Dezső Antalffy-Zsiross

Dezső Antalffy-Zsiross studied at Eötvös Loránd University, Franz Liszt Academy of Music and University of Music and Theatre Leipzig. Training under Hans von Koessler, Joseph Joachim and Max Reger is recorded. Géza Wehner is recorded as having studied under Dezső Antalffy-Zsiross. Employment is recorded with Franz Liszt Academy of Music.

• Name — Dezso d'Antalffy • Birth Name — Dezső Antalffy-Zsiross • Born — 25 July 1885 • Birthplace — Nagybecskerek, Austria-Hungary • Died — 29 April 1945 • Place of death — Denville, New Jersey, U.S. • Instrument — Organ • Occupation — Organist, composer • Illustration — D'Antalffy's signature Dezso d'Antalffy (born Dezső Antalffy-Zsiross; 24July 188529April 1945) was a Hungarian organist and composer. He was one of the most significant performing artists of his time. He composed pieces for orchestra, chamber orchestra, choir, piano and organ which were published by Schirmer, Ricordi, Leduc, Salabert, Steingräber, Breitkopf and Universal.

Dezso d'Antalffy was born into a musical family in Nagybecskerek, Banat, Kingdom of Hungary, Austria-Hungary, (present-day Zrenjanin, Serbia). His mother, a pianist, recognized his musical talent when he was four. At the age of seven, d'Antalffy's piano instruction was taken over by Ferenc Ripka. When he turned ten, Herr Ödön supervised his musical progress. As a secondary-school student he practiced eight hours a day, which gave him a firm basis for his technique.

• Illustration — At the IV/74 Durlach organ at the Budapest Academy of Music in 1907 D'Antallfy moved to Budapest in 1902, where he attended the faculty of law at the Hungarian Royal University according to his father's wishes, and studied the organ and composed music at the Franz Liszt Academy of Music. For four years he was the student of Hans Koessler, who taught many Hungarian composers including Kodály, Bartók and Weiner. D'Antallfy graduated in 1906. He studied composition at the Academy of Music in Berlin, a musical centre at the time, and had classes with Hungarian violinist and composer Joseph Joachim. D'Antallfy was a conductor at the Cologne Opera House in 1907 and 1908. In 1909, he continued his studies in Leipzig and Bologna.

In Leipzig, he studied composition with organist Max Reger. His organ teacher was Karl Straube, virtuoso organist of St. Thomas Church. Leipzig was an organ hotbed at the time, and its effects can be heard in d'Antalffy's works. Reger's combination of the tradition of Bach with Liszt and Brahms was part of his mindset when he seasoned traditional themes and melodies with impressionist, Debussy-like harmonies. Enrico Bossi, his teacher of interpretation and methodology in Bologna, had a similar influence since Bossi's works centred around the organ. Although Reger used liturgical genres such as the chorale and fugue, Bossi primarily composed concert pieces and D'Antalffy did the latter as well. Bossi's impact on d'Antalffy as a teacher became tangible in 1911, when he wrote his two-volume Organ Tutor (a detailed, versatile course book in Hungarian, focusing on the pupil's technical development with a variety of exercises).

D'Antalffy arrived in New York on January 4, 1921, and appeared onstage as an accompanist on January 21. After the success of a concert with Duci Kerékjártó on the violin, they set off on a several-month tour. D'Antalffy and Kerékjártó traveled across the country—"half the continent", as he described it in a letter. In April Schirmer was ready to produce six of his pieces, which were published the following spring. Invited by entrepreneur Samuel Roxy Rothafel, d'Antalffy became the organist of the two-year-old Capitol Theatre, (where he played a concert the following April establishing him as the "Dohnányi of the organ" in the press). The 4,000-seat Capitol Theatre, was a forerunner of the later cinema palaces. In September 1922, d'Antalffy became an organ teacher at the Eastman School of Music of the University of Rochester and, with John Hammond, an organist at the 3,000-seat Eastman Theatre. In February 1924, d'Antalffy was asked to be the musical director of a series of performances. American producer Morris Gest brought The Miracle, a 1911 play by Kurt Vollmöller and directed by Max Reinhard in Germany, to the U.S. D'Antalffy was the organist, the choirmaster and the conductor of the three-act play. He met his daughter and returned to Budapest, where he accepted a teaching position at the Academy of Music after a three-and-a-half-year absence.

