Capital city of Hungary. It was created in 1873 by the unification of three towns: Buda, on the right bank of the Danube, which with its great castle served as the royal seat of the kingdom from the 13th century; Óbuda, north of Buda on the right bank, which as Aquincum was the capital of the province of Pannonia, part of the Roman Empire from ce 100 to 400; and Pest, opposite Buda on the left bank.
5. Institutes, libraries, associations and publishing.
DEZSŐ LEGÁNź
The courts of King Louis the Great (1342–82) and King Sigismund (1387–1437) set a high standard of excellence, but Buda reached its first golden age of music under King Matthias Hunyadi [Corvinus] (1458–90). At the court of the great Renaissance ruler and his Italian wife, the Neapolitan Princess Beatrice of Aragon, excellent choirs performed with singers from Italy and the Netherlands, under the direction of Johannes de Stokem and Erasmus Lapicida; the court was visited by notable composers such as Verjus, Jacques Barbireau and Heinrich Finck. The viol and lute were greatly favoured, the most eminent lutenist in Buda being Pietro Bono, while fine organs of the royal palaces of Buda and Visegrád were played by Stefano da Salerno. Children's choirs also sang in the royal chapel, already under Hungarian direction long before the reign of King Matthias. Several performers of heroic songs, as well as the conductor of the royal orchestra, Miklós, and later the royal choirmaster, M. Huszti, were likewise of Hungarian origin. Printing developed in the workshop of A. Hess (Chronica hungarorum, 1473), but this ended after the death of King Matthias, and more and more publishers (e.g. Fegler and Pap) had the Missale strigoniense (the liturgy of Esztergom) printed by the south German presses or by the Venetian Giunta. Musical standards, however, did not decline significantly under the Polish Jagellon dynasty (1490–1526): Duke Sigismund Jagellon (later King of Poland) brought the virginals to Buda in 1502, and was entertained twice a day by singers from Buda schools. Around 1517 Willaert worked at court, while from 1522 to 1526 the director of the orchestra was Thomas Stoltzer. In the same period excellent organs were made at the nearby monastery of Budaszentlőrinc by the Pauline Friar János. Even after the Battle of Mohács (1526) there was still some musical life in Buda, at the court of King János Szapolyai (1526–40), but by then only native Hungarians were to be heard; the most outstanding was the lutenist Valentin Bakfark, who became famous throughout Europe. Musical culture ceased in Buda under Turkish rule (1541–1686). The three towns were devastated in the struggles leading to the recapture of Buda, and under Habsburg rule a German population eventually settled there. As a result musical life, which began to revive, was of a German character for a century and a half, and only slowly became Hungarian from the end of the 18th century onwards.
Performances of opera took place regularly in Pest and Buda from 1786. At first all the companies were German; they performed in the theatre in the Buda castle, rebuilt in 1787 from the Carmelite Church, and in a theatre built in 1773 inside one of the bastions of Pest's city wall. Besides Wenzel Müller's Singspiele, operas by Dittersdorf, Haydn, Benda, Paisiello, Salieri, Sarti and, above all, Mozart formed the backbone of the programmes until about 1800. The Városi Színház (Town Theatre) in Pest opened in 1812 with two of Beethoven's overtures, König Stephan and Die Ruinen von Athen, and there the companies and their conductors (A. Czibulka, Frigyes Urbany and L. Schindelmeisser) excelled in performances of contemporary operas, chiefly those of Auber, Bellini, Donizetti and Meyerbeer. However, after the theatre burnt down in 1847 regular seasons of German opera in Pest took place only occasionally, such as those under the direction of C.E. Barbieri (1862–7); there were also great performances by companies such as the Viennese Komische Oper, and by Angelo Newmann's company touring the Ring in 1883.
Performances of Hungarian opera began with the acting company of László Kelemen (1790–96), who in 1793 gave a performance of the first Hungarian Singspiel, Pikkó Hertzeg és Jutka Perzsi, by József Chudy, the company’s conductor. The company worked in difficult circumstances, often on the verge of financial disaster; despite the enthusiastic participation of the two important verbunkos composers Lavotta and (briefly) Csermák, as well as the Singspiel composer András Szerelemhegyi (1762–1826), the company did not survive. A second Hungarian company (1807–15), whose conductor Gáspár Pacha wrote Hungarian operas, was eclipsed by the success of the German company after it moved into the Town Theatre in 1812. For two decades it was relegated to giving performances in the provinces and not until 1833 did Hungarian opera return to the capital, when part of the Kassa (now Košice, Slovakia) company moved to Buda. In 1835 the best members of the Kolozsvár (now Cluj-Napoca, Romania) company were incorporated, Ferenc Erkel became conductor, and regular performances of Hungarian opera were resumed. The combined company found a home at the Hungarian Theatre, soon the Nemzeti Színház (National Theatre), when it opened in 1837 (fig.1), and moved into the new Magyar Királyi Operaház (Royal Hungarian Opera House) in 1884 (fig.2).
