An introduction to the piano music of Jeno Takacs.

Touted as "One of Austria's most prestigious contemporary composers ...", Jeno Takacs composed hundreds of pieces for the young pianist.

The various collections of piano pieces for children comprise some 200 compositions. Taken together, this output is extraordinary and represents one of the major bodies of teaching pieces written in the twentieth century. The sheer variety of pieces found in these volumes is quite astounding and is a virtual compendium of twentieth-century compositional styles. Here, you find everything from 12-tone to boogie-woogie, neoclassic to blues, and neo-romantic to completely abstract constructions. Each individual piece is composed with musical sureness and technical subtlety; each projects its own particular character with imagination and an economy of means. Takacs moves through a kaleidoscope of techniques, and yet he molds whatever procedure he is using at the time into a unique and highly personal style.

The pieces for younger students range from elementary through intermediate level. They are not only well crafted, but are wonderful teaching pieces dealing with problems such as hand and finger independence, exploring the keyboard's entire range, widely ranging dynamics, expanding the concept of tonality, improvisation, varying touch, phrasing, melody with accompaniment, tempo and mood changes within one piece and pedal use. In addition to their pedagogical value, the individual pieces are effective and interesting. The picturesque nature of many of the pieces is a great stimulus to the imagination. Each volume contains numerous compositions that are wonderful recital pieces.

Whether referring to the concert repertoire or the teaching pieces, one may say they are extremely well written for the instrument; they lie well in the hand, so to speak. There is never any of the awkwardness or unpianistic requirements sometimes found in the works of twentieth-century composers. The more difficult concert works in Takacs's catalog also are varied in terms of both compositional style and difficulty level. Here, you find such disparate influences as impressionism, folk music (particularly from Hungary), neoclassicism, bi-tonality and the expressionism of Schoenberg and Berg. These influences, as well as his predilection for tone clusters and more abstract constructions, are amalgamated into his individual style.

Compositions for younger students

Philippine Island Miniatures, 12 easy pieces, Op. 34 (1933/34) SCHIRMER

Von Fremden Landern und Menschen, Op. 37 (1934/35) UE

Kleine Sonate, Op. 51 (1943/44) DOB 

Allerlei fur kleine finger, Op. 63 (1958/59) UE

Fur mich, Op. 76 (1963) DOB

Children's Pieces, Op. 82 (1965/66) WIL 

Wenn der Frosch auf Reisen Geht, 6 Klavierstucke for Junge Spieler, Ohne Opus (1947/71/77) DOB

Klange und Farben, 15 Klavierstucke, Op. 95 (1973/74) DOB

4x4 Klavierstucke, Op. 106 (1979/80) UE

Von Nab und Fern, 21 leichte klavierstucke, Op. 111 (1983) UE

Neues fur dich, Op. 116, (1985) DOB

Miss Sona-Tina, Op. 118 (1986) DOB

Drei Minuten, Op. 123 (1997) DOB

One theme permeating Takacs's oeuvre for children is his interest in the music of many countries. This can be noted, in particular, in the title of three of his collections: Philippine Island Miniatures, From Far and Wide (Von Fremden Landern und Menschen) and From FarAway Places (Von Nab und Fern). However, scattered in most of the other collections are pieces also inspired by "far away places." As a forward to Opus 37, Takacs writes, "Far have I traveled, from the rugged Scottish highland to the tropical-exuberant South Seas, and everywhere music has provided a friendly welcome for me. Music was the language which I understood everywhere; it told me more of foreign lands and folks than many a book."

Takacs lived in many different places--Asia, Africa, Europe and the United States and traveled the world over. Perhaps for this reason he became interested in the folk music of many countries. No doubt, his friend and colleague Bela Bartok also was influential in this regard. While living in the Philippines, Takacs made the first study of Philippine music and instruments, A Dictionary of Philippine Musical Instruments, and the influence of this music, as well as folk music from Hungary and North Africa (Egyptian-Arab), plays an important part in his musical output.

From Far Away Places, Op. 37, is a beautiful collection unified by the compositional style and subject matter. In it are twenty pieces written in a tonal idiom. Each piece is representative of a particular country with the exception of the last, which is titled A Letter from Home. Some pieces are simply harmonizations of melodies of a particular country, while other pieces are originally composed. The harmonizations are especially beautiful and imaginative, while the originally composed pieces are elegant miniatures. All the pieces are about the same difficulty level with perhaps the exception of A Letter from Home, which, while not particularly difficult, requires a certain level of musical sophistication. In the collection From Far Away Places, Op. 111, the pieces are slightly more difficult, a little longer and, while still tonal, contain a few "spiky" dissonances. The only pieces not really tonal are the two that are unmeasured and have a free improvisational quality. Like the Opus 37, all the pieces are representative of a particular country and would be appropriate for recitals.

