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Volume 22 Issue 3 - November 2016

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FEATURE 60 years of

FEATURE 60 years of Hungarian-Canadian musical connection Mary Kenedi’s Bridge to the Future ANDREW TIMAR Let us start our story in the present day in the person of Toronto pianist Mary Kenedi. To commemorate the 60th anniversary of the 1956 Hungarian Revolution, as well as the 135th anniversary of the birth of Hungary’s pre-eminent 20th-century composer Béla Bartók, she has organized two November concerts titled A Bridge to the Future. The first concert on November 17 is at Trinity-St. Paul’s Centre, while the second is at the Canadian Museum of History, Gatineau, Quebec on November 29. As for the title, A Bridge to the Future, Kenedi explains that “the title symbolizes the hopefulness of immigrants from Hungary who travelled to a new continent, replacing their country of birth with a new one that offered freedom and democracy.” She was one of them. And so was I. The 1956 Hungarian Revolution - some call it the Uprising - began on the afternoon of October 23 as a crowd of at least 20,000 demonstrators assembled in central Budapest. Starting as a peaceful demonstration it quickly turned very bloody indeed. I had just turned six in the Western Hungarian city of Szombathely. Descriptions drawn partly from a 1957 UN General Assembly report paint a complicated picture of the compelling events which led up to and then followed it. Here’s a much-simplified snapshot. Students and writers joined forces to voice their grievances levelled against the hardline Stalinist government of the Hungarian People’s Republic. The crowd’s initial goal was the public square adjacent to the statue of József Bem, a 19th-century military figure, a hero for both Poles and Hungarians. There, Péter Veres, the president of the Hungarian Writers’ Union, read a 16-point manifesto to the crowd, challenging the current national regime on several fronts. By the evening of October 23 the crowds swelled by a factor of ten when the students joined other Budapesters in the large parliamentbuilding plaza on the opposite shore of the Danube. One group of demonstrators in the city’s Hero Square toppled and broke up the imposing bronze statue of Stalin, a potent symbol of oppression and occupation. They left only its metal boots in which the Hungarian flag was planted. A larger group was fired upon at the national radio station by the State Security Police (ÁVO) resulting in numerous demonstrator deaths. That October day’s momentous events marked the start of the 1956 Hungarian Revolution. As its news spread, further demonstrations and armed conflict erupted in the capital and flashed throughout the country. Within days the existing government fell and a new one was formed. Within the week Soviet troops withdrew just outside the country’s borders. For a few heady days a democratic and independent country seemed within the grasp, at least in the imagination of many hopeful Hungarians. Beginning on November 3, however, multiple Soviet armed divisions began their return to Budapest and other major Hungarian centres with the aim of swiftly destroying the Revolution and installing a government under Moscow’s control. Armed Hungarian resistance was extirpated by November 10. Records indicate that over 2,500 Hungarians and 700 Soviet troops were killed in the conflict, and 200,000 Hungarians subsequently fled the county as refugees. (Most fled through Austria, as did my family. It’s a route retraced by recent Syrian and other refugees.) This fall marks the 60th anniversary of those difficult events. For decades public discussion about the Revolution was suppressed Mary Kenedi in Hungary. October 23, the date marking the start of the 1956 Revolution, is a national holiday today in Hungary. Kenedi’s motivation for organizing the concerts is multi-layered, musical and social. Her overall musical aim, she says, is “to educate people about the high quality of Hungarian compositions, and to help audiences get past the knee-jerk reaction of fear on hearing the names of 20th century composers.” But her personal background also plays strongly into things: “I also hope to inspire the descendants of the 1956 immigrants to keep in touch with their rich cultural heritage,” she says, using her own life experience to illustrate her point. “I emigrated from Hungary to Canada with my family…after the Hungarian Uprising. In Toronto I studied piano with Mona Bates and Pierre Souvairan. Then I returned to Hungary where I worked directly with students of Béla Bartók, followed by a year of studies at the Liszt Academy,” she adds. “Returning to Toronto, I received my master’s degree in music at the University of Toronto and made my New York recital debut at Carnegie Hall.” The musical exodus: Just like everyone else, Hungarian musicians were caught up in the post-Revolution maelstrom. Like his composer friend and colleague György Ligeti, the multiple-award winning Hungarian composer of contemporary classical music György Kurtág (b. 1926) also fled his homeland after the sad outcome of the 1956 Revolution became evident. Both in terms of general impact and Canada’s musical community the events of 1956 had immediate, as well as long-term, resonances here too. In 2010 the Historic Sites and Monuments Board of the Canadian government declared the “Historical Significance of the Refugees of the 1956 Hungarian Revolution,” stating that more than 37,500 Hungarians were admitted into the county during the period between late 1956 and the end of 1957, observing further that “Hungarian refugees themselves, generally young and highly qualified when they arrived, contributed significantly to Canadian society, particularly to its cultural diversity and to the national economy by contributing their skills to the country’s workforce.…This has in turn contributed significantly to the creation of an open, tolerant and culturally diverse society, which remains a source of pride to us all.” Putting those 1950s immigration figures into the current context, the Canada 2011 Census indicates that 316,765 Canadians claim Hungarian ancestry. Internationally, Canada ranks fourth among the countries of the Hungarian diaspora. The tsumani of immigration following on the heels of the 1956 Hungarian Revolution, my own family among them, included many musicians, music teachers and university students. Settling mainly in the largest Canadian cities, in a few years they had begun to establish themselves musically in their new country. The celebrated Hungarian composer, ethnomusicologist and music educator Zoltán Kodály visited Canada in 1964, and again in 1966, when he gave the MacMillan Lectures at the University of Toronto, where he was also awarded an honorary doctorate. His visits were 12 | November 1, 2016 - December 7, 2016 thewholenote.com

thewholenote.com November 1, 2016 - December 7, 2016 | 13

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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