Mátyás Seiber

Seiber was born in Budapest. His mother, Berta Patay was a reputed pianist and teacher, so the young Seiber gained considerable skill with that instrument first. At the age of ten, he began to learn to play the cello. After attending grammar school, where he was regarded as "outstanding" in mathematics and Latin according to the almanacs of the Franz Liszt Academy of Music, he studied the cello and composition from 1918 to 1925, and composition with Zoltán Kodály from 1921 to 1925. For his degree, he wrote his String Quartet No. 1 (in A minor). Pieces composed at this time, such as the Serenade for Six Wind Instruments of 1925, show him combining traditional Hungarian folk tunes with the forms of Western art music.[1] He toured Hungary with Zoltán Kodály, collecting folk songs, and built on the research of Kodály and Béla Bartók. He also developed an interest in medieval plainchant.

In 1925, Seiber accepted a teaching position at a private music school. In 1926, he took a position to play the cello in the orchestra of a ship from to North and South America. This was where became acquainted with jazz.

In 1928 he became director of the jazz department at the Hoch Conservatory in Frankfurt, which offered the first academic jazz courses anywhere.[2][3] His text book Schule für Jazz-Schlagzeug was written in 1929, as a practical summary of his theoretical requirements. Two of his articles of great importance were published in the journal Melos: "Jazz als Erziehungsmittel" (1928) and "Jazz-Instrumente, Jazz-Klang und Neue Musik" (1930). After the jazz department was closed by the Nazis in 1933, Seiber left Germany.

He returned to Hungary but did not settle there; he accepted a position of music referent in the Soviet Union for two years, but his employment was ended after that.

Seiber emigrated to England in 1935 and settled in London, after his marriage in Caterham, Surrey at 169 Stafford Road. He only became a British citizen after the war.[4] Seiber taught composition and cello privately while working as a consultant for the subsidiary of Schott in London and composed film music. Michael Tippett invited him to be a professor of composition at Morley College in London, and from 1942 he was on the staff there; he became a teacher of composition, music aesthetics, and music theory. His students included Don Banks, John Exton, Peter Racine Fricker, Anthony Gilbert, Barry Gray, Karel Janovický, Malcolm Lipkin, Anthony Milner, Wally Stott (who later became Angela Morley), John McCarthy, and Hugh Wood. During this period, he created and trained his choir, the Dorian Singers.

His friendships and work associations embraced many soloists, including Tibor Varga, Norbert Brainin, guitarists Julian Bream and John Williams, percussionist Jimmy Blades, folk singer Bert Lloyd, and tenor Peter Pears.[5]

He was a founder member of the Society for Promotion of New Music, actively promoting new music throughout his life. He was married to ballet dancer Lilla Bauer (1912–2011),[6] another Hungarian émigré. In 1960 he was invited to do a lecture tour in South Africa, but he died there in Kruger National Park as the result of a car accident. Kodály dedicated his choral work titled Media vita in morte sumus to the memory of his former student.

Seiber's music is eclectic in style, showing the influences of Bartók, Kodály, Schoenberg, serialism, jazz, and Hungarian folk song, and his output includes film and lighter music.[7] Often, individual pieces use a combination of these influences. For instance, the two Jazzolettes for wind and percussion (1929 and 1932, composed in Frankfurt) make liberal use of jazz effects and rhythms that displace the bar lines, but also show his first explorations of twelve-note techniques. His wartime, Fantasia concertante for violin and orchestra, premiered in 1945 and recorded by Andre Gertler, and the later work Permutationi a Cinque (1948) for wind ensemble, illustrate Seiber's very free use of serialism.[8] Permutationi a Cinque explicitly uses permutations of motifs that eventually come together to reveal a twelve-tone series - but it is all done with lightness and humour.[1]

Seiber's vocal output includes the large scale cantata Ulysses (1947) on words by James Joyce, another Joyce-related work, Three Fragments from "A Portrait of the Artist as a Young Man", and choral arrangements of Hungarian and Yugoslav folk songs. He also wrote one opera, Eva spielt mit Puppen (1934),[9] and the ballet The Invitation. Other works include the two orchestral Besardo suites,[8] a clarinet concertino, three strings quartets, and scores to animated films produced by Halas & Batchelor, including Animal Farm (1954).[10] The substantial Sonata for violin and piano, a commission for the Cheltenham Festival, was completed just before his death in 1960.

Two comic operas, A Palágyi Pekek and Balaton, were composed for the Hungarian theatre in London, the "Londoni Pódium". A Palágyi Pékek, (libretto, György Mikes) (1943), was the first collaboration of Mátyás Seiber and George Mikes. Balaton, (libretto, György Mikes) (1944), as George Mikes has reported, was aired during the war by the BBC and, after the end of the war even made it to Budapest. [11] A setting of the Scottish "poet and tragedian" William McGonagall's work, The Famous Tay Whale was written for the second of Gerard Hoffnung's music festivals in 1958.

Seiber used a pseudonym for his jazz works and popular music: G. S. Mathis or George Mathis (a rearrangement of his name using Anglicised forms); under this name, he wrote for John Dankworth, most notably 1959's Improvisations for Jazz Band and Orchestra.[12] In 1956 he was awarded the inaugural Ivor Novello award for Best Song Musically and Lyrically for "By the Fountains of Rome," which was a hit that year in the UK Single Charts, making it to the Top Twenty. (The lyrics were by Norman Newell, and it was sung by David Hughes). [13]

There are articles with references to Seiber as Seyber and Mátyás as Matthis.

• Figurehead (1952, short film)
• The Fake (1953)
• Animal Farm (1954)
• The Diamond (1954)
• A Town Like Alice (1956)
• Robbery Under Arms (1957)
• Chase a Crooked Shadow (1958)

• Hair, Graham. "Matyas Seiber’s Improvisations for Jazz Band and Symphony Orchestra". n-ISM (Network for Interdisciplinary Studies in Science, Technology, and Music) website (accessed 26 January 2019).
• Karolyi, Otto. Modern British Music.: The Second British Musical Renaissance, from Elgar to P. Maxwell Davies. Associated University Presses, 1994.
• Leach, Gerald. British Composer Profiles. A Biographical Dictionary and Chronology of Past British Composers 1800–1979. British Music Society, 1980.
• Lyman, Darryl. Great Jews in Music. J. D. Publishers, 1986.
• Sadie, Stanley (ed.). The New Grove Dictionary of Music and Musicians London: Macmillan Publishers, 1980.
• List of émigré composers in Britain

• Mátyás Seiber at IMDb
• Online recordings of Mátyás Seiber's music (British Library)
• Mátyás Seiber 2005 centenary website
• The early reception of jazz in Germany: Mátyás Seiber and the Jazz Orchester of the Hoch Conservatory in a radio recording from 1931
• The first jazz theory class at the Hoch Conservatory in Frankfurt, Germany