For Me, Op. 76, is an exquisite collection of twenty-two little recital pieces that many consider not only Takacs's finest work in this genre, but one of the finest collections written in the last half of the twentieth century. The difficulty level is somewhat less than either of the two volumes previously discussed. The pieces also are shorter; only one is more than one page long and most are less than one page. All fit the hand well, and the technical level of each is fairly consistent. In other words, there are no surprises. The musical requirements easily can be comprehended by young students; many of the pieces incorporate the use of the pedal.

The set called Doubledozen for Small Fingers, Op. 63 consists of pieces that are longer and a little more difficult than the general level of the Opus 76 and are appropriate for the late-elementary student. The character of the individual pieces exhibits a good variety of mood. A number of the pieces are reflective of the culture of different countries, and there are several in American popular styles, such as Boogie-Woogie, Blues, Cowboy Song and Negro Spiritual, while still others are picturesque and descriptive, like Walking in the Mist and First Snow.

Both the Sounds and Colors, Op. 95 and the Something New for You, Op. 116 are collections containing a greater variety of compositional styles and a more adventurous harmonic vocabulary than other collections. This is especially true of the Opus 95, which contains several abstract compositions using various avant garde techniques, like plucking the strings inside the piano; placing a ten-inch piece of cardboard on the keys, then pressing the keys down silently holding it with the left hand while the right hand plays; pieces that are unmetered; and muting strings with the finger. Many pieces in this volume require some musical sophistication and imagination. The general difficulty level ranges from early- to late-intermediate.

When the Frog Wandering Goes is a collection of six recital pieces for the intermediate student. Each is very effective. While most of the pieces are quite brilliant and therefore frequently found on recital programs, one should not ignore the only lyrical piece in the collection, Pastorale, a lovely, flowing piece in the style of a barcarolle.

There are two works for students that are not part of a collection: Miss Sona- Tina, Op. 118 and Kleine Sonate, Op. 51. Kleine Sonate is a three-movement work with the same general difficulty level as the Kuhlau or Clement sonatinas. For the beautiful second movement Takacs uses the Am Fluss from the Opus 76. The last movement is a strikingly effective movement in the Hungarian style, while the first movement is all charm wrapped up in a little sonata form. Miss Sona- Tina has its own charms, but is somewhat less involved than the Kleine Sonate.

A special treat for teachers and students alike is the collection of sixteen duets called 4x4 Klavierstucke. The difficulty level is early- to late-intermediate. Many of the pieces are evocative of music from various countries, and all the pieces are fun to play and a listening delight. Not to be missed is the rollicking version of Jingle Bells complete with a four-voice fugue "not by J. S. Bach."

Concert works

Humoreske, Op. 1 (1918) DOB

Sonatine, Op. 2 (1920/23) DOB

Teile aus der Oper "Jonny spielt auf" (1927) UE

Drei Bagatellen, Op. 10 (1927/29) DOB

Rhapsodie, Op. 43 (1936/39) DOB

Toccata, Op. 54 (1945/46) DOB

Suite Altungarischer Tanze, Op. 42a, arranged by the composer from his work of the same name for string orchestra (1946) SIDEM

Pesther Waltzer by Joseph Lanner, Paraphrase for piano (1948) (DOB)

Toccata und Fuge fur die linke Hand, Op. 56 (1950/51) DOB

Partita, Op. 58 (1954) DOB

Sons et Silences, Op. 78 (1963/64) DOB

Four Epitaphs, Op. 79 (1964) DOB

Twilight Music, Op. 92 (1970/71) DOB

Le Tombeau de Franz Liszt, Op. 100 (1976/77) DOB

Valse brillante, Ohne Opus (1981) DOB (in "Diabelli 81")

Musica Biologica nach Vogelstimmen, Ohne Opus (1986) UE (in "Vogelstimmen in der Klaviermusik")

Konzert-Etude (Toccata No. 2), Op. 120 (1988) DOB

Polka, Ohne Opus (1997) DOB

Of the concert works, the most brilliant and technically challenging would be Le Tombeau de Franz Liszt; Konzert-Etude; Pesther Waltzer; Sons et Silences; Rhapsodie, Op. 43/1; and the Toccata, Op. 54. All require advanced pianism. Le Tombeau de Franz Liszt is laid out in two parts; the first called "Lacrimosa" and the second "Dies irae (totentanz)." This scheme is similar to the structure of the Liszt Hungarian Rhapsodies in that the first section is generally slow, rhapsodic and lyrical, often in a parlando style, while the second section is fast and technically brilliant. Of the first section Takacs says the metronome marking of sixty may be a bit too fast. "Take it as you feel it," was his advice to me. The main difficulty of the second section is the pages of interlocking octaves, chords and single notes covering the entire range of the keyboard. The main theme of this movement is the Dies Irae from the medieval plainchant. There also is a quasi-improvisatory section in which the Kyrie eleison also figures.

