Tristan Tzara

Tristan Tzara (born Samuel or Samy Rosenstock, also known as S. Samyro; April 4 or April 16, 1896[1]–December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilistic side, in contrast with the more moderate approach favored by Hugo Ball.
After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclectic modernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually rallied with Breton's Surrealism, and, under its influence, wrote his celebrated utopian poem The Approximate Man.
During the final part of his career, Tzara combined his humanist and anti-fascist perspective with a communist vision, joining the Republicans in the Spanish Civil War and the French Resistance during World War II, and serving a term in the National Assembly. Having spoken in favor of liberalization in the People's Republic of Hungary just before the Revolution of 1956, he distanced himself from the French Communist Party, of which he was by then a member. In 1960, he was among the intellectuals who protested against French actions in the Algerian War.
Tristan Tzara was an influential author and performer, whose contribution is credited with having created a connection from Cubism and Futurism to the Beat Generation, Situationism and various currents in rock music. The friend and collaborator of many modernist figures, he was the lover of dancer Maja Kruscek in his early youth and was later married to Swedish artist and poet Greta Knutson.

S. Samyro, a partial anagram of Samy Rosenstock, was used by Tzara from his debut and throughout the early 1910s.[2] A number of undated writings, which he probably authored as early as 1913, bear the signature Tristan Ruia, and, in summer of 1915, he was signing his pieces with the name Tristan.[3][4]
In the 1960s, Rosenstock's collaborator and later rival Ion Vinea claimed that he was responsible for coining the Tzara part of his pseudonym in 1915.[3] Vinea also stated that Tzara wanted to keep Tristan as his adopted first name, and that this choice had later attracted him the "infamous pun" Triste Âne Tzara (French for "Sad Donkey Tzara").[3] This version of events is uncertain, as manuscripts show that the writer may have already been using the full name, as well as the variations Tristan Ţara and Tr. Tzara, in 1913-1914 (although there is a possibility that he was signing his texts long after committing them to paper).[5]
In 1972, art historian Serge Fauchereau, based on information received from Colomba, the wife of avant-garde poet Ilarie Voronca, recounted that Tzara himself had explained his chosen name was a pun on the Romanian-language trist în ţară ("sad in one's country"); Colomba Voronca was also dismissing rumors that Tzara had selected Tristan as a tribute to poet Tristan Corbière or to Richard Wagner's Tristan und Isolde opera.[6] Samy Rosenstock legally adopted his new name in 1925, after filing a request with Romania's Ministry of the Interior.

