Other Writings - By Others

Canadian Federation of Music Teachers' Associations, Spring 1982
Points of View, 1982.

Dynamic Damjana Bratuz – Musician, Lecturer, Author, Virtuoso by Beverly Ann Devlin

Like a rare diamond, Dr. Damjana Bratuz is a multi-faceted musician, artist, teacher, lecturer, author and gifted pianist – truly an international scholar and virtuoso.

Born into a musical family on the border between Italy and Yugoslavia, young Damjana grew up in the turbulent political climate of central Europe. Slovenian is her mother-tongue, Italian the language of her schooling and she is equally at home in English or French. In addition, she speaks several other languages – a true polyglot with a strong interest in semantics.

This outstanding musical student developed into an exceptional pianist hailed by critics throughout Europe. When the old master, Cortot, heard her play Mozart, he praised her for her musicianship, intelligence and sensitivity.

Dr. Bratuz also scripted and presented music programmed for children for Radio Trieste, Radio Sweden as was as for the Austrian, French and Yugoslavian radio networks. Since 1973 in London, Ontario, Dr. Bratuz has given a series of broadcasts on CFPL-FM entitled "The Well-tempered Listener".

She has been an Associate Professor of Piano Literature and Performance since 1968 at the University of Western Ontario with a busy schedule of teaching, lecturing, writing and performing.
Still Dr. Bratuz finds time to give lecture-recitals and to review books. In November she gave an inspiring Workshop for the Central Toronto Branch of ORMTA on "Bartók – the Man and His World" complete with slides, authentic tapes of Bartók playing his own compositions and her piano illustrations of his works. Another unique lecture-recital she presented at the CNIB in Toronto on "Liszt-Bartók" in which she correlated the music of these two giants.

Her first book, The Folk Element in the Piano Music of Béla Bartók, will soon appear. Already it has been acclaimed enthusiastically by Gyorgy Sen=bol as "an unique pedagogical help".
Charles Crowder of The Washington Post described Dr. Bratuz's Liszt-Bartók recital as "One of the most exciting and stimulating piano programs in a long time…the kind of program that both enlightens and edifies the listener…both Academic and imagination were responsible for her unique program…From the startling beauties of Liszt's"Nuages Gris" and "Sunt Lacrymae Rerum" to the mysteries of Bartók's "Night Music"…the spirit with which she played the entire concert brought the music to life! Intensity and imagination marl Bratuz's playing in every tone…A fluent technique in her Bach…the second movement was especially outstanding, smoothly integrated and crisply articulate."

The reviewer from Lucerne. Switzerland raved: "Dr. Bratuz played the Schumann Concerto with uncommon expressiveness. The utmost delicacy she commanded in the fragile songful Andantino…she developed an infinitely graceful, yet carting 'piano', entirely attuned to the tone-painting quality of Schumann."

What as inspiration it was to interview this dynamic musician and share her warmth, vitality and enthusiasm for her music, for life itself!

You have been called the "leading North American authority on Béla Bartók", Dr. Bratuz. What first caught your imagination and interest in this great Hungarian composer?

Dr. B. "Authority" is rather a misleading term. At Indiana University, in the early '60's, professors discovered that I was close enough, geographically and historically, to the folk world and aesthetic climate of Bartók's music, to understand it; it distant enough, as a Hungarians themselves. The professors encouraged me to do more research. Asa teacher and lecturer, it appears that I have been able to make others hear these patterns and disconcert the world behind the notes."
Did you ever study with Bartók or with one of his pupils?

"That would make me much older if I had known him personally! At Indiana University I came under the influence of three Hungarian teachers (Nagy, Starker and Sebok) who were connected indirectly with him, having been part of the Academy where a certain tradition was cultivated from List though Thoman to Bartók."

How was it that you were able to have access to the primary sources—the tapes and broadcasts of Bartok's own performances?

"I discovered them, at first, in the Department of Folk and Primitive Music at Indiana. But, since then, records have been released commercially; most recently in the splendid collection by the Bartók Archives in Budapest for the Centenary."