The Rhapsodie, Op. 43/1 is similar in form to Le Tombeau de Franz Liszt because it also begins with an extended and rhapsodic recitative-like section followed by one that is rapid and brilliant. It is a very effective and dramatic work, originally written to be danced to by the prima ballerina of the Berlin opera.

The Konzert-Etude, Op. 120 is Takacs's last major work for piano, written when he was 86. It is six minutes of nonstop playing requiring rapid passage work, double-note trills in one hand and virtuoso octaves. Also difficult is the changing metric structure and the note patterns that do not jive with the meter of the moment. The only break in the piece's forward momentum is a short recitative-like section just before the final vivace. Similar sections are commonly found in many of his virtuoso movements, such as Toccata, Op. 54 and the final movement of the Partita, Op. 58, and serve perhaps to expiate the tension of the previous section and allow time to gather one's forces for the coming onslaught. Quite often, these sections utilize some quasi-improvised repeated note pattern, growing both in speed and dynamics. These repeated gestures almost could be called a Takacs trademark because they appear in so many of his piano works, beginning with his Sonatine, Op. 2 in the second movement.

Probably the most popular piano piece in this category is the Toccata, Op. 54. It is a scintillating work in da capo form and requires very even finger work. The passage work often is divided between the hands, and I am not sure if that makes it easier or harder to play. Regardless, it is a very gratifying work, both to play and hear, and it would be right at home in one of Debussy's books of etudes.

While the Sons et Silences, Op. 78 does not require the extravagant technique of the aforementioned works, it is in some ways more difficult and very different in style. It is a completely abstract work: though composed and unmetered with the time durations measured in seconds, it is a collage of unrelated gestures and sound patterns that at various times require the piano to purr, growl or roar. Despite the piece's abstract nature, it is a fascinating work both to hear and perform.

The paraphrase on Joseph Lanner's Pesther Walzer is a delightful confection very much in the style of the paraphrases written by Liszt and many other virtuoso pianists of the nineteenth century. I would think it would be a welcome addition to many pianists' repertoire because it has the charm and requisite brilliance to be a guaranteed crowd pleaser, as well as being so well written for the instrument that it is a joy to play.

Regarding the other concert works, I think the most important are Sonatine, Toccata und Fuge fur die linke Hand (Toccata and Fugue for the Left Hand), Partita, Four Epitaphs and Twilight Music. While the level of technical ability required for these works may not be as constantly intense as those previously mentioned, they nonetheless require a well-coordinated technique and sophisticated musicianship.

The Sonatine is a beautiful work that is about the same difficulty level as Ravel's Sonatine. The first movement is filled with inventive counterpoint, lovely melodics and rich pungent harmonies that call to mind French impressionism. The intpressionism of Debussy and Ravel was an important influence on Takacs, most strikingly in his earlier works, but throughout his entire output in regard to his preoccupation with color, detail and sonority. The second movement was inspired by a Japanese poem and is delicate, atmospheric and quite affecting. The last movement is a complete change of pace and is based on themes in the Hungarian style; somewhat reminiscent of Bartok. All in all it is quite an amazing work to be written by such a young man. Takacs was 18 when he composed this piece in 1920.

The Toccata and Fugue for the Left Hand is a work written in grand baroque style, but with twentieth-century sensibility and harmony. It is an exciting and dynamic addition to the somewhat limited literature for the left hand alone. There is an excellent recording of this work by Leon Fleisher on his CD Leon Fleisher Recital. There are several misprints that should be noted: measure three of the toccata should begin with a quarter rest; in measure twenty-one of the fugue (the measure before the Stretta) the last eighth in the left hand should have natural signs in front of both the A and C; in measure twenty-five (measure of five), second beat, the sharp should be in front of the C instead of the D; in measure forty-two (the 4/8 measure) the last sixteenth note in the right hand should be a D-natural.

The Partita, written for Paul Badura-Skoda, is Takacs's only work written using a strict twelve-tone technique. But, as Takacs himself remarked, "What came into being was a tonal piece and sounded exactly like my other works. This was a surprise to me." The five movements of the work (Introduzione, Notturno, Recitativo, Canone and Toccata Burlesca) are all relatively short, but terribly effective. The introduction is based on a short six-note motive that is treated canonically, first in single notes and then in double notes. Dynamics are important to the overall structure. It begins pianissimo building to a fortissimo climax and then receding once again to pianissimo. The second movement is a very atmospheric kind of "night music." The third movement is quite dramatic, while the fourth is a marvelously conceived canon presenting the twelve-tone row in its entirety. The last movement is a brilliant virtuoso movement that uses the whole range of the keyboard. At the climax of the movement, the row is heard in diminution in the highest register of the piano, while in the left hand the row is heard in augmentation in the very lowest register of the instrument.

