| Symmetry: Culture and Science
Vol. 5, No. 3, 327-335, 1994 SYMMETRO-GRAPHY
BIBLIOGRAPHY Ernő Lendvai's works: A bibliography
Lendvai (1925-1993) has an impressive record of musicological publications: his books appeared in Hungarian, English, and Japanese, while his papers are also available in further languages, including French, German, Italian, Polish, and Russian. Although various bibliographies of Lendvai appeared, it seems as though no detailed list was ever compiled for an international audience. In the case of the present list, we added the English translation of those titles that were published in other languages. Lendvai was employed for a longer period by the Népművelési Intézet (Institute for Culture), Budapest, Hungary, which occasionally requested from its researchers to submit their list of publications. The bibliography enclosed here is based on the latest list that Lendvai prepared himself, but has been amended with various revisions and some additions. Obviously the given purpose did not require a detailed scientific bibliography; still this is the best orientation in connection with his works. Following Lendvai's convention, we do not list related publications (like the original of an article and its translated versions) together, but keep them as separate items wherever he did so. Note that there are good reasons to follow this convention because Lendvai often revised the text of his works when these were translated into other languages or adapted into new publications. These differences may represent important stages in the development of his ideas. The systematic survey of Lendvai's works in such a context is a future task; here we refer just in a few cases to the connections among some publications [where we make a clear distinction between "cf." (some revised publications) versus "reprint" or "translation" (of the same work)]. We are indebted to Mihály Ittzés, Miklós Szabó, and especially to Erzsébet Tusa and other members of the Lendvai family for the regular assistance during the compilation of this bibliography. * * * *
Note: Following Lendvai's conventions, - the items are in the chronological order, - books are marked by asterisk (*). [1] Bartók "Improvisations" sorozatáról (1920), [About Bartók's series "Improvisations" (1920), in Hungarian], Zenei Szemle, Új folyam [New series], 1947, No. 3, 151-167. [2] Bartók: Az éjszaka zenéje (1926), [Bartók: The Night's Music (1926), in Hungarian], Zenei Szemle, Új folyam [New series], 1947, No. 4, 216-219. [3] Bartók: Az éjszaka zenéje, [Bartók: The Night's Music, in Hungarian], Zenei Nevelés, 1 (1947), No. 9, 5-10. [4] "Imhol kerekedik'', ["Here it rises'' (title of a folk song), in Hungarian], Zenei Nevelés, 1948, No. 4, 11-14. [5] Bartók: Szonáta két zongorára és ütőhangszerekre: Az I. tétel analízise, [Bartók: Sonata for Two Pianos and Percussion: The analysis of the first movement, in Hungarian], Zenei Szemle, 1948, No. 8, 412-426. *[6] Bartók stílusa: A ,,Szonáta két zongorára és ütőhangszerekre'' és a ,,Zene húros-, ütőhangszerekre és celestára'' tükrében, [Bartók's Style: As Reflected in the "Sonata for Two Pianos and Percussion'' and the "Music for Strings, Percussion and Celesta'', in Hungarian], Budapest: Zeneműkiadó, 1955, 155 pp.; Reprint in the series [73], Budapest: Akkord, 1993, 155 pp. [7] Bevezetés a Bartók-művek elemzésébe, [Introduction to the analysis of Bartók's works, in Hungarian], In: Szabolcsi, B. and Bartha, D., eds., Zenetudományi Tanulmányok, Vol. 3, Liszt Ferenc és Bartók Béla emlékére, Budapest: Akadémiai Kiadó, 1955, 461-503. [Cf., [8] in French and [10] in German]. [8] Introduction aux formes et harmonies bartókiennes, [Introduction to the forms and harmonies of Bartók, in French], In: Szabolcsi, B., ed., Béla Bartók: Sa vie et son oeuvre, Budapest: Corvina, 1956, 88-137; 2nd ed., ibid., 1968, 94-138. [Cf., [7] in Hungarian and [10] in German]. [9] Válasz Sólyom K. és Újfalussy J. cikkére, [Reply to K. Sólyom and J. Újfalussy's article, in