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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 reorchestration 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 290 29 e 29. S + 66 +
