Zoltan Kodaly, Psalmus Hungaricus

Zoltán Kodály played a leading role with Béla Bartók in establishing Hungarian music in the 20th century and shared Bartók’s commitment to Hungarian folk music. In their article in The Grove Music Dictionary Lászlo Eősze and Mícheál Houlahan say of Kodály: “With Bartók, he was one of the creators of a new Hungarian art music based on folk sources, and he laid the foundation for the development of a broadbased and musically literate culture” (Grove Music Online S.v. “Kodály, Zoltán). The liner notes of the recording say of Kodály: “He rose to national and international fame in three interrelated ways: as a composer, as a musicologist specializing in folk music, and as an educationalist, with a particular interest in the promotion of choral singing.” These three areas are reflected Kodály’s first compositional successes, Psalmus Hungaricus, first performed in 1923.
This was a setting of the translation of Psalm Iv [sic] by the 16th-century preacher-poet Mihály Kecskeméti Vég, composed as a large-scale oratorio for tenor, chorus and orchestra within the space of two months. The premiere was conducted by Dohnányi on 19 November 1923 to mark the 50th anniversary of the union of Pest, Buda and Óbuda into Budapest, and the first performance outside Hungary took under Andreae in Zürich on 18 June 1926. It marked a turning-point in the international recognition of Kodály’s art. (Grove Music Online S.v. “Kodály, Zoltán”).

Psalmus Hungaricus lasts about twenty three minutes and is in the structure of a rondo consisting of alternating sections between the chorus and the soloist with brief orchestral interludes (Victoria Meredith, “Zoltán Kodály’s Psalmus Hungaricus: Its New Relevance in the Changing World Order,” pp. 9 & 10). Kodaly’s interest in choral singing is apparent the prominent role he gives to the chorus throughout the piece. The liner notes to the recording point out how the music reflects “the spirit of Hungarian folk music, melodic inflections derived from Gregorian chant, polyphonic choral writing, and a sophisticated harmonic scheme.” The text from Psalm 55 deals with the biblical King David’s betrayal and persecution at the hands of former friends, and covers a wide array of emotions from rage, fear, and sadness to resignation and trust. The combination of a compelling text, large instrumental and choral forces, and diverse compositional techniques give this piece vigor and energy that make it worth listening to.
Kodály uses a variety of methods to bring the emotion and drama of the text alive to the listener, including text painting and creative uses of orchestration. Kodály employs orchestration to set a solemn mood for the piece by beginning the orchestral introduction with a timpani roll, which gradually fades from the fortes of the brass and percussion to prepare an a capella entrance of the choir in unison. The orchestra again rises in strength, and a timpani role and a cadence herald the entry of the tenor soloist. An effective use of text painting in the piece occurs when the tenor sings of the wicked, “They often assemble together, widows and orphans demand to be avenged, they disregard the word of God, for their wealth has made them conceited.” This stanza is introduced by an undulating, nervous bassoon line that is soon joined by swirling string lines. The chorus comes in softly over the orchestra singing the syllable “Ah” repeatedly to a descending figure. As the tenor progresses into the stanza, the chorus gradually rises in pitch and intensity, perhaps depicting the sighing of the orphans and widows which leads into a full-throated rendering of the chorus. Another example of Kodály’s dramatic use of orchestration occurs during the text “But I cry to you, my Lord, morning, noon and eve I beseech you, from you I await deliverance, for I fear the enemy greatly.” The choir and the soloist sing in harmony at a forte dynamic punctuated by statements from the strings. Eventually, the brass join the choir and for a brief moment, all are in unison during the statement “for I fear the enemy greatly.” Kodály skillfully juxtaposes this powerful climax with a quiet interlude for harp and woodwinds that successfully changes the mood before the soloist enters again.
Another feature in Psalmus Hungaricus is beautiful woodwind writing. I was especially struck by the expressive clarinet solos, which utilize the full range of the instrument and serve to introduce or accentuate emotions in the music. Paul Globus explains the role of the clarinet in Hungarian music:
One place with a particular affinity for the clarinet is Hungary. In the ancient land of the Magyars, the clarinet reigns supreme. Some have even suggested that no other instrument comes as close to the Hungarian soul as does the clarinet. (“The Clarinet in Hungary: An Enduring Love Affair,” p. 71).

Perhaps the reason the clarinet (known as the tárgató) enjoys such wide popularity in Hungary is because it is an instrument traditionally favored by peasants, who use it as a solo instrument and have even been known to make their own clarinets (Garland Encyclopedia of World Music S.v. “Hungary”). Also notable are the flute and oboe solos in the work. An apt example of Kodaly’s woodwind writing occurs when the woodwind section accompanies the lines “He will relieve you of every care and will hearken to your entreaty” with long, flowing phrases along with pulsing chords from the harp.
After listening to this piece, I was puzzled as to why it is not included in the Canon. It certainly contains the scope, intensity, power, and emotion equal to the great choral and orchestral works of Handel, Mozart, Beethoven, Mahler, or Brahms. The powerful choral climaxes provide dramatic impact, but are tastefully balanced with understated sections that express more subtle emotions. The solo line is neither flamboyant nor shallow, but expresses the text with sincerity and emotion. However, unlike the above composers, Kodály does not enjoy a huge international reputation, and his music is less innovative than that of many of his contemporaries. His association with Hungarian folk music has distanced him from the mainstream of European composers, and makes his music seem more like an exotic novelty. Unlike the compositions of the Second Viennese School, Psalmus Hungaricus does not break much new ground or try or abandon tonality which is perhaps another reason why Kodály has been largely overlooked. Unfortunately, history often designates him as the sidekick of Bartók, doomed to obscurity except when discussing nationalistic music of the early 20th century. A more practical reason why Psalmus Hungaricus is not in the Canon might be the difficulties inherent in performing it. In addition to calling for a large orchestra and full choir with a tenor soloist, Kodály indicated the optional use of a children’s chorus. Many orchestras would not want the expense or inconvenience of performing such a massive work. All of these considerations together form the reason why Psalmus Hungaricus does not hold a place in the Canon. Despite all of these facts, it is my opinion that this work is a masterpiece equal to any other great choral work in the Canon. It deserves to be performed and appreciated as the powerful and emotionally riveting work that is. Let us hope that some adventurous conductors will dust off this piece in the future, and audiences will again get to enjoy Psalmus Hungaricus.