Karikázó, 1976. július - 1977. április (2. évfolyam, 1-4. szám)
1976-07-01 / 1. szám
Published quarterly Subscr. price: $ 2/year U. S.A $ 2. 50 elsewhere .50/copy Purpose of KARIKAZO is to maintain communication and update the knowledge of all interested individuals and groups on the folklore, folk dance, music, art and ethnic life of Hungarians all over the world. Its content does not represent the opinion of any organized group. Articles appearing in the newsletter may be copied or reprinted only if the source, publisher's name and address are cited as shown above. The readers of KARIKAZO are interested in the knowledge and experiences of their fellow folklore friends and would like to read about them. If you can contribute to the newsletter by writing an article, or there is a particular subject you would like to read about, please cohtact the editor. Editor: Judith Magyar 257 Chestnut Ave As s' t. Editor: Kriszta Venczel Bogota, N. J .07603 (201) 343-5240 Karoly Falvay Budanpfíf-. 2/24/7 A In my article, published in vol. 1, no. 3 of Karikázó, I had briefly summarized my impressions of those ensembles I had the opportunity to work with. These were the Kodály Ensemble of Toronto, the ''Hungária* Group of Detroit and the "Hungária'' Ensemble of New York. I believe I did not give enough attention to the leaders of these groups, who poured a great deal of time, energy and fighting spirit into providing the young people with the richest, most interesting cultural activities and programs. These experiences possess certain unwritten implications by the participants' genetic heritage, manifested in the life style, customs , speech patterns, movements and inner rhythm of parents. The living language can change, yet this inherited propensity for practicing traditional culture is able to preserve a great deal for future generations and becomes the source of a special human experience and joy. Perhaps this can explain the fact, that young Hungarians in immigration, while speaking a new language, cultivate their cultural treasures of ancient Hungarian folk rhythm and musical idiom with such happy abandonment. Composer-conductor György Zaduban. director of the Kodály Ensemble of Toronto, has sensed the importance of this natural human inclination. He plays an important role in the life of the Hungarian community in Toronto and its vicinity, not only as a creative artist, but also as an organizer. The founding and the continuous activity of the group are primarily due his creative and organizing effort. His task is to smooth ort and span all the problems, needs and aspirations of a few generations through setbacks and successes. The 15th Anniversary program was one of the outstanding highlights of this intense activity. It is a great advantage for the group to have a musical director of his caliber. He has provided direction for the chorus, whose members and supporters have become an important social basis already. The presence of the orchestra adds to the prestige of the ensemble, while it also widens the social basis in the direction of the desired artistic atmosphere. Mr. Zadubán, as musical director,is in the position to add the very best of young talent to his ensemble. Thus, he not only assures the services of an orchestra, but also provides the basis for the essential creative work. Composing almost all of the musical material for the Anniversary Program was his achievement. Few groups in the American hemisphere can boast with similar potentials. The efforts of the Kodály Ensemble have been generously supported by the Hungarian House in Toronto. Its management deserves special credit for providing the ensemble with space and conditions for undisturbed rehearsals. The dance group is a few years younger than the "founding" chorus, although it can also look back on more than a decade of activities. Its director Kalman Dreisziger is choreographer and one of the lead-dancers of the group. He possesses very positive artistic and leadership qualities. He is required to coordinate the work of the rather large (20 dancing couples) ensemble and organize their activities in order to realize his own artistic goals. Mr. Dreisziger fulfilled this role magnificently. For example,in the choreographic challenges of Grape Harvest (Szüreti and First Love (Első Szerelem) he mastered assignments previously tackled only by Miklós Rabai. The great success of the dancers justifies his work. His presence is the continuing guarantee for the existence and development of the ensemble. The "Dancers Hungária" of Detroit in action.