{"id":5888,"date":"2022-02-23T00:00:00","date_gmt":"2022-02-22T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/einfuehlsamer-lehrer-schoepfer-und-beobachter\/"},"modified":"2024-10-28T14:38:50","modified_gmt":"2024-10-28T13:38:50","slug":"einfuehlsamer-lehrer-schoepfer-und-beobachter","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/buecher-rezensionen\/2022\/02\/einfuehlsamer-lehrer-schoepfer-und-beobachter","title":{"rendered":"Empathetic teacher, creator and observer"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/berne_1983_with_the_members_of_the_bernese_string_quartet.jpg\" alt=\"\" width=\"554\" height=\"399\" \/><figcaption class=\"wp-caption-text\">S\u00e1ndor Veress in 1983 with the Bern String Quartet (from left: Henrik Crafoord, Alexander van Wijnkoop, Walter Grimmer, Christine Ragaz). Photo: Peter Friedli<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>S\u00e1ndor Veress was of great importance for Swiss music history. He actually had his sights set on a career in the United States. But when the teaching position in Pittsburgh fell through due to his former membership of the Hungarian Communist Party, Veress ended up in Bern. He remained there from 1949 until the end of his life in 1992, teaching renowned Swiss composers and musicologists as a respected university lecturer. His students included Theo Hirsbrunner, Heinz Holliger, Urs Peter Schneider, J\u00fcrg Wyttenbach and Roland Moser.<\/p>\n<div id='gallery-1' class='gallery galleryid-5888 gallery-columns-3 gallery-size-full'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/lucerne_1986_with_heinz_holliger.jpg'><img decoding=\"async\" width=\"180\" height=\"392\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/lucerne_1986_with_heinz_holliger.jpg\" class=\"attachment-full size-full\" alt=\"\" aria-describedby=\"gallery-1-5890\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/lucerne_1986_with_heinz_holliger.jpg 180w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/lucerne_1986_with_heinz_holliger-138x300.jpg 138w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/lucerne_1986_with_heinz_holliger-80x175.jpg 80w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/lucerne_1986_with_heinz_holliger-161x350.jpg 161w\" sizes=\"(max-width: 180px) 100vw, 180px\" \/><\/a>\n\t\t\t<\/div>\n\t\t\t\t<figcaption class='wp-caption-text gallery-caption' id='gallery-1-5890'>\n\t\t\t\tS\u00e1ndor Veress with Heinz Holliger in August 1986 in Lucerne. Photo: Claudio Veress\n\t\t\t\t<\/figcaption><\/figure>\n\t\t<\/div>\n\n<p>The anthology S\u00e1ndor Veress provides lively insights. Roland Moser reports positive things about his teacher, who - probably in a mixture of modesty, pedagogical flair and interest in others - never \"mentioned or showed his own works\" in class (p. 72). Heinz Holliger's comments and analyses of Veress's works on the <em>Passacaglia concertante<\/em> for oboe and string orchestra (1961) and the musicologist Bodo Bischoff's reflections on the late work <em>Glass cantilever game <\/em>for mixed choir and chamber orchestra (1978).<\/p>\n<p>Veress, a pupil of none other than B\u00e9la Bart\u00f3k and Zolt\u00e1n Kod\u00e1ly, was not an avant-gardist. Although he had words of praise for the sound-surface composition of his former pupil Gy\u00f6rgy Ligeti (p. 43), he was skeptical or even hostile towards the serialism of the 1950s. The praise for Ligeti can be found in his wonderful text printed in English <em>New Trends in European Music since World War II<\/em>. Here S\u00e1ndor Veress shows himself to be not only an empathetic observer, but also an immensely educated, interdisciplinary thinking art and cultural scholar in his sincere efforts to anchor 20th century music in society. This very readable anthology of 15 essays is therefore not only informative for Veress researchers; it provides all interested parties with a wealth of information far from the beaten track of a 20th century musical ideology of progress.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/03_crit_buch_Moeller_Veress.png\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>S\u00e1ndor Veress, edited by Ulrich Tadday, Musik-Konzepte issue 192\/193, 197 p., \u20ac 38.00, Edition Text und Kritik, Munich 2021, ISBN 978-3-96707-389-8<\/em><\/p>\n<\/div>\n<div>\n<blockquote class=\"text-section\"><p>&nbsp;<\/p><\/blockquote>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>This anthology of 15 essays on the life, work, teaching and mediation activities of S\u00e1ndor Veress opens up new perspectives. <\/strong><\/p>","protected":false},"author":1,"featured_media":5889,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1214,29],"tags":[],"class_list":["post-5888","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen"],"acf":{"author":"Torsten M\u00f6ller"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - 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