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A CAMPAIGN CONTRIBUTION BECOMES A LASTING LESSON
parts reguiring gravity was said to be the deviation "into unduly sentimental
depths”, “the primitively ‘poetic’ means of conveying the message” and the
“rudimentary forms of positive symbolism”.?®8
Music, adjusted to the new libretto by Tibor Polgär, a former student
of Zoltán Kodály in the 1920s, was also criticized, both for its impact and
for the sheer fact that it had been borrowed from Offenbach. Some songs
were given to different characters than in the original, and in spite of re¬
orchestration the music did not always harmonize with the modified verse.
Some reviewers felt the power of the song for peace inadequate and deplored
its “pleasant music incompatible with the most important and decisive
function of the fight for peace brought on stage”. That is why they resented
the retention of the French composer’s music, and thought it should have
been completely rewritten: “Offenbach’s Orpheus in the Underworld takes a
look at the myth in the world of music halls”, and “only with utterly new music
could an operetta about Orpheus express the struggle of the people and the
struggle of art faithful to the people today”.*” The author of the new libretto
responded to the rather blinkered criticism in the columns of Fiiggetlen
Magyarország, listing the objections and his responses to them, bearing in
mind the structure of the play and stressing the dramatic function of the
elements found problematic.*” His “boldness” was not tolerated, and the
288 Bacsö: Orfeusz, 5. - “Prometheus’ country is a primitive symbol of the Soviet Union.” Ibid.
289 Tibor Polgár had already carried out the re-orchestration of The Grand Duchess of Gerolstein
two years earlier, and at a discussion of the Music Association, Rezső Kókai concluded
that “the re-orchestrated music brought the plot closer to the audience than the original
did”. (Jegyzőkönyv az operett és tánczenei szakosztály 1950. február 27-i üléséről. Typed
manuscript, 1. Location: Ihe National Archives of Hungary 2146/62.) Tibor Polgár added
that "Offenbachs orchestration is not refreshing enough for our ears today. [...] Being aware
of this shortcoming, I tried to add color and shine, which the music deserves, anyway." (Ibid.
3.) He also referred to Bartók, who “believed that the arranger should feel free to touch the
material. Some figures of the woodwinds are the result of such a bolder touch, but they have
not changed the essence of the original music." (Ibid. 4.)
Antal: Orfeusz, 7. — "Only the gods are not threatened by József Romhányis clever lyrics, and
unfortunately the audience agrees with them. When the evil and cynical Jupiter notes that
he does not seem to be a tiger, because the song of Orpheus has not changed him at all, the
spectator, who is neither evil nor cynical, must agree with him." Ibid.
Ibid.
According to Hámos, (1) the charge of pacifism arose mainly in connection with the first act,
where people pray for peace a lot, but this act should not be regarded separately from the
others. The play is about to confirm that “we’re not getting anywhere with pacifism, by only
dreaming of peace. To prove this, [...] I had to start with an absolute desire for peace at the
beginning of the play.” He calls the interpretation that Orpheus’ peace song is a particular
song wrong: “No. It is a symbol of humanity’s desire for peace, which later, in the second
act, confronts the enemies of peace and is strengthened into a will for peace.” Seeing the
conduct of the gods, Orpheus understands that he has to fight for peace and for his partner
by other means. “When we hear the song again in the third act, it sounds very different. It is
tougher so to say, more militant and reminiscent of the melody of Marseillaise, which is also
featured in Offenbach’s original music. Therefore, this will for peace is revolutionary and
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