Would you say that the North American lack of awareness of the nuances of the Hungarian language impedes the students' full understanding of Bartók's music? What can the student do to overcome this problem?

"It is not only a North American problem. Even Hungarian musicians trained in the Germanic articulation of musical discourse, which we all have inherited, are apt to misinterpret Bartók. Erich Leinsdor tells a revealing story of how he tried to explain Bartók's articulation to a European concert master by singing the words to him—all in vain. Accentuation, gesture, implied choreography, balance—all are very fragile, unmeasureable elements."

What age do you recommend students begin to study Bartók? What beginning repertoire do you suggest?

"In North America I encounter over and over the surprise of teachers and parents when I show them the Bartók-Reschofsly primer, and read the statement it contains that the volume is to be mastered during the first year. I respect the intelligence and ability of each child and am constantly angered by the limitations imposed by concepts such as "fun" and "easy-learning" which limit the potential and the enthusiasm of the beginner.

I am told I do not understand democracy. I like to quote the writer who said, with regard to the Sputnik trauma in the American educational world, that teachers suddenly realized that by the time Jack and Jill had climbed the hill, Soviet children had already learned the mineral content of the hill, the geological, historical and botanical data!

What is worse, is that when I entitle my workshop 'The Preparation of the Gifted Child', some teachers stay away, claiming they do not have any "gifted" pupils. In a climate in which the 'star' system reigns, which I have called the 'upside-down pyramid' there is no training for the gifted (future) music store owner, administrator, museum curator, sound engineer, tuner, not to speak of radio and TV producers and writers. This is the basis which can support the emerging 'stars' in the community. But as long as the thinker and the procedures of teachers are governed by short-range goals, by exams and festivals, with their limited repertoire and damaging pressure, the reversing of the 'pyramid' in the musical world on its rightful broad basis will remain a lost cause.

I have taught in many countries, and everywhere the small child seems to grasp Bartók's pieces for beginners without needing encouragement or 'explanations'. There is no preference nor limit, on my part, as to what I would assign a beginner. I encourage exposure to all styles from the start, as well as 'techniques' derived from each style and need, playing by ear, improvising and composing."
Do you hold master classes on a regular basis at the University of Western Ontario?

"Yes, I do. As much as it was feasible through he years I tried to offer the students a more comprehensive exposure to ideas, images, connections, by sharing the classes with other teachers, not only from the piano department but also from other instrumental departments and even other disciplines, as well."

What do you emphasize in these classes? Technique? Interpretation?

"First, I call attention to the written score, as Lipatti used to say, 'our only gospel'. There is so much misreading of signs and symbols—that is everywhere the greatest need: to clarify the sign, in order that one may 'enseigner'. All interpretation and all technique derive from that understanding."
Is there a different technique required for performing the music of Bartók? Do you have any specific recommendations to acquire a good technique for performing this music? How does the student perfect such a technique?

"Bartók's technique can only be learned by studying his own recorded performances. It derives from List's school of playing" its tremendous flexibility, transparency, control of nuance and pulsation, its great freedom, are very different from what passes as 'Bartók playing' among students and, alas, performers."

What is your opinion of the use of Bartók's music in the Syllabi of the Royal Conservatory of Music of Toronto and the Western Conservatory of Music of London, Ontario? I believe there are over 80 Bartók compositions listed in these Syllabi.

"As in everything else, it is not the listening that matters, but the individual use on remakes of it."

Gyorgy Sebok, the eminent Hungarian pianist and pedagogue, has described your book, The Folk Element in the Piano Music of Béla Bartók, as "an unique pedagogical help in the field of Bartók study". Do you foresee this book becoming a text for university studies?

"A book in itself cannot be of help' it can only focus attention on what can help, if the words reach the perception of the reader. I hope that it will reach a wider spectrum of readers, rather than just being a textbook.

