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Zenelap. Közlöny a zeneművészet összes ágai köréből

(Budapest, 1885-1912)

RIPM Preservation Series: European and North American Music Periodicals (2013)

Issues bear the inscription "Az „Országos Magyar Daláregyesület“ és a „Zenetanárok Országos Egyesületé“ -nek hivatalos közlönye."

Editors: József Ságh (Felelős szerkesztő = Responsible editor); assistant editors Guido Pogátschnigg, Viktor Langer, Emil Vajda, G. Tessényi Margit

Periodicity: Weekly

Publisher: József Ságh

Language: Hungarian

“In the early twentieth century, an increasing area of disagreement was the role of ‘hypermodern’ musical language, including dissonance, and of advocates for this kind of musical language. Zeneközlöny (Musical journal) (1901-1917, 1924-1925) and a newly constituted Zenevilág (1900-1910, 1912, 1916) were both edited by associates and advocates of Bartók—Dezsõ Demény and Pongrácz Kacsóh respectively—and featured Bartók, Kodály, and other associates regularly in news columns and elsewhere. By contrast, Zenelap (Music page) (1886-1912) and A zene (Music) (1909-1914) could be judged more aesthetically conservatoive, in that they tended to acknowledge modernist expression less and minimized the role of forward-looking musicians, led by Bartók, in their news columns; but journalists cannot be defined only by their relationships to Bartók’s circle. For instance, Zenelap tended to emphasize the importance of Hungarian music-making more generally (including the choral movement and operetta), while A zene more frequently highlighted elite composition and criticism and canonical German composers.”

-Lynn M. Hooker, Redefining Hungarian Music from Liszt to Bartók (Oxford: Oxford University Press, 2013): 110

“Rumors of his [Mahler’s] feuds with various orchestral players circulated widely; in November, the following (likely apocryphal outburst was attributed to Mahler by the Zenelap, a magazine that was habitually antagonistic toward him: ‘In the event that the orchestra should demonstrate the slightest disobedience, for any reason, I will immediately dismiss them all and use a military band until I can hire a complete orchestra from Berlin[!].’”

-Zoltán Roman, “Mahler and the Budapest Opera,” Studia Musicologica Academiae Scientiarum Hungaricae 31, no. 1/4 (1989): 359.