Hungarian], Új Zenei Szemle, 7 (1956), No. 1, 17-22. [10] Einführung in die Formen- und Harmoniewelt Bartóks, [Introduction to the forms and harmonies of Bartók, in German], In: Szabolcsi, B., ed., Béla Bartók: Weg und Werk, Schriften und Briefe, Budapest: Corvina, Bonn: Boosey und Hawkes, and Leipzig: Breitkopf und Härtel, [the same book was issued in three versions], 1957, 91-137; 2nd ed., Budapest: Corvina, Kassel: Bärenreiter and München: Deutscher Taschenbuch-Verlag, [the same book was issued in two versions], 1972, 105-149. [Cf., [7] in Hungarian and [8] in French]. [11] Bartók und die Zahl, [Bartók and the number, in German], Melos, [Mainz], 27 (1960), No. 11, 327-332. [12] Der wunderbare Mandarin (Werkstattgeheimnisse der Pantomime Béla Bartóks), ["Miraculous Mandarin"' (The workshop-secrets of Bartók's pantomime), in German], Studia Musicologica Academiae Scientiarum Hungaricae, 1 (1961), Nos. 3-4, 363-431. [13] A kékszakállú herceg vára (Bartók operájának műhelytitkai), ["Bluebeard's Castle" (The workshop-secrets of Bartók's opera), in Hungarian], Magyar Zene, 1 (1961), No. 4, 339-387. [14] Válasz Monika Gorczycka cikkére, 1-2, [Reply to Monika Gorczycka's article, Parts 1-2, in Hungarian], Muzsika, 4 (1961), No. 10, 36-38 and Nos. 11-12, 14-16. [15] Bartók pantomimje és táncjátéka, [Bartók's pantomime and ballet, in Hungarian], In: Szabolcsi, B. and Bartha, D., eds., Zenetudományi Tanulmányok, Vol. 10, Bartók Béla emlékére, Budapest: Akadémiai Kiadó, 1962, 69-187. [16] Az ismeretlen Bartók (Műhelytanulmány), [The unknown Bartók (Workshop study), in Hungarian], Valóság, 5 (1962), No. 5, 56-65. [17] Duality and synthesis in the music of Béla Bartók, The New Hungarian Quarterly, 3 (1962), No. 7, 91-114. [Also see [21] and [75] English reprints, [31] French trans., [32] German trans.]. [18] A polaritás tartalmi jelentése Bartók műveiben, [The meaning of polarity in Bartók's works, in Hungarian], Valóság, 6 (1963), No. 4, 60-73. *[19] Bartók dramaturgiája: Színpadi művek és a Cantata Profana, [Bartók's Dramaturgy: Stage Works and the "Cantata Profana"', in Hungarian], Budapest: Zeneműkiadó, 1964, 285 pp.; Reprint in the series [73], Budapest: Akkord, 1993, 285 pp. [20] A műalkotás egysége Verdi Aidájában, [The unity of art-work in Verdi's "Aida", in Hungarian], Magyar Zene, 5 (1964), No. 5, 490-522. [21] Duality and synthesis in the music of Béla Bartók, In: Kepes, G., ed., Module, Proportion, Symmetry, Rhythm, Vision + Value [Series], New York: Braziller, [and] In: Kepes, G., ed., Module, Symmetry, Proportion, Vision + Value [Series], London: Studio Vista, 1966, 174-193. [The reprint of [17] in a collection of essays that was issued in both American and British versions and later translated into other languages, see [31] in French and [32] in German; the original paper is also reprinted in a musicological journal, see [75] in English]. [22] Bartók und der goldene Schnitt, [Bartók and the golden section, in German], Österreichische Musikzeitschrift, 21 (1966), No. 11, 607-614. [23] Toscanini and Beethoven: A Reconstruction of the "Seventh Symphony", Studia Musicologica Academiae Scientiarum Hungaricae, 8 (1966), 217-290. [Cf., [25] in Hungarian]. [24] System of signs in Bartók's Miraculous Mandarin, In: Hungarian Survey: Supplement of The New Hungarian Quarterly, 1966, 199-207; Also issued in German, 217-226; French, 241-250; and Russian, 200-207. *[25] Toscanini és Beethoven: A VII. szimfónia rekonstrukciója, [Toscanini and Beethoven: The Reconstruction of the "Seventh Symphony", in Hungarian] Budapest: Zeneműkiadó, 1967, 85 pp.; Reprint in the series [73], Budapest: Akkord, 1994, 85 pp. [Cf., [23] in English]. [26] Toscanini, [Toscanini, in Hungarian], Muzsika, 10 (1967), No. 3, 1-7. [Cf., [39] in Italian]. [27] Bartók vonósnégyesei, [1-6], [Bartók's "String Quartets'', [Parts 1-6], in Hungarian], Muzsika, 10-11 (1967-1968). - A hídforma és a 4. kvartett, [Bridge-form
and the "Fourth Quartet", in Hungarian], Muzsika, 10 (1967), No.
