good, rich, but not the work of the Hungarian soul. In addition to them, he acknowledged hundreds and hundreds of authorities.
However, this does not mean much.
I value those authorities no more than the holy fathers. Whatever Johannes Damascenus or Tertullian or Johannes Chrysostomus or Augustine say: I will not give you what I say, just because he says nothing. I seek the truth in his saying. If I find it: the saying is good. If I can’t find it: the saying is worth nothing.
That’s how I am with music authorities. There is not even as much seriousness in them as in the arguing holy fathers. I even need other evidence that I have this strange music.
Why it is called Hungarian music: it is not decisive for me either.
It’s called because it was found here with us. Here it is done, practiced here by the Hungarian people, and elsewhere no people do it and do it. Moreover, the folk species of foreign lips and foreign origin do not practice even in Hungary, here only the Hungarian species.
True, says Liszt Ferencz, but only by the hands of the gypsy, by the soul of the gypsy.
I do not extend to this debate; this was decided thirty-five years ago.-209-
But the question, in a slightly different form, is still posed today. In a form, isn’t this music in some parts not Russian, not Oláh, not South Slavic, and did the Hungarians borrow it from these peoples? At most, he provided only Hungarian dumplings.
How is the music made?
The ancient man gives voice to his feeling, temper, will, and thought. That voice becomes a syllable, the syllable becomes a word, the word becomes speech.
But there is a special feeling, a special temper. Horror, amazement, angry anger, burning physical pain. It also takes on a voice, wanting to manifest in a voice not wanting to.
The ancient man has simple feelings, simple temperaments. However, his words are few, his speech is simple, his crying voice is short and irregular.
He later acts, begins a social life, and is bound to woman and child, father and mother by nothing but physical contact. And when he forms a society, acquires a homeland, organizes a state, goes to war, wears war: even then his heart and soul are filled with a thousand delicate and raw feelings. Love and hate, love, resentment, gratitude, heroism, friendship, ambition, enthusiasm, passion are born in the depths of souls in hundreds and variations and die silently or erupt in the voice.
Millions of feelings die silently, a lot of feelings erupt in sound. There are also more and more, as the affinity progresses, one who makes a hasty figure out of harmonizing words, harmonizing sounds and harmonizing movements.-210-
This is how the song dance is created slowly. Poem, melody and dance together.
I watch, I watch the Hungarian dance, I study the lyrics of the folk song and I fall silent. Do these three intersect?
If he clashes: then the creative power of his soul made up all three. If you don’t cut it together: you either learned one or all of it from someone else or stole it from another.
But from whom?
Not from southern peoples.
Oláh, Serbian and Greek have different dances. His dance corresponds to the song and song system of the text. Each is different than Hungarian.
Let’s not even talk about the peoples of the West. The special toddler, shuffling or fast-paced dance and cycle of the German race, and the song music of its dance on earth and in the sky is quite different from that of the Hungarian one. Italian, French, Spanish are quite different from ours.
In the East, we can look for relatives.
On the banks of the Volga, both east and west, certain elements of both the dance and the song are related to the Hungarian. I don’t know the verse system of their folk songs, but there has to be kinship in this system as well.
In the poetic system of Hungarian folk poetry, and even of higher Hungarian poetry, there must be not only a line but also a so-called Hungarian rhythm. What makes it thought is that the thought must be whole in every verse; it’s not allowed-211-to pass fragmentarily to the other line. All the less for the other verse.
The candle burns on the stove. – Brown little girl knocks. – Where he puts it out, where he sets it on fire. – It’s just my heart’s grief.
Here is a lyrical Hungarian folk song lyrics.
The melody corresponds to this.
The rhythm and emphasis of the melody also adapts to the system of the lyrics. For line intersection, line rhythm and the sound of the first syllable.
This example consists of four lines of verse, one section per line, and four syllables per section. But not all lyrics are like that. There are multi-line verses, multi-section lines and multi-syllable sections. But the accent has to be everywhere there in one or two syllables starting in lines and engravings, both in the pronunciation and in the melody. And the musical calm and the transitional spaces must coincide with the engravings and lines. This is how the rhythm of the text matches the rhythm of the melody perfectly.
