Alicyn’s statements of being “immediately enraptured” by Kodály’s Psalmus Hungaricus captured my attention in her journal entry. I have been compelled by many different pieces in 20th Century music, especially Stravinsky, but not yet “immediately enraptured”. As soon as I began listening to the Hungarian oratorio of Psalm 55, I shared her reaction.".
Kodály is known to have four characteristics in each piece, including Psalmus Hungaricus. These four points in his musical thinking are “vocalism and notably the principle of melody stemming from the word; taking folk music as a starting point; the historical connection with the past; and finally, adherence to the principle of the classical spirit. Just these four factors together illuminate the principle on which Kodály’s work as a composer, scholar and educator was based.” (Szabolsci, 1972) Let us discuss these four points in detail:
First, his use of melody to emphasize the text is reflected not only in the vocals, but the instrumental. The piece opens with a brass ensemble countered by strings, creating a sound both soothing and powerful. As Alicyn discussed, the opening preps the listener for the text. The brass ensemble announces the beginning of the piece with strong conviction, just as the psalmist will ask for punishment for the wicked. The strings quickly reply with a distinct single note with grace, then move into a swelling, sweet melody, praying for protection and redemption. The solo voice cries out as powerful as the brass and as sweetly as the strings, “Listen to my prayer, O God! Do not ignore my plea!” (Psalm 55:1, NIV) Kodály’s use of “klangfarbenmelodie”, as Alicyn mentioned, does become apparent, as he frequently has long and beautiful orchestral interludes. This seems strange for an oratorio for the orchestra to play such a prominent role, but the interpretation of mood in the text is so clear, the interludes do not seem strange at all.
Kodály’s attribute in basing his music from folk music, not surprisingly, is mostly in the uncovering of the folk music of Hungary, his homeland. Hungarian music holds origins in Eastern music as well as Western. The Eastern style emerges in the Hungarian folk music through their use of pentatonic and modal scales and distinct rhythmic patterns, all of which Kodály draws from in his music. This resurrection of Hungarian music is also seen in a more direct sense in the main subject of Psalmus Hungaricus. It is an original theme by Kodály, but has a recognizable inspiration of a historical Hungarian song by Sebestyén Tinódi, Summary of the History of Eger, from 1553. (Bonis, 1983)
But Kodály did not stop at included attributes of Hungarian music. Kodály made adopted music techniques forgotten by 20th Century audiences. A favorite of his was the style of the Gregorian chant, borrowing concepts from Palestrina, heard unmistakably in many of the a capella tuttis in Psalmus Hungaricus. (Szabolsci, 1972)
Finally, Kodály was revered as a Neoclassic composer. Saying he was Neoclassic is somewhat misleading, since he used not only styles from Renaissance as mentioned, but from Baroque and Romantic as well. (Bonis, 1983)
Again, I have met with a very collaborative composer of the 20th Century. Kodály, like Szymanowski, created works with a “Stone Soup” recipe. The interesting part for me is that it, unlike Szymanowski, Kodály is not so blatantly obvious about his hodgepodge of inspiration. While King Roger is no doubt still a great piece, it is not so fluid about its execution as Psalmus Hungaricus. Dare I say I would include Psalmus Hungaricus in the canon? Without going back on my saying before that the canon should be extremely selective, the Psalmus Hungaricus is a piece so well executed in being both collaborative in styles of the past and representing the 20th Century, I would include it.
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