Tzara was born in Moineşti, Bacău County, in the historical region of Moldavia. His parents were Jewish Romanians who reportedly spoke Yiddish as their first language;[7] his father Filip and grandfather Ilie were entrepreneurs in the forestry business.[8][9] Tzara's mother was Emilia Rosenstock, née Zibalis.[9] Owing to the Romanian Kingdom's discrimination laws, the Rosenstocks were not emancipated, and thus Tzara was not a full citizen of the country until after 1918.[8]
He moved to Bucharest at the age of eleven, and attended the Schemitz-Tierin boarding school.[8] It is believed that the young Tzara completed his secondary education at a state-run high school, which is identified as the Saint Sava National College[8] or as the Sfântul Gheorghe High School.[10] In October 1912, when Tzara was aged sixteen, he joined his friends Vinea and Marcel Janco in editing Simbolul. Reputedly, Janco and Vinea provided the funds.[11] Like Vinea, Tzara was also close to their young colleague Jacques G. Costin, who was later his self-declared promoter and admirer.[12]
Despite their young age, the three editors were able to attract collaborations from established Symbolist authors. Alongside their close friend and mentor Adrian Maniu (an Imagist who had been Vinea's tutor),[13] they included N. Davidescu, Alfred Hefter-Hidalgo, Emil Isac, Claudia Millian, Ion Minulescu, I. M. Raşcu, Eugeniu Sperantia, Al. T. Stamatiad, Eugeniu Ştefănescu-Est, Constantin T. Stoika, as well as from journalist and lawyer Poldi Chapier.[14] In its inaugural issue, the journal even printed a poem by one of the leading figures in Romanian Symbolism, Alexandru Macedonski.[14] Simbolul also featured illustrations by Maniu, Millian and Iosif Iser.[15]
Although the magazine ceased print in December 1912, it played an important part in shaping Romanian literature of the period. Literary historian Paul Cernat sees Simbolul as a main stage in Romania's modernism, and credits it with having brought about the first changes from Symbolism to the radical avant-garde.[16] Also according to Cernat, the collaboration between Samyro, Vinea and Janco was an early instance of literature becoming "an interface between arts", which had for its contemporary equivalent the collaboration between Iser and writers such as Ion Minulescu and Tudor Arghezi.[17] Although Maniu parted with the group and sought a change in style which brought him closer to traditionalist tenets, Tzara, Janco and Vinea continued their collaboration. Between 1913 and 1915, they were frequently vacationing together, either on the Black Sea coast or at the Rosenstock family property in Gârceni, Vaslui County; during this time, Vinea and Samyro wrote poems with similar themes and alluding to one anotherIt was in this milieu that Dada was born, at some point before May 1916, when a publication of the same name first saw print. The story of its establishment was the subject of a disagreement between Tzara and his fellow writers. Cernat believes that the first Dadaist performance took place as early as February, when the nineteen-year old Tzara, wearing a monocle, entered the Cabaret Voltaire stage singing sentimental melodies and handing paper wads to his "scandalized spectators", leaving the stage to allow room for masked actors on stilts, and returning in clown attire.[37] The same type of performances took place at the Zuntfhaus zür Waag beginning in summer 1916, after the Cabaret Voltaire was forced to close down.[38] According to music historian Bernard Gendron, for at long as it lasted, "the Cabaret Voltaire was dada. There was no alternative institution or site that could disentangle 'pure' dada from its mere accompaniment [...] nor was any such site desired."[39] Other opinions link Dada's beginnings with much earlier events, including the experiments of Alfred Jarry, André Gide, Christian Morgenstern, Jean-Pierre Brisset, Guillaume Apollinaire, Jacques Vaché, Marcel Duchamp or Francis Picabia.[40]
In the first of the movement's manifestos, Ball wrote: "[The booklet] is intended to present to the Public the activities and interests of the Cabaret Voltaire, which has as its sole purpose to draw attention, across the barriers of war and nationalism, to the few independent spirits who live for other ideals. The next objective of the artists who are assembled here is to publish a revue internationale [French for "international magazine"]."[41] Ball completed his message in French, and the paragraph translates as: "The magazine shall be published in Zürich and shall carry the name 'Dada' ('Dada'). Dada Dada Dada Dada."[41] The view according to which Ball had created the movement was notably supported by writer Walter Serner, who directly accused Tzara of having abused Ball's initiative.[42]
A secondary point of contention between the founders of Dada regarded the paternity for the movement's name, which, according to visual artist and essayist Hans Richter, was first adopted in print in June 1916.[43] Ball, who claimed authorship and stated that he picked the word randomly from a dictionary, indicated that it stood for both the French-language equivalent of "hobby horse" and a German-language term reflecting the joy of children being rocked to sleep.[44] Tzara himself declined interest in the matter, but Marcel Janco credited him with having coined the term.[45] Dada manifestos, written or co-authored by Tzara, record that the name shares its form with various other terms, including a word used in the Kru languages of West Africa to designate the tail of a sacred cow; a toy and the name for "mother" in an unspecified Italian dialect; and the double affirmative in Romanian and in various Slavic languages.

