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METAMORPHOSIS #0507_1/ 2007
(  Satoshi Kinoshita )
| Series: | Paintings: Landscape 2 | | Medium: | "iron rust" on stretched canvas | | Size (inches): | 10 x 8 x 3 | | Size (mm): | 254 x 203 x 76 | | Catalog #: | PA_0111 | | Description: | Signed, titled, date, copyright in magic ink on the reverse.
Iron + oxygen + water = Iron rust.
KODALY, ZOLTAN (1882 - 1967)
"Our age of mechanisation leads along a road ending with man himself as a machine; only the spirit of singing can save us from this fate." - Zoltán Kodály
-www.boosey.com/pages/cr/composer/
composer_main.asp?composerid=2847
Zoltán Kodály -
Kodály, a colleague of Bartók in the early collection of folk music in Hungary and neighbouring regions, made his later career in his own country, where the system of musical education he devised has had a profound effect, as it has abroad. His own music is imbued with the spirit and musical idiom of Hungary and is in general less astringent than is sometimes the case with the music of Bartók. He was active as a composer until his death in 1967.
-www.naxos.com/composerinfo/13162.htm
Serenade for Two Violins and Viola Op. 12 (1919-1920)
"If I were to name the composer whose works are the most perfect embodiment of the Hungarian spirit, I would answer, Kodaly. His work proves his faith in the Hungarian spirit. The obvious explanation is that all Kodaly’s composing activity is rooted only in Hungarian soil, but the deep inner reason is that his unshakable faith and trust in the constructive power and future of his people."- Bela Bartok (1928)
Kodaly’s contributions to the musical life of Hungary in the 20th century have been immense, and indeed, have gone far beyond mere nationalism. His orchestral compositions enjoy a place in the standard repertory. His researches into his country’s folk music have been models for ethno-musicologists. The program for folk music research drafted by him and Bartok in 1913 resulted in the collection, classification and editing of over 100,000 folk songs. He also made significant contributions in the fields of music history, music criticism, history of literature, linguistics and language education. His teaching methods also went far beyond the borders of his native land with the worldwide use of the "Kodaly Method" for teaching music in schools, the idea being general music literacy.
Despite their close personal and professional relationship, Kodaly’s compositional style contrast sharply with that of Bartok. Where Bartok used dissonances and propulsive rhythms and worked largely with instrumental music, Kodaly was a vocal oriented composer. Melody and lyricism were of prime importance to him. Indeed, the bulk of Kodaly;s works are for chorus. Despite the difference in their musical styles, the core of their work is folk music.
The Serenade was written for the unusual trio combination of two violins and viola. (The classical string trio is comprised of violin, viola and cello.) Bartok wrote a review of this work in 1921, in which he said: "Despite unusual chord combinations and surprising originality (The Serenade) is still firmly based on tonality, though not to be interpreted strictly on the major/minor system. The time will come when it will be realized that despite the atonal inclination of modern music, the possibilities of building new structures on key systems have not been exhausted.
The means used by the composer, the choice of instruments and the superb richness of instrumental effects achieved despite the economy of the work merit great attention in themselves. The content is suited to the form. It reveals a personality with something entirely new to say and one who is capable of communicating this contest in a masterful and concentrated fashion."
The work is in three movements. Bartok felt it to be a work "extraordinarily rich in melodies." Particularly impressed by the slow second movement, he described it as "a double thread of mysterious sustained seconds and ninths, tremolo passages in the second violin played pianissimo and consordino provide a harmonic frame. There is also a kind of dialogue between the first violin and viola. The strangely floating passionate melodies of the viola alternate with the spectral, flashing motifs on the first violin. We find ourselves in a fairy world never dreamt of before."
-www.fuguemasters.com/kodaly.html
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