9, 25-28.
[28] Bartok a natura (Muzyka a sloneczniki), [Bartók and nature (Music and sunflowers), in Polish], In: Zeszyty Naukowe 2: Sesja Bartokowska, [Warszawa, 1966], Warszawa: Panstwowa Wyzsza Szkola Muzyczna we Warszawie, 1967, 11-24; Also see, 139-141. [29] "Tonalitás - modalitás": Válasz Kárpáti Jánosnak, ["Tonality - modality": Reply to János Kárpáti, in Hungarian], Magyar Zene, 9 (1968), No. 1, 33-47. [30] Bartók húros-, ütőhangszeres Zenéjének néhány értelmezési problémájáról, [About some problems of interpretation of Bartók's Music for Strings and Percussion, in Hungarian], Muzsika, 11 (1968), No. 7, 24-28. [31] Dualité et synthèse dans la musique de Béla Bartók, [Duality and synthesis in the music of Béla Bartók, in French], In: Kepes, G., ed., Module, proportion, symétrie, rhythme, Bibliothèque de synthèses, 4, Bruxelles: La Connaissance, 1968, 174-193. [French trans. of [21]; also see [17] and [75] in English, [32] German trans.]. [32] Dualismus und Synthese in der Musik Béla Bartóks, [Duality and synthesis in the music of Béla Bartók, in German], In: Kepes, G., ed., Modul, Proportion, Symmetrie, Rhythmus, Sehen + Werten [Series], Bruxelles: La Connaissance, 1969, 174-193. [German trans. of [21]; also see [17] and [75] in English, [31] French trans.]. [33] Verdi's Formgeheimnisse, [Verdi's form-secretes, in German], In: Atti del 1. Congresso del'Istituto di Studi Verdiani, [Venezia, 1966], Parma: Istituto di Studi Verdiani, 1969, 157-171. [34] Bartók Négy zenekari darabjáról, [About Bartók's "Four Pieces for Orchestra'', in Hungarian], Muzsika, 12, (1969), No. 7, 13-18. [35] Bartók Divertimentójáról, [About Bartók's "Divertimento'', in Hungarian], Muzsika, 12 (1969), No. 9, 27-30. [36] Bartók Hegedűversenyéről, 1-2, [About Bartók's "Violin Concerto", Parts 1-2, in Hungarian], Muzsika, 12 (1969), No. 10, 28-32 and No. 11, 20-23. [37] Bartók - Két kép: Virágzás, Falu tánca, [Bartók's "Two Pictures: Flowering, Dance of the Village", in Hungarian], Muzsika, 12 (1969), No. 12, 35-37. [38] Über die Formkonzeption Bartóks,
[About Bartók's conception of form, in German], Studia Musicologica
Academiae Scientiarum Hungaricae, 11 (1969), Nos. 1-4, 271-280. [Cf.,
[40] in Hungarian, [69] in Italian].