In late 1919, Tristan Tzara left Switzerland to join Breton, Soupault and Claude Rivière in editing the Paris-based magazine Littérature.[81][25] Already a mentor for the French avant-garde, he was, according to Hans Richter, perceived as an "Anti-Messiah" and a "prophet".[82] Reportedly, Dada mythology had it that he entered the French capital in a snow-white or lilac-colored car, passing down Boulevard Raspail through a triumphal arch made from his own pamphlets, being greeted by cheering crowds and a fireworks display.[82] Richter dismisses this account, indicating that Tzara actually walked from Gare de l'Est to Picabia's home, without anyone expecting him to arrive.[82]
He is often described as the main figure in the Littérature circle, and credited with having more firmly set its artistic principles in the line of Dada.[83][25] When Picabia began publishing a new series of 391 in Paris, Tzara seconded him and, Richter says, produced issues of the magazine "decked out [...] in all the colors of Dada."[58] He was also issuing his Dada magazine, printed in Paris but using the same format, renaming it Bulletin Dada and later Dadaphone.[84] At around that time, he met American author Gertrude Stein, who wrote about him in The Autobiography of Alice B. Toklas,[85] and the artist couple Robert and Sonia Delaunay (with whom he worked in tandem for "poem-dresses" and other simultaneist literary pieces).[86]
Tzara became involved in a number of Dada experiments, on which he collaborated with Breton, Aragon, Soupault, Picabia or Paul Éluard.[87][1][4] Other authors who came into contact with Dada at that stage were Jean Cocteau, Paul Dermée and Raymond Radiguet.[88] The performances staged by Dada were often meant to popularize its principles, and Dada continued to draw attention on itself by hoaxes and false advertising, announcing that the Hollywood film star Charlie Chaplin was going to appear on stage at its show,[49] or that its members were going to have their heads shaved or their hair cut off on stage.[89] In another instance, Tzara and his associates lectured at the Université populaire in front of industrial workers, who were reportedly less than impressed.[90] Richter believes that, ideologically, Tzara was still in tribute to Picabia's nihilistic and anarchic views (which made the Dadaists attack all political and cultural ideologies), but that it had a measure of sympathy for the working class.[91]
Dada activities in Paris culminated in the March 1920 variety show at the Théâtre de l'Œuvre, which featured readings from Breton, Picabia, Dermée and Tzara's earlier work, La Première aventure céleste de M. Antipyrine ("The First Heavenly Adventure of Mr. Antipyrine").[92] Tzara's melody, Vaseline symphonique ("Symphonic Vaseline"), which required ten or twenty people to shout "cra" and "cri" on a rising scale, was also performed.[93] A scandal erupted when Breton read Picabia's Manifeste cannibale ("Cannibal Manifesto"), lashing out at the audience and mocking them, to which they answered by aiming rotten fruit at the stage.[94]
The Dada phenomenon was only noticed in Romania beginning in 1920, and its overall reception was negative. Traditionalist historian Nicolae Iorga, Symbolist promoter Ovid Densusianu, the more reserved modernists Camil Petrescu and Benjamin Fondane all refused to accept it as a valid artistic manifestation.[95] Although he rallied with tradition, Vinea defended the subversive current in front of more serious criticism, and rejected the widespread rumor that Tzara had acted as an agent of influence for the Central Powers during the war.[96] Eugen Lovinescu, editor of Sburătorul and one of Vinea's rivals on the modernist scene, acknowledged the influence exercised by Tzara on the younger avant-garde authors, but analyzed his work only briefly, using as an example one of his pre-Dada poems, and depicting him as an advocate of literary "extremism".