• Illustration — Samuel Roxy Rothafel with his organ staff in front of the Kimball console at the March 11, 1927 opening of the Roxy Theatre in New York (left to right: C. A. J. Parmentier, Dezso d'Antalffy, Lew White, "Roxy" Rothafel, Emil Velazco and Franck White) Circumstances in Budapest were difficult. The organ of the Academy of Music was under reconstruction and temporarily unusable, making teaching and concerts impossible. D'Antalffy gave concerts in other towns, toured the United States in December 1924 to perform The Miracle and accepted lesser positions as a conductor and organist. In 1925, d'Antalffy returned to teaching and giving concerts at the academy for a year. For the third time, he then joined The Miracle company for a series of 32 performances in Los Angeles in January and February 1927. Producer Morris Gest asked d'Antalffy to compose music for Hofmannstahl's play, Everyman. His stay in the U.S. was lengthened by an invitation to teach from Union Theological Seminary in New York, and shortly afterwards his Academy of Music contract expired. D'Antalffy taught freshmen composition, counterpoint, music-reading, transposition and orchestration from 1927 to 1929 at the seminary's new sacred-music school, which existed until 1973. • Illustration — D'Antalffy at the Roxy Theatre organ in New York The Miracle company offered him work again at the beginning of 1929; Morris Gest was looking for a composer and conductor for a new production, The Freiburg Passion Play, directed by David Belasco (Gest's father-in-law, who had staged John Luther Long's short story "Madame Butterfly"). The play's 1900 London production influenced Giacomo Puccini, who did not understand English, to compose an operatic version. From April to June 1929 The Freiburg Passion Play was presented in the largest theatre of the time, the 5,300-seat Hippodrome Theatre in New York. In 1927, impresario Samuel Roxy Rothafel invited d'Antalffy to join the staff of organists at his new Roxy Theatre in New York City; at the time, the Roxy was the country's most prestigious movie palace. After the onset of the Great Depression, d'Antalffy toured in Europe during the spring of 1930. He became involved in the film industry, recording the soundtrack music for Gaumont's The Miracle of the Wolves. D'Antalffy returned to Hungary, giving concerts in and outside Budapest, and was one of the first to play the newly built Angster organ in Szeged's Votive Church. It was the second-largest organ in Europe at the time, with five manuals and 136 stops. At the end of 1931, d'Antalffy returned to the U.S. and Rothafel commissioned him to compose an oratorio for the December 27, 1932 opening of Radio City Music Hall. Radio City was part of Rockefeller Center, at the time the world's largest privately owned enterprise which included fourteen Art Deco skyscraper office buildings, and was designed as the world's largest, most-luxurious theatre. The lyrics and orchestration of his oratorio, The Voice of Millions, were imbued with the idea of equal rights; his choir consisted of black and white singers, and his lyrics contained sacred texts from four world religions. The first worldwide broadcast by Radio City was a success, and d'Antalffy worked for the theatre as a staff composer and organist for ten years.

• Illustration — Bust in his hometown Zrenjanin At the peak of his career (contemporaneous with Kodály, Bartók and Stravinsky, d’Antalffy composed a Native American opera. Onteora's Bride, a version of an Indian story, was presented at Radio City Music Hall in 1934. In its two-week run, it was played four or five times a day for a total of 58 performances. The Indian Association of America made d’Antalffy an honorary chieftain. In 1936 he orchestrated Bach's Concerto for Two Violins for the New York Philharmonic, and the orchestra (directed by John Barbirolli) made d’Antalffy an honorary member in 1938. The piece, his final success as a composer, was performed in 1940. Hospitalized with heart failure in 1942, d'Antalffy was unable to follow his wife back to Budapest. Although he considered returning to Hungary, he was prevented from doing so by health and financial problems. D’Antalffy died in a Denville, New Jersey nursing home on April 29, 1945, at age 59.

• Three Easy Chorale Preludes, op. 22 (Jesus, my Joy; I shall not Leave my Jesus; Ah Holy Jesus) • Three Chants, op. 10 No. 1-3 (Chant solennel, Chant de cygne, Serenade) • Choral Fantasy and Fugue on "Herzlich tut mich verlangen" • Legende in F • Fugues in F and A minor • Intermezzo in G minor • Minnesang • Four Pieces: Madrigal, Sportive Fauns, Drifting Clouds, Christmas Chimes • Festa Bucolica (toccata; Rural Merrymaking) • Madonna – (a piece of stained glass) • Sketches on Negro Spirituals • Solitude • Prayer for the Children • Prayer for the Deceased • O World, I Must Leave You (chorale variations) • Scène pastorale • Mourning Song • Evening Song • Night Song • Island of the Dead • Serenade from the Hungarian Suite • Improvisations for the Miracle des Loups • Reveille de Printemps (lost)