[40] Bartók forma-koncepciójáról, [About Bartók's conception of form, in Hungarian], Magyar Zene, 11 (1970), Nos. 1-4, 31-39. [Cf., [38] in German, [69] in Italian]. [41] Bartók: Két portré, Ideális és torz, [Bartók: Two Portraits, Ideal and deformed, in Hungarian], Muzsika, 13 (1970), No. 2, 24-26. [42] A természet két arca Bartók zenéjében, [The two faces of nature in Bartók's music, in Hungarian], Muzsika, 13 (1970), No. 9, 27-29. [43] Boulez Parsifaljáról, [About Boulez's "Parsifal", in Hungarian], Muzsika, 13 (1970), No. 10, 22-25. *[44] Bartók költói világa, [Bartók's Poetic World, in Hungarian], Budapest: Szépirodalmi Könyvkiadó, 1971, 458 pp.; Reprint in the series [73], Budapest: Akkord, 1995. *[45] Béla Bartók: An Analysis of his Music, With an Introduction by Alan Bush, Trans. from Hungarian by T. Ungar, London: Kahn and Averill, 1971, xi + 115 pp. [This book is based on Hungarian manuscripts, including a revised version of [7] and additional materials]. [46] Allegro barbaro: Az új magyar zene bölcsőjénél, ["Allegro Barbaro": At the birth of the new Hungarian music, in Hungarian], In: Bónis, F., ed., Magyar Zenetörténeti Tanulmányok, Vol. 3, Mosonyi Mihály és Bartók Béla emlékére, Budapest: Zeneműkiadó, 1973, 257-278. *[47] Bartók és Kodály harmóniavilága, [Bartók and Kodály's Harmony-World, in Hungarian], Budapest: Zeneműkiadó, 1975, 310 pp.; Reprint in the series [73], Budapest: Akkord, 1996. *[48] Bartók and Kodály, Vols. 1-4, Budapest: Institute for Culture and Kecskemét, Hungary: Zoltán Kodály Pedagogical Institute of Music, 1976-1980. - Vol. 1, 1976, 207 pp., 2nd revised ed., 1979, 240 pp.
*[49] Barutouku no sakkyoku gihou, [Bartók's compositional technique, in Japanese], Trans. from English by K. Tanimoto, Tokyo: Zen'on gakufu, 1976, 126 pp.; Reprint editions, ibid., 11 times. [The Japanese version of [45] with additional parts prepared by Lendvai for the translator]. [50] Modality, atonality, function, Soundings: A Musical Journal, [Cardiff: University College Cardiff], 6 (1977), 1-41. *[51] Modality - Atonality - Function, Budapest: Institute for Culture and Kecskemét, Hungary: Zoltán Kodály Pedagogical Institute of Music, 1977, 90 pp. [52] Modalitás - atonalitás - funkció: Utóhang egy Bartók-Kodály könyvhöz, [Modality, atonality, function: Epilogue to a book on Bartók and Kodály, in Hungarian], In: Bónis, F., ed., Magyar Zenetörténeti Tanulmányok, Vol. 4, Kodály Zoltán emlékére, Budapest: Zeneműkiadó, 1977, 57-122. *[53] Polimodális kromatika, [Polymodal Chromaticism, in Hungarian], Budapest: Népművelési Intézet and Kecskemét, Hungary: Kodály Zoltán Zenepedagógiai Intézet, 1980, 76 pp. [Cf., [48, Vol. 4] in English]. [54] Aranymetszés?, [Golden section?, in Hungarian], Muzsika, 24 (1981), No. 2, 45-46. [55] Válasz Bartók-szonáta ügyben, [Reply concerning Bartók's "Sonata", in Hungarian], Muzsika, 24 (1981), No. 4, 43-45. [56] Pizzicato effect in Bartók's Fifth String Quartet, The New Hungarian Quarterly, 22 (1981), No. 82, 84-90. [57] Modality in the music of Verdi and Bartók, In: Béla Bartók Italia 1981, Venezia, 1981. [Conference materials]. [58] The quadrophonic stage of Bartók's Music for Strings, Percussion and Celesta, The New Hungarian Quarterly, 22 (1981), No. 84, 70-85. [59] La sezione aurea nelle strutture musicali bartókiane, [The golden section in Bartók's musical structures, in Italian], Nouva Rivista Musicale Italiana, [Roma: Edizioni RAI (Radiotelevisione Italiana)], 1982, [?]