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Published online by Cambridge University Press: 04 February 2010
It has often been said that the greatness of an artist depends on his relation to the legacy of previous epochs and on his attitude to the intellectual impulses of his time. His awareness of these factors, conditioned by his response towards the obligations of society, will determine the value of his own contribution.
In Kodály's case investigation was hitherto centred mainly on his choral music: it is now proposed to examine his two large-scale, purely orchestral works of comparatively recent date.
1 In this respect it is significant that the number of his orchestral works—including here Háry János Suite, but otherwise excluding those for voice or voices and orchestra—is comparitively small.
2 With the synonyms ‘contrapuntal’ and ‘polyphonic’ a difference between ‘figurative’ treatment associated primarily with instrumental writing, and ‘melodic’ treatment derived miinly from vocal writing, is intended.