Perhaps at this stage, I should consider several shorter books dealing with the many aspects I have researched and for which I have accumulated a great deal of relevant, and I think, illuminating material."

What influence did Liszt have on Bartók's creative genius? Or was Bartók primarily influenced by the folk music which he collected with Kodaly in 1907?

"This question, for example, would constitute on eof the books. Bartók understood the true import of Liszt's contribution at a time when nobody else could. His aesthetic principles continue in the Lisztian aesthetic frame, even if his source material was different."

How long have you been teaching piano?

"I started soon after receiving my Artist's Diploma in Italy at the age of 18. Then I taught in Paris and in Stockholm before coming to the United States on a Fulbright grant and becoming a student again."

Have you observed any major changes in the attitudes and the talents of university level students during the past decade?

"In 14 years at the University of Western Ontario I have had the very rewarding feeling of being part of the growth of something that can happen only in North America, where a fine school can develop in such a short time. I have witnessed the growth of quality in the first year students as well. But they are still too late in their overall development, and there is no greater sorrow for a pedagogue than to see how much talent has been wasted, energy misdirected, intelligence unused, and at the age 18 few have the fortitude to start anew."

In your Centenary of Bartók lecture-recital tour across Canada from the University of Victoria in British Columbia to Mount Allison in New Brunswick you have brought an unique presentation of a glimpse into the "World of Bartók" to those who have been privileged to hear you. Have you noticed any particular differences among students throughout our country? Have many of them already studied some Bartók repertoire?

"Everywhere there is a teacher with vision, students who are receptive, open to new ideas and able to celebrate any new discovery, new challenge. Everywhere I went there was some special, rewarding experience, be it in the musical talent of the students or in the questions they asked, or in the school's possibilities. My Bartók Centenary tour turned out to be a sort of 'Pilgrimage'. It gave me great comfort and hope to see many of my students all over the country, not only in professional positions or active as performers and accompanists, producers and critics in Anchorage, Alaska; as an ethnomusicologist working with Indian tribes in B.C.; as concert organizers, as lawyers, as piano tuners in Toronto and as a choral director."

How did you select your "master class" candidates on this tour?

"I have no special criteria for selection, but I like to respond to the reality of the existing musical structure, and contribute from my knowledge and my experience in many fields to all levels and directions of the candidates. As I mentioned, the broad spectrum of musical enlightenment in society is my primary concern. On one of your lectures you stated that the miracle of Bartók's music is "movement". How does this relate to the young piano student?

"Perhaps you refer to my quotation from Leonardo, that it is movement which gives shape to form, while it is structure that orders it. Unfortunately, so much effort is spent in the course of analysis and dissection of structure, while the nature of the living movements of the music is overlooked. This recalls the Erich Leinsdor anecdote: the knowledge of movement, be it or recitative, or dance, or vocal or pertaining to a particular timbre, cannot be imparted nor learned from reading about it."
In this centenary year of Bartók's birth, a greater emphasis has been found focused on his music and on the folk sources of his compositions. But what about the future? Do you think this interest will be sustained?

" I think Bartók's time has come: his music is now being heard in its true light by many listeners. Its pedagogical importance will also be discovered., I think. (But, that's another whole book!)"
With a number of internationally published editions of Bartók available in Canada, which edition would you recommend for the serious student?

"A much needed, new, reliable edition is being prepared in Budapest which should be available soon."

On the topic of memorization of a work for performance, have you any basic pointers for pianists? Where does on e begin?

"Bartók never played from memory; I am told that he walked on stage with two page turners. His energy was channeled into so many directions with equal force and equal achievement that playing from memory was, perhaps for him, a frivolous burden. As I mentioned in regard to proper reading of the score—there is where memorization starts. I encourage students to memorize away from the piano. Unfortunately, once they come to university, not only is it too late for them to acquire the skill so that it speeds up their learning; but the entire structure of university education conspires against the time and the silence needed for proper study. (Study, as Paderewski used to say, not practicing!)"

