Unrecorded symphonists from East-Central Europe: Buttykay, Ákos (1871-1935)

[Wheesht]

"Mike Herman (over at MusicWeb) has included an appendix of unrecorded symphonists from East-Central Europe. Does anyone know anything about any of the ones that might be relevant to us here at UC (see below)? If so, we'll start some separate threads..."

>> Here's an extract from a recent (2023) paper about Buttykay, covering his 'symphonic career'. The full text, which is mainly about Buttykay the operetta composer, is here, including all references and footnotes.

The beginnings – a gifted composer and pianist of Hungarian symphonic literature
Buttykay was born in Halmi on 22 July 1871. Like many operetta composers, he initially felt slightly averse to the genre. He had begun his music studies in Weimar, where he spent one and a half years in 1893–94.8His teacher during this period was Bernhard Stavenhagen.9 He then continued his musical education as a student at the Liszt Academy in Budapest.10 He was taught music theory by Viktor Herzfeld and the art of orchestration by Ferenc Szabó Xavér.11

At the beginning of his career, he did not feel at home in the genre of operetta – note, however, that the Hungarian operetta style only began to establish itself in those decades – and was mainly composing symphonies – indeed, contemporary newspapers described him as a gifted symphonist. It is also not surprising that these two creative periods are not sharply separated, since even as a well-known operetta composer he still returned regularly to the world of orchestral works. It is worth taking a look at some of the reviews and reports from this period. On the one hand, it is interesting that the sources are punctuated by a certain pathos; on the other hand, they also reveal that Buttykay was already a well-known and respected composer and pianist during his lifetime.

His talent was quickly recognised by his fellow composers. He entered Hungarian musical life as a pupil of István Thomán (1862–1940),12 gave concerts (according to sources, his first concert took place in 1892)13 and was considered a promising piano student. By the end of the 1890s he was already a star of philharmonic concerts. His Scherzo of 1898 represents a kind of breakthrough, "The Philharmonic Orchestra fills the grey evenings with life. The Scherzo by Ákos Buttykay seemed like a bright spot amidst the overpowering greyness of today's programme, with only one flaw: its brevity. Buttykay, who made his debut as a symphonic musician two years ago, is now one of the best. His Scherzo is a beautiful, clear work that could fairly be called a classic if it were not so modern. Buttykay has a way of being modern without poisoned harmonies and cutting rhythms. The young composer was called back to the podium twice, amidst thunderous applause [...]",14 after the Scherzo, which was lovingly conveyed by the conducting Richter.

He also tried to hold his own as a law student, although it is mostly mainly in the light of his work that we get to read about his law studies, "The first carnival ball was held today at the Vigadó. I liked the new csárdás and the new waltz; these pieces by the law student Ákos Buttykay had to be repeated several times by the Berkes band and the Dubez military band."15

After only a few years, Buttykay was hailed by critics as the outstanding young talent among his coaeval contenders. In February 1901 he shone as a pianist in the Minor Hall of the Vigadó. Budapesti Hírlap acknowledgd his performance as follows, "It's been a few years since we last heard Buttykay perform. His name did not disappear during this period; he was only inactive as a pianist, but as a composer of various orchestral works he achieved great success at philharmonic concerts. The distinguished audience at today's concert, however, was delighted to see Buttykay alongside a Bösendorfer. The young artist has come a long way in recent years. [...] Buttykay played a rich and substantial programme worthy of his serious personality, including great works by Schumann, Bach, Chopin, Brahms, Beethoven and Liszt. The young artist was enthusiastically celebrated throughout the concert and his admirers presented him with two laurel wreaths."16

In 1902, inspired by Gustave Flaubert's novel Salammbó, he wrote a symphony with the same title: "The composer was inspired by the novel's vivid imagery, its lush colours, the sensuality of an immensely rich imaginary world. [...] The whole work is very significant and interesting and places Ákos Buttykay among the first ranks of modern symphonic composers. Tonight, the audience listened with growing interest and applauded the composer enthusiastically after each movement."17

In 1905 he wrote another major work, the music to János Arany's ballad Ünneprontók [Spoilers of the Feast]. His increasingly Hungarian musical style is highlighted by critics, "[...] the air, the colouring, the rhythm and even the concept of Ünneprontók is Hungarian. [...] Buttykay has by and large mastered his task well. His music is lively; without going beyond the framework of the symphonic movement, it follows the flow of the poem smoothly, its rhythms are striking and Hungarian. His orchestration technique represents a high level. Ákos Buttykay's orchestra is inspiring."18 However, the symphonic poem is not only praised, "There are, however, some weak points in the work: the choice of the central musical ideas was not as successful as it might have been. His themes are fairly small scale or insignificant, so that even a great artist like Ákos Buttykay could not build a perfect, intact symphonic movement from them. The heroes of the ballad come to a terrible, an awful end. Tortured to death, caught in the needles of hell, they suffer dreadful, indescribable agonies; however, the original catastrophe of the ballad is not vividly enough depicted by Buttykay."19

[eschiss1]

I've noticed (and uploaded/mirrored in a couple of cases from Debrecen, iirc) his works at IMSLP- chamber music there, including a piano sonata, a violin (&piano) sonata, and a few other things...

[Alan Howe]

The Hungarian tradition is only patchily represented in recordings - we've mentioned here composers such as Mihalovich and Major, and now we have Buttykay.

[Gareth Vaughan]

I am hoping his manuscripts survive somewhere - maybe in the Hungarian National Library. Will have to enquire.