During World War II, Tzara took refuge from the German occupation forces, moving to the southern areas, controlled by the Vichy regime.[1][4] On one occasion, the antisemitic and collaborationist publication Je Suis Partout made his whereabouts known to the Gestapo.[149]
He was in Marseille in late 1940-early 1941, joining the group of anti-fascist and Jewish refugees who, protected by American diplomat Varian Fry, were seeking to escape Nazi-occupied Europe. Among the people present there were the anti-totalitarian socialist Victor Serge, anthropologist Claude Lévi-Strauss, playwright Arthur Adamov, philosopher and poet René Daumal, and several prominent Surrealists: Breton, Char, and Benjamin Péret, as well as artists Max Ernst, André Masson, Wifredo Lam, Jacques Hérold, Victor Brauner and Óscar Domínguez.[150] During the months spent together, and before some of them received permission to leave for America, they invented a new card game, on which traditional card imagery was replaced with Surrealist symbols.[150]
Some time after his stay in Marseille, Tzara joined the French Resistance, rallying with the Maquis. A contributor to magazines published by the Resistance, Tzara also took charge of the cultural broadcast for the Free French Forces clandestine radio station.[1][4] He lived in Aix-en-Provence, then in Souillac, and ultimately in Toulouse.[4] His son Cristophe was at the time a Resistant in northern France, having joined the Franc Tireurs Partisans.[149] In Axis-allied and antisemitic Romania, the regime of Ion Antonescu ordered bookstores not to sell works by Tzara and 44 other Jewish-Romanian authors (see Romania during World War II).[151]
In December 1944, five months after the Liberation of Paris, he was contributing to L'Éternelle Revue, a pro-communist newspaper edited by philosopher Jean-Paul Sartre, through which Sartre was publicizing the heroic image of a France united in resistance, as opposed to the perception that it had passively accepted German control.[152] Other contributors included writers Aragon, Char, Éluard, Elsa Triolet, Eugène Guillevic, Raymond Queneau, Francis Ponge, Jacques Prévert and painter Pablo Picasso.[152]
Upon the end of the war and the restoration of French independence, Tzara was naturalized a French citizen.[1] During 1945, under the Provisional Government of the French Republic, he was a representative of the Sud-Ouest region to the National Assembly.[139] According to Livezeanu, he "helped reclaim the South from the cultural figures who had associated themselves to Vichy [France]."[147] In April 1946, his early poems, alongside similar pieces by Breton, Éluard, Aragon and Dalí, were the subject of a midnight broadcast on Parisian Radio.[153] In 1947, he became a full member of the PCF[68] (according to some sources, he had been one since 1934).

In October 1956, Tzara went visited the People's Republic of Hungary, where the government of Imre Nagy was coming into conflict with the Soviet Union.[149][156] This followed an invitation on the part of Hungarian writer Gyula Illyés, who wanted his colleague to be present at ceremonies marking the rehabilitation of László Rajk (a local communist leader whose prosecution had been ordered by Joseph Stalin).[156] Tzara was receptive of the Hungarians' demand for liberalization,[149][156] contacted the anti-Stalinist and former Dadaist Lajos Kassák, and deemed the anti-Soviet movement "revolutionary".[156] However, unlike much of Hungarian public opinion, the poet did not recommend emancipation from Soviet control, and described the independence demanded by local writers as "an abstract notion".[156] The statement he issued, widely quoted in the Hungarian and international press, forced a reaction from the PCF: through Aragon's reply, the party deplored the fact that one of its members was being used in support of "anti-communist and anti-Soviet campaigns."[156]
His return to France coincided with the outbreak of the Hungarian Revolution, which ended with a Soviet military intervention. On October 24, Tzara was ordered to a PCF meeting, where activist Laurent Casanova reportedly ordered him to keep silent, which Tzara did.[156] Tzara's apparent dissidence and the crisis he helped provoke within the Communist Party were celebrated by Breton, who had adopted a pro-Hungarian stance, and who defined his friend and rival as "the first spokesman of the Hungarian demand."[156]
He was thereafter mostly withdrawn from public life, dedicating himself to researching the work of 15th century poet François Villon,[145] and, like his fellow Surrealist Michel Leiris, to promoting primitive and African art, which he had been collecting for years.[149] In early 1957, Tzara attended a Dada retrospective on the Rive Gauche, which ended in a riot caused by the rival avant-garde Mouvement Jariviste, an outcome which reportedly pleased him.[168] In August 1960, one year after the Fifth Republic had been established by President Charles de Gaulle, at a time when French forces were confronting the Algerian rebels (see Algerian War). Together with Simone de Beauvoir, Marguerite Duras, Jérôme Lindon, Alain Robbe-Grillet and other intellectuals, he addressed Premier Michel Debré a letter of protest, concerning France's refusal to grant Algeria its independence.[169] As a result, Minister of Culture André Malraux announced that his cabinet would not subsidize any films to which Tzara and the others may contribute, and the signatories could no longer appear on stations managed by the state-owned French Broadcasting Service.[169]
In 1961, as recognition for his work as a poet, Tzara was awarded the prestigious Taormina Prize.[1] One of his final public activities took place in 1962, when he attended the International Congress on African Culture, organized by English curator Frank McEwen and held at the National Gallery in Salisbury, Southern Rhodesia.[170] He died one year later in his Paris home, and was buried at the Cimetière du Montparnasse.