The 4 Epitaphs is one of Takacs's best and most interesting works for piano. Each movement is a kind of "hommage" to a composer he either knew (Hindemith, Berg, Bartok) or respected (Debussy). It is amazing how well he conveys the atmosphere of each individual composer, and yet the style is unmistakably Takacs. The Praeludium for Paul Hindemith uses a canon composed by Hindemith on the occasion of his sixty-fifth birthday in December 1960. This is the only movement that uses any material not Takacs's own. The technical demands of this composition are not particularly great for an accomplished pianist, but one must possess a rather sophisticated musicianship and good sense of style.

The Twilight Music takes only about nine and a half minutes to play and consists of six very short movements. This composition shows Takacs at his absolute best as a composer of miniatures. Each movement creates its own mood and atmosphere with a great economy of means, but with enormous imagination. There is a misprint in the first movement: The arpeggiated chords in the treble clef in the last line should all be the same: F-sharp, A, C-sharp, F, A-flat, C, E. The second movement, the composer told me, should be played not expressively, but like ice. In movement four there should be a fermata over the last cluster in line two.

In addition to the solo works, Takacs has written three concertos for piano and orchestra. The first was written in 1934 and lost during the war. The second, Opus 60 for piano, string orchestra and percussion, was written in 1947 and premiered in Lausanne that year with the composer at the piano. Opus 60 was subsequently performed by Alfred Brendel. It was revised several times, most recently in 2000, and has since been performed several times in Europe. The third is the Tarantella for piano and orchestra. This, one of Takacs's most popular works, has received many performances and has been recorded by the author with the Black Sea Philharmonic, as well as by Alexander Jenner. This is a brilliant and effective one-movement work that is some fifteen minutes long.

Takacs's celebrated his 101st birthday in September of 2003 and still lives in his home in Siegendorf, Austria. Whether you are teaching a beginning student or a more advanced pianist, consider acquainting yourself and your students with his pieces.

Who is Jeno Takacs?

When writing about Jeno Takacs, there often is confusion as to whether to call him a Hungarian composer or an Austrian composer. The truth is he is a bit of both. He actually was born in the same Austrian village where he presently resides, but this area of Austria was part of Hungary until after the Treaty of Versailles. Siegendorf is a small village in Burgenland about forty miles south of Vienna where the great Hungarian plain rises up to meet the foothills of the Alps. It is on the road Haydn often traveled between the Esterhazy Palace in Eisenstadt and their palace and estates in Hungary.

Takacs attended the Academy of Music and Performing Arts in Vienna, studying composition with Joseph Marx and piano with Paul Weingarten, a student of Emil Sauer. In 1926, he first met Bela Bartok, and the two remained friends and colleagues until Bartok's death. Takacs also wrote one of the most interesting and insightful books on Bartok, Erinnerungen an Bela Bartok. In addition to Bartok, Takacs was friends with many of the important composers of the twentieth century, such as Berg, Hindemith, Kodaly, Dohnanyi and Ligeti.

Takacs was an exceptional pianist, and for a number of years performed as a concert artist in Europe, Asia, North Africa and America. He also taught piano at the Conservatory in Cairo, Egypt (1927-1932, 1934-1937), the University in Manila, Philippines (1932-1934), and at the University of Cincinnati College-Conservatory of Music (1952-1970). He was director of the Conservatory in Pecs, Hungary (1939-1948), as well as guest professor at the conservatories of Geneva and Lausanne (1949 1952).

Takacs has been the recipient of many prizes and honors, including the Cross of Honor of Burgenland, Austrian State Prize, Bartok-Paszthory Foundation, Honorary Gold Medal of the City of Vienna, Haydn Medal of the City of Eisenstadt and the Cross of Merit of the Republic of Hungary.

The complete piano works of Takacs, excluding the concerti, can be found in a recently recorded five-CD set. The solo piano works are beautifully performed by Aima Maria Labra Makk, and the works for two pianos and piano duet are equally well performed by Johannes and Eduard Kutrowatz. These CDs are available through Pepperland Music Production, Koelblgasse 13/1, A-1030 Vienna, Austria. (fax ++43/1/799 73 05).

In addition, the concerto Opus 60 has been recently released on HUNGAROTON (No. HCD 32278) with pianist Aima Makk.

Jerry Perkins is professor of music and chairman of the keyboard faculty at the Middle Tennessee State University in Musfreesboro, Tennessee. He was a piano student of Jeno Takacs at the University of Cincinnati College-Conservatory of Music and has performed most of Takacs's piano works in recitals in this country and Austria.