At the National Theatre (cap. 1460) the leading conductors of the company were Erkel (from 1838 until his retirement in 1874), Hans Richter, both during and after Erkel's term of office (1871–5), and Sándor Erkel (conductor 1874–1900; also director 1876–86). Apart from Fidelio, Don Giovanni and Hungarian operas, under Ferenc Erkel the company had a repertory of contemporary Italian and French works, the best of which usually appeared in Budapest about a year after their premičres. The Royal Hungarian Opera House (cap. 1310) was designed by Miklós Ybl and opened in 1884; its company also performed in other theatres, including the Buda castle theatre until 1908 and the Town Theatre (cap. 2450) from 1921 to 1924. After World War I it was renamed Magyar Királyi Állami Operaház (Hungarian Royal State Opera House), and after World War II simply Állami Operaház. The Town Theatre was united with the Opera House in 1951 and renamed the Erkel Theatre.
Outstanding among the 19th-century opera conductors were Sándor Erkel, Mahler (1888–91), under whom the company achieved an international reputation, and Nikisch (1893–5), followed in the 20th century by Rezső Máder (1895–1907), István Kerner (1896–1915), Dezső Márkus (1903–11), Egisto Tango (1913–19), Nándor Rékai (1912–27), Antal Fleischer (1920–39) and Sergio Failoni (1928–48). A wide repertory has always been the company's aim, and the operas of Mozart, Verdi and Musorgsky, together with Fidelio, Il barbiere di Siviglia, Carmen and Faust, were always in its repertory. For some decades after 1890 Wagner's works were dominant; later music was limited to such composers as Mascagni, Leoncavallo, Puccini and Richard Strauss. In the 1920s and 1930s Stravinsky's Petrushka (1926) and Falla's El sombrero de tres picos (1928) found an immediate and permanent place in the repertory. Bartók's Bluebeard's Castle had its premičre there in 1918, and around 1930 other modern works were also performed, such as Debussy's Pelléas et Mélisande (1925), Stravinsky's Oedipus rex (1928), Hindemith's Hin und zurück (1929), Wolf-Ferrari’s Sly (1931), Milhaud's Trois opéra-minutes (1932) and Respighi's La fiamma (1935). The works of early 20th-century Hungarian opera composers (Hubay, Poldini and Dohnányi) ceased to be performed in the 1940s, but Bartók, Kodály and Ferenc Erkel (the only 19th-century Hungarian opera composer whose works have remained in favour) continue to be performed.
After World War II the first three principal conductors at the Opera House were Fricsay (1945–7), Klemperer (1947–50) and János Ferencsik (1953–83). Subsequent conductors have included Miklós Lukács, András Kórodi, Adám Medveczky, Miklós Erdélyi and Ervin Lukács. The Hungarian repertory has been supplemented by productions of numerous foreign operas, among them many 20th-century works. These have included Berg's Wozzeck (1964) and Lulu (1973), Britten's Peter Grimes (1947), Albert Herring (1960) and A Midsummer Night's Dream (1972), Shostakovich's Katerina Izmaylova (1965), Henze's Undine (1969), Stravinsky's The Rake's Progress (1978) and Prokofiev's Betrothal in a Monastery (1983). New Hungarian operas include works by Emil Petrovics (C'est la guerre, 1962; Bűn és bűnhődés (‘Crime and Punishment’), 1969), Sándor Szokolay (Vérnász (‘Blood Wedding’), 1964; Hamlet, 1968; Samson, 1974, Ecce homo, 1987), Zsolt Durkó (Moses, 1977), Sándor Balassa (Az ajtón kívül (‘The Man Outside’), 1978) and Attila Bozay (Csongor és Tünde, 1985).
The State Opera House underwent major refurbishments in 1980–84, in which the capacity was reduced to 1261 seats. During this time the company performed in the Erkel Theatre.