Much critical commentary about Tzara surrounds the measure to which the poet identified with the national cultures which he represented. Paul Cernat notes that the association between Samyro and the Jancos, who were Jews, and their ethnic Romanian colleagues, was one sign of a cultural dialog, in which "the openness of Romanian environments toward artistic modernity" was stimulated by "young emancipated Jewish writers."[171] Salomon Schulman, a Swedish researcher of Yiddish literature, argues that the combined influence of Yiddish folklore and Hasidic philosophy shaped European modernism in general and Tzara's style in particular,[172] while American poet Andrei Codrescu speaks of Tzara as one in a Balkan line of "absurdist writing", which also includes the Romanians Urmuz, Eugène Ionesco and Emil Cioran.[173] According to literary historian George Călinescu, Samyro's early poems deal with "the voluptuousness over the strong scents of rural life, which is typical among Jews compressed into ghettos."[174]
Tzara himself used elements alluding to his homeland in his early Dadaist performances. His collaboration with Maja Kruscek at Zuntfhaus zür Waag featured samples of African literature, to which Tzara added Romanian-language fragments.[78] He is also known to have mixed elements of Romanian folklore, and to have sung the native suburban romanza La moară la Hârţa ("At the Mill in Hârţa") during at least one staging for Cabaret Voltaire.[175] Addressing the Romanian public in 1947, he claimed to have been captivated by "the sweet language of Moldavian peasants".[139]
Tzara nonetheless rebelled against his birthplace and upbringing. His earliest poems depict provincial Moldavia as a desolate and unsettling place. In Cernat's view, this imagery was in common use among Moldavian-born writers who also belonged to the avant-garde trend, notably Benjamin Fondane and George Bacovia.[176] Like in the cases of Eugène Ionesco and Fondane, Cernat proposes, Samyro sought self-exile to Western Europe as a "modern, voluntarist" means of breaking with "the peripheral condition",[177] which may also serve to explain the pun he selected for a pseudonym.[6] According to the same author, two important elements in this process were "a maternal attachment and a break with paternal authority", an "Oedipus complex" which he also argued was evident in the biographies of other Symbolist and avant-garde Romanian authors, from Urmuz to Mateiu Caragiale.[178] Unlike Vinea and the Contimporanul group, Cernat proposes, Tzara stood for radicalism and insurgency, which would also help explain their impossibility to communicate.[179] In particular, Cernat argues, the writer sought to emancipate himself from competing nationalisms, and addressed himself directly to the center of European culture, with Zürich serving as a stage on his way to Paris.[78] The 1916 Monsieur's Antipyrine's Manifesto featured a cosmopolitan appeal: "DADA remains within the framework of European weaknesses, it's still shit, but from now on we want to shit in different colors so as to adorn the zoo of art with all the flags of all the consulates."[78]
With time, Tristan Tzara came to be regarded by his Dada associates as an exotic character, whose attitudes were intrinsically linked with Eastern Europe. Early on, Ball referred to him and the Janco brothers as "Orientals".[37] Hans Richter believed him to be a fiery and impulsive figure, having little in common with his German collaborators.[180] According to Cernat, Richter's perspective seems to indicate a vision of Tzara having a "Latin" temperament.[37] This type of perception also had negative implications for Tzara, particularly after the 1922 split within Dada. In the 1940s, Richard Huelsenbeck alleged that his former colleague had always been separated from other Dadaists by his failure to appreciate the legacy of "German humanism", and that, compared to his German colleagues, he was "a barbarian".[110] In his polemic with Tzara, Breton also repeatedly placed stress on his rival's foreign origin.[181]
At home, Tzara was occasionally targeted for his Jewishness, culminating in the ban enforced by the Ion Antonescu regime. In 1931, Const. I. Emilian, the first Romanian to write an academic study on the avant-garde, attacked him from a conservative and antisemitic position. He depicted Dadaists as "Judaeo-Bolsheviks" who corrupted Romanian culture, and included Tzara among the main proponents of "literary anarchism".[182] Alleging that Tzara's only merit was to establish a literary fashion, while recognizing his "formal virtuosity and artistic intelligence", he claimed to prefer Tzara in his Simbolul stage.[183] This perspective was deplored early on by the modernist critic Perpessicius.[184] Nine years after Emilian's polemic text, fascist poet and journalist Radu Gyr published an article in Convorbiri Literare, in which he attacked Tzara as a representative of the "Judaic spirit", of the "foreign plague" and of "materialist-historical dialectics".
Tristan Tzara (Moineşti, Bacău megye, 1896. április 16. – Párizs, 1963. december 25.) eredeti nevén Sami Rosenstock (felvett neve románul megszomorított országot jelent), román művész. Költő és esszéista, élete nagy részét Franciaországban töltötte.
Nevét a Dada alapítójaként ismerik. A dadaista avantgárd mozgalom forradalmi hatást gyakorolt a művészetekre.