I read that you stated, in reply to 'Why did you choose Canada?' "There is a welcome confluence of traditions and currents in the Canadian cultural mosaic, with its many ethnic groups, the British, French, American elements and the presence of the North – an amalgam which you find stimulating and vigorous". Could you expand on this statement? What exactly do you mean by "amalgam"?

"Those are the elements which were important in my background, and whose presence in Canada determined my choice of this island as a spiritual homeland. This choice is explained in another book I hope to finish some day, which I am calling Exchange Visitor in the Midwest. (My visa as a foreign student was called "exchange-visitor's visa".) This book wrote itself as a sort of fugue—with the subject of one culture being counterpointed, mirrored in the culture of the new world, which is an account of my acquiring the awareness of the forces that had shaped me."

With such a rigorous schedule to meet your teaching commitments and lecture performance tour, how do you manage time for your own practicing or for writing?

"Not enough! I do hope that my life will change soon in this respect. I did manage these past few years to present a program of Schubert and of Berg, one of music on religious subjects and Clememti's and Beethoven's works on the forte-piano, in addition to my Liszt-Bartók programs.
Would you recommend any particular technique books for the advanced student? Or do you prefer to make technical exercises out of the works being studied?

"I am devoting many workshops to what I call the neglected treasures of piano technique literature, such as Brahm's Daily exercises. They are seldom understood and benefited from; they open the door to a vast repertoire, and I hope to publish a Key to the 51 Daily exercises some time soon."
Are there many recordings available for the student to hear Bartók music performed by outstanding pianists? If so, who have recorded his works?

"That question is too dangerous for me to reply to! Let me urge everyone to become acquainted with the wonderful centenary issues of Bartók's performances and also his folk collections. Hungarian Folk Music with Bartók's transcription from recordings made in 1937-38; Hungarian Folk Music—from Bartók's phonograph cylinders and Memories of Bartók by his contemporaries (edited by Ferenc Bonis) with Kodaly, Szigeti, Serly and Pasztory have been specially released for the centenary."

Did Bartók arrange any of these wonderful folk melodies for singers?

"Yes. Eight Hungarian Songs (for beginners) and, for the more advanced, Twenty Hungarian Folk Songs in four volumes have been published by Boosey and Hawkes."

In 1967 you were the first woman to achieve a Doctorate in Piano Literature and Performance from the University of Indiana. What was it like to pioneer in this field?

"Since I came to Indiana University on a Fulbright Award, my doctoral requirements included eight full length recitals and two documents – one on Bartók and on one Schumann. I also researched the music of Brahms and Debussy. My minor subject was radio broadcasting."

You have been invited back to your Alma Mater in April to participate in a special Bartók Symposium along with many eminent speakers. What is you topic?

"The Department of Uralic and Altaic Studies at the University if Indiana is sponsoring this special seminar. My topic is "Bartók and Brancusi – Folk Lore and Abstraction".

CODA

A singular honour was bestowed upon Damjana Bratuz on September 7, 1981 in a special ceremony at the University of Western Ontario when she was presented with one of three plaques awarded to Canadians during the Béla Bartók Centenary year. The Hungarian ambassador, Gyula Budai, and the Embassy's First Secretary, Imre Ugai, traveled to London, Ontario to present Dr. Bratuz with a special scroll and plaque in recognition of her exceptional work on behalf of Béla Bartók.
Thus summer Dr. Bratuz will conduct a Piano Immersion Workshop from Sunday, June 20 to Friday, June 25 at the University of Western Ontario. Skills, materials and demonstrations will be given in lecture-recital and master classes with individual instruction available. The course is open to teachers, advanced music students, parents and music lovers.
Enthusiasm, energy and rhythmic vitality combine with versatility and virtuosic performance to bring alive the music of Bartók as interpreted by Dr. Damjana Bratuz – a rare musical experience for all who hear her!

(Journal??? Canadian Federation of Music Teachers' Associations, Spring 1982, [DATA, pp]