Sáry, László

Sáiy, László, Hungarian composer; b. Györ, Jan. 1, 1940. He studied at the Budapest Academy of Music with Szervánszky, and after graduation in 1966, he helped to found the Budapest New Music Studio (1970). His works represent various contemporary trends, ranging from the music of Christian Wolff to the American minimalists.

Works

orch.: Canzone solenne (1970); Immaginario No. 1 (1971); Diana búcsúja (Diana’s Farewell) for Chamber Orch. (1976); Music for 24 Strings and 24 Winds: Hommage à Szervánszky (1977); Párhuzamos mozgások (Parallel Movements) for Chamber Orch. (1981); In memoriam Igor Stravinsky for 24 Wind Instruments (1981); Hyperion sorsdala (Hyperion’s Song of Destiny) for 24 String Instruments (1985–86); Tükörkepek (Mirror Images) for 24 Strings and 24 Winds (1986); Polyphonie for 18 Strings and 10 Winds (1986); 7 Movements for Saxophone, Harp, Percussion, and 14 Strings (Budapest, Nov. 19, 1994). chamber ensemble : Polyrhythmia for 100 Bells and 10 Players (1979); Discussions (1980); Pentagram for 5 Percussion Groups and Prepared Piano (1982); EIöjáték és hat miniat&ubdlac;r (Prelude and Six Miniatures) for 5 Percussion Groups (1982); Hölderlin tornya (Hölderlin’s Tower; 1985); Az ismétlödö ötös (Fives Repeated; 1985). CHAMBER : Variazioni for Clarinet and Piano (1965); Catacoustics for 2 Pianos (1967); Pezzo concertato for Flute and Piano (1967); Fluttuazioni for Violin and Piano (1967); Incanto for 5 Saxophones (1969); Versetti for Organ and Percussion (1970); Sonanti No. 2 for Flute and Percussion (1970); Image for Clarinet, Cello, and Piano (1972); Az ég viràgai (Flowers of Heaven) for 1 to 4 Pianos (1973); Oda egy feketerigó halálára (Ode on the Death of a Blackbird) for Brass Quintet (1982); Egy akkordsor forgatókönyve (Scenario of a Series of Chords) for Piano(s) and Flute(s) (1982); Kettös végtelen (Double Infinity) for 2 Cimbaloms (1986); String Quartet in 4 Movements with Piano in the fourth movement (1986); In All Eternity for String Quartet (1986); Az elhagyott kert éneke (Song of the Deserted Garden) for String Quartet and Alto Flute (1986); és a Nap? (and the Sun?) for String Quartet (1986); Variations for String Quartet (1986–88); also works for Solo Instruments; pieces for Unspecified Instruments. VOCAL : Lamento for 5 Voices (1965); Hámm madrigál (3 Madrigals) for 5 Voices or Chamber Chorus (1966); Quartetto for Soprano, Flute, Violin, and Cimbalom (1968); Incanto for 5 Voices (1969); Cantata No. 1 for Soprano, Chamber Chorus, and Instrumental Ensemble (1969); Hommage aux ancêtres for 6 Voices, 3 Trumpets, and 3 Trombones (1970); Psalmus for Soprano and Melody Instrument (1972); In sol for 4-part Vocal Ensemble (1975); Lied in lyd for Alto, Bass, and Chamber Chorus (1975); Hangok fehérben (Voices in White) for Chamber Chorus (1975); Variáciok 14 hang fölött (Variations on 14 Pitches) for Soprano and Piano (1975); Dob és tane (Drum and Dance) for 24-part Women’s Chorus (1975); A hangzök változásai (Mutations of the Sounds of Speech) for Soloists, Chorus, and Strings (1979); Socrates utolsó tanítósa (Socrates’s Last Teaching) for Soprano and Piano (1980); Imitatio homophona for Soprano and 3 Identical Instruments (1982); Hold-ének (Moon-Song) for Soprano, Bass, and Chorus (1982); Kánon afelkelö naphoz (Canon to the Rising Sun) for 4- or 6-part Chorus of Equal Voices or Instrumental Ensemble (1982); Magnificat for Soprano and Melody Instrument (1982; rev. 1986). OTHER : Collaborative works, including Hommage à Dohnànyi for Chamber Ensemble (1979; with Z. Jeney, B. Dukay, and L. Vidovszky).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire