Psalmus Hungaricus by Zoltán Kodály

I noted that although Kodály is known for dedicating much of his life to collecting and studying Hungarian folk music, this oratorio is not chiefly concerned with transferring that sound to a large-form work or characterizing Hungarian culture. Rather, this work focuses on creating a moving and politically significant setting for Psalm 55, and nonetheless exhibits Hungarian sound. The ability to convey such nationalism even when focusing on expressing a powerful text evidences Kodály’s development of a compositional language of folk music elements.

I enjoyed digesting the sounds of Psalmus Hungaricus, for which Kristina’s description had whetted my appetite, even before I looked up the text. It was in looking up the text, however, and subsequently the setting in which the piece was premiered, that I found the deep meaning Kodály sought to convey. An English translation of Psalm 55 revealed to me a prayer rife with grief and angst – and yet also faith. The psalmist begins by praying for vindication in the midst of suffering and betrayal, and then shifts his tone to reiterate his confidence in the Lord and to urge others to a similar faith. At first it might seem ironic that this text, full of suffering and demanding vindication, was premiered at a celebration – the 50th anniversary of the merging of Buda, Pest, and Óbuda into a single capital city for Hungary. A deeper look reveals that Kodály’s choice had political connotations – it reflected his views about Hungary’s “immediate, tragic past and distasteful present” (All Music Guide). Understanding this powerful reason behind Kodály’s writing gave me a greater sense of connection to the work.

The Hungarian nationalism exhibited in the compositions of Bartók and Kodály gives their music a particularly distinctive sonority, hence their work has had widespread influence, and to this day is an important part of music history education. Kodály and Bartók’s compositional styles differ, however, and studying the work of both composers together adds important dimensions to our understanding of Hungarian sound and 20th century compositional practices that we miss by studying either composer to the exclusion of the other. For this reason, I think we ought to include Kodály’s work alongside Bartók’s in the canon. In particular, I think Psalmus Hungaricus merits inclusion. It is significant that Kodály was able to evoke Hungarian culture in his music, not only without specific folk melody quotations, but also in the absence of an established “Hungarian” compositional tradition.