A Dada mozgalom az I. világháború idejéből, Zürichből eredeztethető, Tzara, Hans Arp, és Hugo Ball alkotta művészcsoporttól.
Tzara írta az első dadaista írásokat: La Première Aventure céleste de Monsieur Antipyrine (Antipyrine úr első mennybéli kalandja) (1916), Vingt-cinq poèmes (Huszonöt vers) (1918) [1], valamint a mozgalom kiáltványát, Sept manifestes Dada (Hét Dada kiáltvány) (1924).
Élete meghatározó mozzanata volt, hogy 1919-ben Párizsba költözött, ahol csatlakozott az André Breton, Philippe Soupault és Louis Aragon alkotta csoporthoz, sok vihart kavaró tevékenységük, a polgárpukassztásra, a nyelvi szerkezetek összezavarására irányult.
1929 végén beleunva a nihilzmusba és a destrukcionizmusba, csatlakozott a konstruktívabb szürrealistákhoz. Ideje nagy részét a szürrealizmus és a marxizmus összeegyeztetésére fordította. 1947-49 között a szürrealizmus jegyében együtt dolgozott Joan Miróval, aki nyolc képből álló sorozatot festett Tzara műveihez.
1937-ben csatlakozott a Francia Kommunista Párthoz. A 1930-as években részt vett a spanyol polgárháborúban, a II. világháborúban a francia Résistance, az ellenállás aktív részese volt. 1956-ban kilépett a kommunista pártból, ezzel tiltakozva a magyar forradalom szovjet elfojtása ellen.

Politikai tevékenysége közelebb vitte az emberi lét kérdéseihez. Fokozatosan vált lírai költővé. Ezt a művészi korszakát a L'Homme approximatif (A megközelítőleg ember) (1931), Parler seul (Magában beszélő) (1950), ésLa Face intérieure (A belső arc) (1953) művei jellemzik.
A párizsi Montparnasse temetőben nyugszik.

1986-ban a Francia és a Magyar Írószövetség megalapította a Tristan Tzara fordítói díjat.

Mark Rozsavölgyi - Father of Csárdás

Márk Rózsavölgyi (born Mordecai ("Motke") Rosenthal, 1789 Balassagyarmat–January 23, 1848, Pest) was a Hungarian composer and violinist. He has been called "the father of csardas".