. *[60] The Workshop of Bartók and Kodály, Budapest: Editio Musica, 1983, 762 pp. [61] Kodály method - Kodály conception, The New Hungarian Quarterly, 24 (1983), No. 90, 164-198. *[62] Verdi és a 20. század: A Falstaff hangzás-dramaturgiája, [Verdi and the 20th Century: The Sound-Dramaturgy of the Falstaff, in Hungarian], Budapest: Zeneműkiadó, 1984, 515 pp.; Reprint in the series [73], Budapest: Akkord, 1998. [63] Remarks on Roy Howat's "Principles of proportional analysis", Music Analysis, 3 (1984), No. 3, 255-264. [Cf., [64] in English]. [64] The limits of musical analysis: Remarks on Roy Howat's "Bartók, Lendvai and the principles of proportional analysis", The New Hungarian Quarterly, 26 (1985), No. 97, 201-207. [Cf., [63] in English]. [65] Hol a színpad, kint-e vagy bent?, [Where is the stage: Outside or inside?, in Hungarian], Kultúra és Közösség, 1988, Nos. 1-2, 31-38. *[66] Verdi and Wagner, Budapest: International House, 1988, 504 pp. [67] Comments of Jean-Bernard Condat's book review of the Workshop of Bartók and Kodály by E. Lendvai, Leonardo, 21 (1988), No. 3, 339-340. [68] Symmetries of music, Part 1, Symmetry: An Interdisciplinary and International Journal, [New York: VCH Publishers], 1 (1990), No. 1, 109-125. [This journal ceased after its first issue, and Part 2 was not published, cf., [70] in Italian, [72] and [76] in English, [74] in Hungarian, [77] in German]. [69] Sulla concezione formale in Bartók, [About the formal conception at Bartók, in Italian], Danubio: Una civiltà musicale, [Trieste: Stella Art Grafiche], 3 (1993), 317-327. [Cf., [38] in German, [40] in Hungarian]. [70] Simmetria nella musica, [Symmetry in music, in Italian], Danubio: Una civiltà musicale, [Trieste: Stella Art Grafiche], 3 (1993), 329-378. [Cf., [68], [72], and [76] in English, [74] in Hungarian, [77] in German]. Posthumous works: [71] Önéletrajz és műjegyzék Lendvai Ernő hagyatékából, [Autobiography and list of works from Ernó Lendvai's bequest, in Hungarian], Muzsika, 36 (1993), No. 4, 12-13. [Unfortunately an incomplete list was published without consulting with the family and requesting its revision]. *[72] Symmetries of Music: An Introduction to Semantics of Music, Compiled and ed. by M. Szabó and M. Mohay, Kecskemét, Hungary: Kodály Institute, 1993, 155 pp. [Based on [68] and other works; also see [74] Hungarian version, [77] German trans.]. *[73] Lendvai Ernő munkái, [Works of Ernő Lendvai, in Hungarian - specifically the reprint editions of Lendvai's books in Hungarian and the collection of his unpublished works], Budapest: Akkord, 1993-. - [Vol. 1], 1993, Reprint of [19]. - [Vol. 2], 1993, Reprint of [6]. - [Vol. 3], 1994, Reprint of [25]. - [Vol. 4], 1995, Reprint of [44]. - [Vol. 5], 1996, Reprint of [47]. - [Vol. 6], 1998, Reprint of [62].
*[74] Szimmetria a zenében, [Symmetry in Music, in Hungarian], Compiled and ed. by M. Szabó and M. Mohay, Kecskemét, Hungary: Kodály Intézet, 1994, 165 pp. [Hungarian revised version of [72]; also see [77] German version]. [75] Duality and synthesis in the music of Béla Bartók [Parts 1-2], Hungarian Music Quarterly, 5 (1994), No. 1, 5-14 and No. 2, 8-16. [Reprint of [17]; also see [21] in English, [31] French trans., [32] German trans.]. [76] Symmetries of music, [Ed. by S. Bruhn from the text recovered from Lendvai's computer], Symmetry: Culture and Science, 5 (1994), No. 3, 229-268, [the first article in the present issue]. [The first part is based on [68], cf., the notes there]. *[77] Symmetrien in der Musik: Einführung in die musikalische Semantik, [Symmetry in Music: An Introduction to Musical Semantics, in German], Compiled and ed. by M. Szabó and M. Mohay, Trans. from English by S. Bruhn, Kecskemét, Hungary: Kodály Institut and Wien: Universal Edition, 1995. [German trans. of [72]; also see [74] Hungarian version.] Dénes Nagy
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