• Illustration — Cover of Valse triste score for piano • Bagatellen • Polonaise characteristique • Tarantella • Am Meer: Drei Stimmungsbilder für Pianoforte • Carneval-Szenen: 4 Humoreske Rhapsodie • Reading (Rococo, Marche Grotesque, Valse Sentimentale) • Drei lyrische Stücke • Valse triste • Valse intime • Valse (scéne de ballett) • Trois Pièces • Weinachtslied • Serenade from the Hungarian Suite for Piano • Biedermeier (Alt-Wien) • Rococo • Works for piano (Morning-shower for the fingers, Pour une dame hongroise, Deux gamins au soir) • Fairy Dance • Ballade • Serenade • Mors equitus (preludes sentiments) • Prelude (Sír a kis galambom...) • D.A. to E.B. - Andante appassionato (E. Bossinak ajánlva) • Hungarian Ouverture (for four hands) • Hungarian Suite (for four hands)

• Hungarian Fantasia (for tárogató and piano or cimbalom) • Czimbalom (for tárogató ensemble) • Hungarian Lamentation and Rural Dances (for clarinet, trumpet, violin and cimbalom or piano) • Piano Quintet (for strings and piano) • Serenade from the Hungarian Suite (for string quartet) • A Tough Nut to Crack (symphonic poem for two violins, viola and cello) • Dixie Variations (for twelve pianos)

• Romance • Love Song • Melancholy Lullaby • Mosquitoes Concert Caprice • Duo, Fantasie Stück • Pastorale (for violin and organ or piano) • Caprice chinoise • Caprice No. 2 • Mirror-canon (for two violins)

• Songs After Poems by Petőfi • Songs After Poems by Ady • Five Hungarian Songs • Two Hungarian Sketches (Snowflakes, The Little Bride) • The Prayer of Szekler • Songs by Liliencron and Carmen Sylva • Songs After Poems by Rilke • Get Off, Raven (from "Wild Roses" by Kriza) • Come To Me For Dinner (from "Wild Roses") • Child Prodigy (after a poem by Gyula Juhász) • On the Waters of the Danube (Slavic ballad, after a poem by János Arany) • Szekely Folk Ballads (Angoli Borbala) • Burmese Love Song (lyrics by Arthur Guiterman)

• Lily of the Valley (madrigal for eight-part mixed choir, with solos for soprano and tenor) • Hungarian Rhapsody (for eight-part mixed choir) • Mass in E major • Sanctus in A-flat major (for six-part mixed choir) • Agnus Dei (for six-part mixed choir) • Two Hungarian Songs for Christian Worship (for four-part mixed choir, with organ or piano accompaniment)

• Organ Tutor (two volumes, op. 21) • Method for Transposition • Guide to Reading Choral Music (textbook) • Art of Registration

• Voice of Millions • Variations for 12 Claviers and Orchestra • Christmas Cantata • Easter Oratorio (for mixed choir and orchestra) • American Festival Prologue (for organ and orchestra) • Ballad of Simon Judith (for alto voice and orchestra) • Two Hungarian Folk Songs (for tenor voice and orchestra) • Hungarian Suite • Lyric Suite (for small orchestra) • Hungarian Overture (for József Katona's play, Bánk bán) • Divertimento • Suite in B minor • Lyric Cantata (after Jeno Farkas' poem "Orange Blossoms", for small orchestra, tenor voice and women's choir) • Cantata After a Poem by Walt Whitman (for little orchestra, soprano and baritone) • Serenade from the Hungarian Suite (for orchestra) • Storm (for military band) • From Depths of Wae (chorale after Johann Sebastian Bach, for mixed choir and orchestra) • O Sacred Head (chorale after Bach, for orchestra) • Christmas Vision (for solo voices, mixed choir, organ and orchestra) • Dedication After a Poem by Martha Wilchinski (for solo voice and orchestra) • Introduction and Lamentation (for choir and orchestra) • Go down death... (melodrama for solo voice and orchestra, after Negro melodies)

• Onteora's Bride • Carnival (Opera-Comique in one act) • Lady in White (ballet) • Carnival Adventure • The Little Match Girl (Christmas pantomime) • Angkor Wat - A Night in the Hidden Cities (pantomime ballet in four acts) • Fairy De Paris (operetta in three acts)

• Piano accompaniment for Emod Tamas' one-act play, Lotharingia • Everyman by Hugo von Hofmannsthal • Accompanying music to Ashley Duke's play, The Patriot, produced by Gilbert Miller and based on Alfred Neumann's German novel, Der Patriot • Freiburg Passion Players (New York) • Le Miracle des Loups (soundtrack)

• Bach's Concerto in D minor, BWV 596 (for full orchestra) • Bach's Prelude and Fugue in E minor, BWV 548 (for full orchestra) • Marche Héroique Overture by Camille Saint-Saëns (for organ and orchestra)