This inescapable, this character of necessity is not present in any of the folk music known so far.
But it is not in the so-called classical art music either. Not in church, not in theater, not in heroic music. Wagner barely thought about it. Its predecessors and descendants are even less so. The reason for their failure is clear. In the music of Western peoples, this was not invented, and it was not discovered by themselves.
Music produces so many works as the feeling of the human soul. Not all music is dance music because-212-not all sensations involve movement of the limbs and head and waist. Silent and dreamy love, the silent and gentle rustling, the tender and painful or cheerful memory of the far mult, the moderate hopes do not cause exercise, do not desire it, or even oppose it. The music that has these objects is not dance music. It’s not customary to dance to this music, you can’t even dance.
Most of the Hungarian folk song and folk music is filled with such an object. So let’s not look for the harmonization of Hungarian dance with this part.
Our music of Dévaj, our stormy love music and our heroic music are dance music. But even then, our dance corresponds to our music. For this reason, Hungarian dance is also original, strange and completely different from the dance of other peoples.
In the forties and later around 1861, Hungarian dance was started to be cultivated, classified, developed, done and handled by skillful and clumsy dancers. It didn’t end well. And the many Palotás, Swallowing, Recruiting, Acquaintance, Dipping, Encrypting, Wedding, Circle Dance, Garland Dance, Csárdás, Tremor and many others were perfectly suited to infect the original.
The original Hungarian dance consists of three parts, perhaps better: three elements. One is Andalgó, the other is Ankle, the third is Knocker.
There is never a knock in the so-called Palace and Recruiter dance. Both consist of the andalgo and the ankle. The palace is a single dance, the recruiter is a social dance.-213-The current slow is nothing more than a recruiter between a man and a woman. The inn consists of a shredded ankle and a knocker. The now fashionable trembling inn is nothing more than a testimony to the man’s vulgarity. Those tendons to the chopped ankle are not strong enough.
I do not consider the Csürdöngölő in Transylvania to be a pure Hungarian dance.
The Szekler farmer builds a horn. He raises his wall, raises his roof, the building is ready. But he has no floor, his ground is soft. But the floor should be made of plank or plank, but it costs a lot and is not needed; or it should be rammed with hand weights to make it hard and smooth.
However, he does not want to bother with that. Instead, he invites the brothers, coma, good neighbors, the well-known good dancer youth for fun, the dance is done in the barn, and with cruel bouncing, knocking, and kicking movements, they beat the bottom of the barn in the morning so that it becomes smoother and harder than the board.
This dance is called and that is why it is called Csürdöngölő.
I have seen this kind of dance among Romanians and Russians.
The Hungarian, when you dance, never kicks. Not towards the ground, neither sideways nor up.
There is dignity and solemnity in his dance, especially for the andalgo and compliment, but even for the knocker. You should always keep your head high, your chest always forward, your waist straight. You have to look at the woman with whom you dance with a serious face and a hard look, as if you were looking at the altar or the king.-214-
I found the body to be kept straight, the quiet dignity of the knocker, and the rhythm somewhat corresponding to the Hungarians in the Volga Region peoples, especially in the Kalmyk. There is a rudimentary element of Hungarian dance in the dance of the Russian people as well as in its music.
We also came from that country a thousand years ago. But we’ve already brought more perfect music and dancing from there than the quality you can find there right now. I find it natural that we left some elements of our music and dancing in memory of related species, some of which also became the Volga Region Russian due to slow transformation.
So let’s dance to our stormy love music and heroic music.
And even if we dance is original, the melody and the whole system of our folk music are also original, and if the verse text of our folk song is made with a special rhythm and according to the original verse system, which is also original; if these three completely coincide, they harmonize and neither can be created without the other and cannot be imagined; and if none of these three belong to other folk races, but all three are together with the Hungarians: well, then who dares to doubt that there is really Hungarian music? Created by the creative soul of the Hungarian race, no one else!