Tomasini, Haydn's Konzertmeister at Eszterháza, is the first outstanding musician known to have given concerts in the capital (1789). In 1793 J. Hoffmansegg noted the high standard of domestic concerts given in the homes of such music lovers as Podmaniczky, a pupil of C.P.E. Bach. At about that time the capital heard its first oratorio performances and, with the début of Lavotta, its first Hungarian concert; however, the importance of these events was surpassed by the performance at the royal palace in Buda of The Creation, under Haydn's direction, and a concert given by Beethoven in the castle theatre (both 1800).
There were occasional large-scale concerts after this, particularly during the existence of the earliest music society, the Pesti Musikai Intézet (Pest Music Institute, 1818–22). In addition to local artists, Moscheles (1818) and the young Liszt (1823) were resoundingly successful. Regular seasons of concerts began in 1834 and attracted Ferenc Erkel to the capital, where he became the most influential musician for nearly four decades. From 1834 to 1846 the Nemzeti Casino (National Casino), founded by István Széchenyi, was the setting for a series of excellent chamber concerts. The city also had two first-rate string quartets, while large orchestral concerts were held between 1836 and 1851, after the creation of the Pestbudai Hangászegyesület (Pestbuda Society of Musicians) from one of the earlier societies. The beginning of the regular steamship service between Vienna and Pest was partly responsible for an increasing number of famous foreign artists arriving to give concerts, among them S. Heinefetter (1836), Vieuxtemps (1837, 1843), Lacombe (1838), Ole Bull (1839), Rubinstein (1842), Briccialdi, Molique, Alboni, Ernst, Thalberg, David (1845), Berlioz (1846) and Leschetizky (1847). During this period a number of young Hungarians gave concerts which showed their remarkable gifts, such as Heller (1827, 1833), Gusztáv Fáy (1834, 1837–41), Imre Székely (1836, 1838, 1840, 1845–6), Joachim (1839, 1846), Károly Filtsch (1841) and Reményi (1847); however, none of these could compare with the success of Liszt's concerts (1839, 1840 and 1846).
The Philharmonic Concerts, given by members of the National Theatre orchestra under Ferenc Erkel, began in 1853; they have continued to contribute to the musical life of the capital. The Filharmóniai Társaság (Philharmonic Society), however, was not legally established until 1867 because of political oppression. The orchestra's conductor until 1871 was Ferenc Erkel, and from then until 1875 Hans Richter; he was followed by Sándor Erkel (1875–1900), István Kerner (1900–18) and Dohnányi (1919–44). Between the wars the orchestra made frequent concert tours abroad: to Czechoslovakia (1925), Germany (1927–9, 1937), Paris and London (1928, 1930), Belgium (1928), Switzerland (1928, 1931), Italy (1928, 1936) and Austria (1929, 1931 and 1936). Musical directors since World War II have included Klemperer, János Ferencsik, and András Kórody and Rico Saccani.
In the second half of the 19th century a prominent role was played by the two choral and orchestral societies, the Budai Zeneakadémia (Buda Music Academy, 1867–1914) and the Pesti Zenekedvelők Egylete (Music Lovers' Society of Pest, 1867–1906). Also of importance was the Országos Magyar Daláregyesület (National Hungarian Choral Association), an amalgamation of all the male-voice choirs, later known as Országos Magyar Dalosszövetség (Hungarian Singers' Association, 1867–1948), whose conductor from 1868 until 1881 was Ferenc Erkel. From 1869 Liszt, both through his compositions and his performances as pianist and conductor, was the leading figure in concert life, which flourished again during the period of the dual monarchy. It was partly due to Liszt's influence that from that time virtually all the leading performing artists of Europe gave concerts in Budapest, surrounded by a lively musical life supported by the large number of excellent ensembles and outstanding performers working there.
Among orchestras the Állami Hangversenyzenekar (State SO) is better known than the Philharmonic outside the country, making many concert tours abroad. It was formed from the Fővárosi Zenekar (Municipal Orchestra), founded in 1923, and gained its present name and structure in 1952, when Ferencsik became its chief musical director. He was succeeded in 1987 by Ken-Ichiro Kobayashi. In 1997 the orchestra, under its new musical director, Zoltán Kocsis, was renamed the Hungarian National PO. Another important symphony orchestra is the Magyar Rádió és Televízió Szimfonikus Zenekara (Hungarian Radio and Television SO), founded by Ernő Dohnányi as a radio orchestra in 1943. In 1992 Tamás Vásáry was appointed its chief conductor. The Budapest Concert Orchestra MĹV was founded in 1945 by the Hungarian State Railways, and accompanied the touring section of the opera from 1947 to 1953. Tamás Gál became the orchestra's principal conductor in 1988.
