The Specificity of the Artistic World in Zoltan Kodaly’s Opera “Hary Janos”
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Abstract
The article is devoted to the study of the chief style-generating
moduses (modalities) in Zoltan Kodaly’s opera “Hary Janos.”
The creators of the comedy and the libretto based themselves
on Janos Garay’s long poem “The Retired Soldier” (1843), in
which a colorful national type has been created. It turned out
to be in concordance with the “era of reform” and Romanticism
in Hungary, the destiny of which was always a concern for
Kodaly. The image of Hary Janos presents a peculiar synthesis
of a patriot peasant, hussar warrior, visionary dreamer and poet
narrator. This conditions the composite of the various modalities
in the work.
The epic modus is realized in the opera’s composition and
in two strata of Hungarian music – the peasant music and the
verbunkos. The type of plot about the adventures of a soldier is
connected with the functional of the magic fairy tale, which was
highlighted by V. Propp. The comical modus becomes apparent
in the characteristics of the Viennese court and Napoleon, where
burlesque, masks and travesty are applied. The play modus of the
work is the most varied and is presented on all levels of action
and music.
The artistic world of the opera ends up being poly-modal in
an original manner, multidimensional and artistically inimitable.
The meta-modus is presented by the play modus, which creates a
“play story” about the moral superiority of the peasant-soldier. In
the axiological sense, the main modus of the opera is presented by
the heroic-epic modus, which actualizes historical memory and
the national idea. This endows the fictional adventures of Hary
Janos with a special semantic scope.
Keywords: the opera “Hari Janos”, Zoltan Kodaly, Hungarian
music, Hungarian opera, modus, modality
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