Concert at ESTA & Kodaly Congress

Title; Bartok's Choral Works for Children's and Female Voices
Twenty seven 2 and 3 Part Choruses a Cappella-
Choir: Fukushima Kodaly Choir
Conductor: Miyako Furiya
Date; Aug.8

2001 year is the anniversary year of Bartok Bela's 120-year of his birth.
Bartok is the one of the best composer in 20th century and good friend and
of Kodaly Zoltan. Bartok¹s 27 Choral Works for Children's and Female Voices
are one of the best, most beautiful and most meaningful collections of
Choral Works for Children's and Female Voices in 20th century. Kodaly was so
pleased when Bartok composed this collection at 1936
that Koday wrote the
wonderful introduction before the publication.
Fukusima Kodaly Choir respects Bartok and Kodaly and this collection is one
of the most favorite repertories. which we used to sing with great
We think if Bartok¹s this collection will be sang at the first Congress of
IKS by Japanese amateur pedagogical choir from so far Asian country, so that
it will be great evidence of Kodaly¹s idea.
Kodaly wrote as following'
In his article Children's Chorus of Bela Bartok which appeared in the
journal enekszo (1936.3-4) Zoltan Kodaly introduced these choir-pieces to
the public before they had even been published.
The Hungarian child dose not know yet -Kodaly wrote- that the Christmas
of 1936 has brought him a gift that will last him all his life. This is
clear to all who seek to take the Hungarian children into a world where the
air is clearer, the sky bluer, and the sunshine's warmer; this is clear to
all those whose long felt wish has come true now that Bartok has joined
their ranks.
Bartok has talked to the children for years: on the piano, and more
recently on the violin. Without these works the piano or the violin could
hardly be taught here or for that matter, abroad, and we would be living in
a more artistic and more Hungarian world by now had our teachers of music
been quicker to recognize the significance of these works.
But how many Hungarian children can afford these days to own a piano or a
violin? The great masses grow up unaware of the riches of instrumental
musical literature. Bartok is talking to this musically orphaned mass of
children now. It is a strange paradox yet profoundly logical as well, that
Bartok began by letting the air of the Hungarian fields in on those children
who played their instruments within four walls in the cities; in other words
his instrumental children's pieces elaborate on folk-themes; but now he is
talking to those children who have lived untouched by music, in the idiom of
folk-poetry, yet in his own language of music. This language is readily
grasped by children especially if they are at all familiar with folk-music,
whether they were born into it or they just got to know it at school. They
grasp it because Bartok's way of speaking to them has none of the
pompousness of the 'pedagogue' and because he does not try to use the fake
baby-talk adults so often use with children. There is no condescension in
his approach. He regards children as fellowmen. He regards them in the way
that is possible only for the man whose gray hair has not abolished the
child in him.
And the things he says are things he would say as an adult to adults. This
is art of full, lasting value, also for the adult world.
How happy the Hungarian child could be and what a wonderful man he would
make if only men of this kind were talking to him"
Indeed: one finds an amazing richness of forms and expression in these 27
choral pieces. Bartok has lived up to the task masterfully: he has written
new music for two or there voices of relatively small register, music
ranking with his monumental works. At quite a number of places we are
actually reminded of some wellknown Bartok compositions:
(Ferenc Bonis Explanation for Record ChildrenÕs and WomenÕs Choruses
Hungaroton LPX1200)

Don't leave me here
Letter to those at home
Play song
Don't leave me!
I have a ring
I've no one in the world
Bread baking
Loafers' song
Girls' teasing song
Boys' teasing song
Michaelmas greetings
Bird song
Had I not seen you
The bird flew away
Cushion dance
God be with you!

Miyako Furiya
Director&Conductor of Fukusima Kodaly Choir
Graduate of Musashino Music Academy in Japan, majoring in piano
performance. Studied in Hungary, mainly at Liszt Music Academy,
during 1987, on a scholarship from International Kodaly Society
focusing on choral conducting (under Gabor
Ugrin and Maria Mohayne Katanics) and piano performance (under Gyorgy
Valeria Szervanszky and Mariann Abraham).
Founded Fukushima Kodaly Choir in 1987 after return from Hungary.
Conducted many concerts in Japan and foreign counties.
Presented Japanese traditional music
workshops at ISME conferences and IKS symposiums.
Professor at Miyagi University of Education, a national university in
Sendai,teaching piano, solfege, chorus and music education.
Board member of International Kodaly Society. Director of Japanese Kodaly
Society of
Japan. Director of Academic Society for Music Education.

Fukushima Kodaly Choir
The members of Fukushima Kodaly Choir are mainly primary school teachers
from Fukushima Prefecture and the wider northern region of Japan, Tohoku.
The choir was named after the great Kodaly, out of admiration for his
principles, which aim, not only to teach music through better methods, but
also and primarily to help people to live life more deeply, happily and
richly. Japan is particularly beset by deep educational problems, and we aim
to help primary school teachers to educate pupils in a more beneficial and
meaningful way, through making them happier in school.
To date, we have held annual concerts in Japan, undertaken three concerts
tours in Hungary. In 1996 we participated in the 22nd World Conference of
the ISME in Amsterdam as musician and held three concerts and a workshop.
We held concerts twice at IKS symposium 1997 in Manila and 1999 in
We issued three CDs conducted by Gabor Ugrin, Hungarian conductor, and
Miyako Furiya,
which have received favorable reviews concerning Hungarian a cappella choral
works and
multicultural and different voice managing.
Our repertory covers a wide range, from Gregorian chant to modern a
cappella European choral music, specially Hungarian (Kodaly, Bartok, Bardos,
Kurtag and Kocsar), as well as Japanese traditional folk music, folk dances
and folk customs and Japanese modern choral works.
CD;.Magos a rutafa -Hungarian a Cappella Choral Works- (EMI Toshiba
Many Nations-Many Voices-Celebration 25 years¹ International Kodaly