Iván Fischer and Zoltán Kocsis founded the Budapest Festival Orchestra in 1983. Under Fischer the orchestra has toured widely and appeared at many international festivals. Other professional symphony orchestras in Budapest include the Danube SO and the Symphony Orchestra of MATÁV (Hungarian Telecommunications). The Liszt Ferenc Kamarazenekar (Franz Liszt Chamber Orchestra), under its musical director János Rolla, has been one of the most popular orchestras in Hungary since its foundation in 1963. Violinist Miklós Szenthelyi founded the Magyar Virtuózok Kamarazenekar (Chamber Orchestra of Hungarian Virtuosos) in 1988, and has been the orchestra's musical director since 1989. Another important chamber orchestra is the Budapest Strings. The Budapest Symphonic Band was founded in 1992 to perform wind music, mostly by Hungarian composers.
The Danubia Youth SO, etablished in 1993, is the youngest independent symphony orchestra in Hungary. Most of the members are leading students at the Bartók Conservatory and the Liszt Academy. Another youth orchestra, the Dohnányi Orchestra of Budafok, was founded by László Nemes in 1970; in 1993 it became Hungary's newest professional symphony orchestra. There are also excellent orchestras in Budapest's three state conservatories (the Bartók Conservatory, the St Stephan Conservatory and the Leó Weiner Conservatory), and at the Liszt Academy of Music.
The Budapesti Kórus was founded in 1941 by Lajos Bárdos, mainly for the performance of oratorios and cantatas; it was formed by the union of the Palestrina Kórus (1916) and the Cecilia Kórus (1921), joined in 1948 by the Budapesti Ének- és Zenekar Egyesület (Choral and Orchestral Society of Budapest, 1918). Another large mixed choir is the Magyar Rádió és Televízió Énekkara, established in 1950. The Children's Choir of the Hungarian Radio and Television was founded in 1954. The Hungarian State Chorus, etablished in 1985, became the Hungarian National Philharmonic Choir in 1997, working in association with the Hungarian National PO. Other important choirs in Budapest include the Béla Bartók Choir of the Eötvös University, the Budapest Academy Choral Society, the Budapest Tomkins Vocal Ensemble, the Monteverdi Chamber Choir, the Musica Nostra Choir and the Ňbuda Chamber Choir.
The Honvéd Esemble, the successor to the Hungarian Army Art Ensemble (founded in 1948), consists of a male-voice choir, orchestra, dance team and theatrical company. The Magyar Állami Népi Együttes (Hungarian State Folk Ensemble) was formed in 1951 to foster Hungarian choral music, folk music and folkdance. The ensemble has performed throughout the world. In 1984 the Hegedős Ensemble was founded by professional folk musicians to perform authentic Hungarian folk music.
The earliest known chamber music ensemble in Pest is the Urbany String Quartet, formed in 1813. Later, numerous notable string quartets played in the capital; among these the Hubay–Popper Quartet (1891–1909) and the Waldbauer–Kerpely Quartet (1910–46) were outstanding. The Lener Quartet, formed in Budapest in 1919, performed and lived mostly outside Hungary. Among more recent quartets the Bartók (1957) and the Keller (1987) are particularly renowned. There are also several chamber ensembles in Budapest specializing in contemporary music, notably the Intermodulation Chamber Ensemble, Componensemble, the Electro-acoustic Research Group (EAR) and Kortárs Zene Műhely (Contemporary Music Studio).
The Országos Filharmónica (State Philharmonia), the state institution for organizing concerts throughout the country, began in 1949 but did not acquire its name until 1952. In 1990 the institution became the National Philharmonia, and in 1997 it was divided into three regional concert organizations, one for the capital city. The agency Interconcert deals with foreign artists and arranges concerts abroad for Hungarian singers and instrumentalists. Since 1990 several other, mainly private, concert organizations have been set up in and around Budapest.
The most important annual festivals in the city are the Budapest Spring Festival and the Budapest Autumn Festival. A series of contemporary music concerts, Music of Our Age, runs parallel with the Autumn Festival at the beginning of October. Other contemporary music events include the mini-festival of the Hungarian Music Society (held in February) and the Review of New Music at the Merlin Theatre, held in early spring. World Music Day (1 October) is always celebrated with concerts, workshops, conferences and other events.
