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Gyula Dávid (1913–1977) was a typical representative of the generation of composers emerging after World War II. In the first period of his activity, composing on the basis of traditional principles attained as a pupil of Kodály and the first-hand experience of Hungarian folk music played a decisive role. Later some trends oozing in from the West as novelties in Hungary urged him – and many of his contemporaries – to revive his musical language.

The last phase of his oeuvre is characterized by a synthesis of his dodecaphonic experiments and his traditional idiom. Though his best-known composition of lasting success is the Viola Concerto, his orchestral, vocal, and chamber music pieces still deserve the attention of the music-loving public. With his First Wind Quintet, he launched and laid the foundation in Hungary of the 20th-century history of a genre so-far predominated by foreign composers only. This booklet is an attempt to sketch a portrait of this many-sided composer of a lyrical frame of mind.

Already published in the series:

Jenõ Hubay (1858-1937) György Kósa (1897-1984) György Kurtág (1926)

András Szõllõsy (1921- 2007) Benedek Istvánffy (1733-1778) János Lavotta (1764-1820) János Decsényi (1927) Zoltán Gárdonyi (1906-1986) Zsolt Durkó (1934-1997) Mihály Mosonyi (1815-1870) József Soproni (1930)

József Sári (1935) Miklós Kocsár (1933) Emil Petrovics (1930-2011) Rudolf Maros (1917-1982) Kamilló Lendvay (1928-2016) Ernõ Dohnányi (1877–1960) György Ránki (1907-1992) Zoltán Jeney (1943)

Sándor Szokolay (1931-2013) János Bihari (1764-1827)

Rezsõ Sugár (1919-1988) Attila Bozay (1939-1999) Erzsébet Szõnyi (1924) Boldizsár Csíky (1937) Zoltán Horusitzky (1903-1985) Pál Kadosa (1903-1983) János Fusz (1777-1819) Zoltán Pongrácz (1912- 2007) László Dubrovay (1943) Ferenc Farkas (1905- 2000) Pál Járdányi (1920-1966) István Vántus (1935-1992) László Vidovszky (1944) Páter Vermesy (1939-1989) Lajos Bárdos (1899-1986) Béni Egressy (1814-1851) Lajos Huszár (1948)

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