H&H: You have been promoting music of many Hungarian
composers by playing them on concerts, CD programs and in teaching them in the
United States. What do American people know about Hungarian music? What are
they interested in the most regarding Hungarian music?
Dr. Erzsébet Gaál: I, too, think of these questions when I perform, or teach, or
organize concerts. Because these questions are general questions, it is difficult to
answer them specifically. Despite that the Hungarian music culture is well known
world wide, I very seldom meet musicians here in the United States who would be
familiar with Hungarian composers other than
Liszt,
Dohnányi,
Kodály and
Bartók.
More specifically, American harpists are mostly familiar with orchestra excerpts
of these Hungarian composers. It can be very enjoyable for harpists to play, for
example, orchestra parts by Liszt. Also, orchestra excerpts by Bartók are standard
repertoire of orchestra auditions.
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| Dr. Erzsébet Gaál in Budapest |
H&H: Ottó Mosshammer and
Aristid von Würtzler have lived in the US
for many years and also your first harp instructor,
Henrik Rohmann, has visited
there. How popular these Hungarian harp players are in the States?
Dr. Gaál: While these Hungarian harp players are well known in the Hungarian
harp history, they are less known in the US. They have been active here many
generations before. I should add that since than, there were other Hungarian
harpists who were guest performers in the States such as Hédy Lubik, Éva Maros
and Anna Lelkes.
H&H: Once you have mentioned that Hungarian music teaching is world-
renowned. How are American schools different from Hungarian schools? In what
area Hungarian schools are stronger? Where should we be even better?
Dr. Gaál: The
Kodály concept has served as a fantastic foundation in Hungarian
music teaching. Generations of musicians have grown up on this foundation that
continues to have an influence in music teaching. Because of the American music
teaching does not have a common foundation, it would be difficult to compare the
music education system in Hungary versus in America where a lot depends on
schools and on instructors. For example, many elementary schools do not have
music education in their curriculum therefore all responsibilities of music teaching
fall on private music instructors. With regards of harpists, Hungarian harpists
pass international standards. However in order to excel above standards, fostering
Hungarian harp literature and commissioning new Hungarian harp compositions
would be needed. I think, roots are necessary in order to have our music culture
blossom and to know where Hungarian harp music is today.
H&H: What kind of harp do you have? Which one is your favorite?
Dr. Gaál: It is a very personal question. Because harps are very different, they suit different individuals. I have
Lyon & Healy harps, which have served me excellent in all areas of my work.
H&H: In Hungary, some of the most challenging problems are purchasing
and maintaining a harp. How much is the situation different in the US? How much
could we learn from American harp makers and harp dealers?
Dr. Gaál: The situation of purchasing and maintaining a harp in the US is also
difficult. Therefore much depends on our care of our instruments. It is something
that we harpists need to learn along with doing our fingers.
H&H: Thank you for interview!
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Erzsébet Gaál's web page
Erzsébet Gaál on Wikipedia
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