In the 19th century there was a school of music in the Piarist Gymnasium, where Lenau learnt violin (1811); there were also many private music schools, one of which Joachim attended (1837–9). The Hangászegyleti Énekiskola (Singing School of the Society of Musicians) was opened in 1840 and became an important educational institution. It was established by the Pestbudai Hangászegyesület (Pestbuda Society of Musicians). Its first director was Gábor Mátray (1840–75), and from 1867 it was known as the Nemzeti Zenede (National Conservatory); in 1949 it was taken over by the state and reorganized as a secondary school, the Bartók Béla Zeneművészeti Szakiskola (Béla Bartók Conservatory of Music), under the direction of Frigyes Sándor (1949–58), Árpád Fasang (1958–72), Ferenc Halász (1972–81) and Tibor Szabó (from 1981). Two other important conservatories in the city are the Leó Weiner Conservatory of Music and the St Stephan Conservatory of Music.
A significant number of students from these institutions continue their studies at the Országos Magyar Királyi Zeneakadémia (National Hungarian Royal Academy of Music), founded in 1875 and renamed the Liszt Ferenc Zeneművészeti Főiskola (Franz Liszt Academy of Music) in 1925; it is the only institution of music education at university level in Budapest. In 1997 its Hungarian name was changed to Liszt Ferenc Zeneakadémia. Liszt was its first president (1875–86) and Ferenc Erkel its first director (1875–87); subsequent directors have been Ödön Mihalovich (1887–1918), the Dohnányi–Bartók–Kodály council of directors (1918–19), Jenő Hubay (1919–34), Ernő Dohnányi (1934–43), Ede Zathureczky (1943–57), Ferenc Szabó (1958–70), Dénes Kovács (1970–80), József Ujfalussy (1980–88), József Soproni (1988–94), István Lantos (1994–7) and Sándor Falvai (from 1997). Students can also specialize in music at the academy's training college for instrumental teachers and at Budapest University. In 1907 the academy moved to a new building, where five-year diplomas in performance, composition, musicology, church music, orchestral conducting, music teaching and choral conducting are offered. In recent years the academy has also offered PhD courses. Its old building, housing the Liszt Memorial Museum and Research Centre, has now been carefully restored.
Musical education is provided in all the city's general schools and in a number of specialist music schools. Hungarian music teaching, which draws significantly on native folk music, is based on the world-famous methods devised by Kodály and his many outstanding students and colleagues in the 1930s: Jenő Ádám, László Agócsy, Lajos Bárdos, György Kerényi, Benjamin Rajeczky and others. Almost all schools have their own choirs, and each year children's choral concerts are held as part of the Singing Youth movement started by Bárdos.
The Magyar Tudományos Akadémia Zenetudományi Intézete (Insitute of Musicology of the Hungarian Academy of Sciences) was formed by the union of the Népzenekutató Csoport (Folk Music Research Group, 1952), established by Kodály, and the Bartók Archive, established by Szabolcsi in 1961. Their regular publications include the Corpus musicae popularis hungaricae (since 1951), an edited collection of Hungarian folksongs begun by Bartók and Kodály, Documenta bartokiana, Musicologia danubiana, Studia musicologica, Cantus planus, Zenetudományi dolgozatok (‘Studies in musicology’) and Magyarország zenetörténete (‘The musical history of Hungary’).
There are four important music libraries in Budapest: the music department of the Hungarian National Széchényi Library, the library of the Liszt Academy of Music, the music department of the Ervin Szabó Municipal Library and the library of the Institute of Musicology of the Hungarian Academy of Sciences. The richest collection of music scores connected with Hungary is in the National Széchényi Library, while manuscript material is also in the Bartók Archive of the Institute of Musicology, the library of the Béla Bartók Conservatory of Music (19th-century Hungarian music), the research centre of the Academy of Music (Liszt and his contemporaries), the Kodály Archive (Kodály), and the libraries of the Academy of Sciences and the university (early Hungarian music). Other notable institutions in the city include the Liszt Museum and research centre of the Academy of Music, the Béla Bartók Memorial House (the last Hungarian home of Bartók), the Zoltán Kodály Memorial Musuem and Archives, situated in the composer's former apartment, and the Museum of Music History at the Institute of Musicology.
The Hungarian Music Council (HMC), the Hungarian section of the International Music Council of UNESCO, was set up by 20 musical associations in 1990 with the aim of promoting the development of Hungarian musical culture. Since then its membership has steadily incresed: in 1997 it had 36 member organizations, nine associated institutional members and ten elected individual members. The HMC is the official successor of the Association of Hungarian Musicians founded by individual members in 1949. It publishes a musicological journal, Magyar Zene (‘Hungarian music’), edited by the Hungarian Musicological Society. The Hungarian Music Information Centre was established in 1973 and immediately joined the International Association of Music Information Centres. Since 1990 it has functioned under the auspices of the HMC. Based on its library and documentation centre, it provides information on all aspects of Hungarian music. The Budapest Music Centre (BMC) offers valuable information on Hungarian performers, composers and the musical life of the city. Since 1966 the younger generation of musicians has been represented by the Hungarian section of Jeunesses Musicales.
Hungarian music publishing is carried out by several companies, including Editio Musica Budapest, Accord and FAM. The record company Hungaroton has a high international reputation, above all for its recordings of music by Liszt, Bartók, Kodály and other native composers.
BerliozM
K. Isoz and I. Mészáros: A Filharmóniai társaság múltja és jelene, 1853–1903 [The Philharmonic Society past and present, 1853–1903] (Budapest, 1903; Fr. trans., 1903)
J. Kádár: A Budai és Pesti német színészet története [The history of German theatre in Buda and Pest] (Budapest, 1914–23)
B. Bartók: ‘Lettera da Budapest’, Il pianoforte, ii (1921), 153–4, 277–8
Z. Kodály: ‘La vie musicale ŕ Budapest’, ReM, ii/3–5 (1921), 173–4; ii/9–11 (1921), 76–7; iii/6–8 (1922), 171–3
Z. Kodály: ‘Lettera da Budapest’, Il pianoforte, iii (1922), 222–3; iv (1923), 80, 158 only
K. Isoz: Buda és Pest zenei művelődése [The musical culture of Buda and Pest], i (Budapest, 1926)
O. Gombosi: ‘Vita musicale alla corte di re Mattia’, Corvina, ix (1929), 110–30
J. Kádár: A Nemzeti színház száz éves története [100 years of the National Theatre] (Budapest, 1938–40)
B. Csuka, ed.: Kilenc évtized a magyar zeneművészet szolgálatában: a Filharmóniai társaság emlékkönyve 90 éves jubileuma alkalmából [Nine decades in the service of Hungarian music: 90th anniversary book of the Philharmonic Society] (Budapest, 1943)
Muzsika (1958–)
I. Balassa, ed.: A hetvenötéves Állami operaház [75 years of the National Opera] (Budapest, 1959)
G. Gábry: ‘Das Meisterbuch der Pester Instrumentenmacher-Innung’, SMH, ii (1962), 331–44
L. Somfai: ‘Ungarische Musikinstitute’, ÖMz, xxi (1966), 631–3
I. Fábián: ‘Die ungarische Staatsoper’, ÖMz, xxii (1967), 279–80
A. Kubinyi: ‘Spielleute und Musiker von Buda in der Jagello-Epoche’, SM, ix (1967), 77–98
L. Zolnay: ‘Data of the Musical Life of Buda in the Late Middle Ages’, SM, ix (1967), 99–114
K. Szigeti: ‘A budai hajdani várkápolna zenei élete a XIV–XVI. században’ [Musical life in the Buda castle chapel from the 14th century to the 16th], Magyar zene, ix (1968), 402–28
K. Szigeti: ‘Die ungelöste Probleme der römischen Orgel von Aquincum’, SM, xiii (1971), 3–14
L. Berza, ed.: Budapest lexicon (Budapest, 1973, 2/1993)
A. Kubinyi: ‘Musikleben am Budaer Königshof, Anfang des 16. Jahrhunderts’, SM, xv (1973), 89–100
M. Kaba: Die römische Orgel von Aquincum (3. Jahrhundert) (Budapest, 1976)
J. Ujfalussy, ed.: A Liszt Ferenc Zeneművészeti Fűiskola 100 éve [100 years of the Liszt Academy of Music] (Budapest, 1977)
G. Staud, ed.: A Budapesti Operaház 100 éve [100 years of the Budapest Opera House] (Budapest, 1984)
J. Breuer: Negyven év magyar zenekultúrája [40 years of Hungarian musical culture] (Budapest, 1985)
Polifonia (1990–)
Opus: Newsletter of the Hungarian Composer's Union (1997–)