Rózsavölgyi was born to a poor tradesman's family in Balassagyarmat, where his bust (made by Jelena Veszely in 1973) can be found in the Palóc-parkland. His family is believed to have had klezmer connections.
From the ages of 11 to 19 he worked as a clerk in Vienna, Pressburg, and Prague, teaching himself to play the violin. Returning to Pest, he dedicated himself to music, composing in the Hungarian traditional styles, including the verbunkos. his first works were published in Pest in 1811; eventually he published over 200 works. In 1812, he was appointed conductor of the orchestra at the German Theater in Pest.
Basing himself in Pest, he travelled through the Habsburg Empire for many years, including extended stays in Baja and Temesvár.
In 1824, he was made a regular salaried member of the Philharmonic Society of the county of Veszprém, and his name "Rosenthal" was Magyarized to "Rózsavölgyi" (both mean 'rose valley' in German (or Yiddish) and Hungarian respectively) on the occasion of his election. (This name change was not however officially recognised until 1846). He gave several official concerts during the coronation ceremonies at Pressburg in 1825; and in 1835 he appeared at the Court Opera House in Vienna on the occasion of the Diet of Pressburg. Two years later, at the opening of the new National Theater of Pest, the Hungarian Orchestra of that city played a work composed by him for the occasion, and he subsequently became a regular member of that orchestra.
During the 1840s he formed his own band, and performed before Franz Liszt in May 1846 in Pest. Liszt used some of Rózsavölgyi's melodies in his own Hungarian Rhapsodies (nos. 8 and 12). After 1846 his health began to decline.
A number of famous Roma musicians, including Patikárus, Sárközi, Farkas, and others, were pupils of Rózsavölgyi. After his death, the Hungarian nationalist poet Sándor Petőfi sang his praises in a long poem, reproaching the Hungarian people for permitting the last years of the artist to be clouded by financial difficulties.
Rózsavölgyi died in relative poverty in Pest and was buried there in the Jewish cemetery.
His son Julius (Gyula) founded a music publishing company in 1850, which still exists in Budapest. Another son, Leopold, became a doctor. (http://rozsavolgyi.hu/)
Rózsavölgyi Márk (eredetileg Rosenthal Mordechai) (Balassagyarmat 1788 körül – Pest, 1848. január 23.) zeneszerző, hegedűművész, a csárdás atyja.
Zsidó kereskedőcsaládban született Balassagyarmaton, ahol mellszobra (Veszely Jelena 1973-ban készült alkotása) a Palóc-ligetben látható.
1813-ban Baján telepedett le. Ünnepelt prímásként sokáig járta az országot. Nevéhez fűződik a csárdásverbunkos, a máig is gyakran hallható, magyaros tánc. Rózsavölgyi egy időben a Pesti Nemzeti Színház tagja is volt.
Röviddel Rózsavölgyi halála előtt, 1848 februárjában, Petőfi Sándor versben próbálta vigasztalni a mellőzött művészt az igazságtalan kritikák miatt. Haláláig meleg barátság kötötte Petőfihez, aki 1844-ben a Magyar Divatlapban elismerő cikket írt játékáról. A verbunkos zene egyik utolsó, igen magas színvonalú képviselője volt, és egyben az első csárdás-komponistánk. Rózsavölgyi Pesten halt meg.
Fia, Rózsavölgyi Gyula, társalapítója volt a Rózsavölgyi Zeneműkiadónak.

Winona Rider

Winona Laura Horowitz[1] (born October 29, 1971), better known under her professional name Winona Ryder, is an American actress. She started her career in 1986. Although Ryder made her screen debut in Lucas (1986), her first significant role came in 1988 with Beetle Juice as Lydia Deetz, a Goth teenager, in a performance that gained her critical and commercial recognition. After making various appearances in film and television, Ryder continued her career with the cult film Heathers (1989) in a prominent and critically acclaimed performance. Her subsequent roles have won her not only critical praise but numerous film awards. In 2000, Ryder received a star on the Walk of Fame in Hollywood, California.[2]
Ryder is known for her relationship with actor Johnny Depp throughout the early 1990s. She also received noteworthy media attention for her participation in the investigation of the kidnapping and murder of Polly Klaas in 1993, who was from Ryder's hometown of Petaluma, California. Ryder also received worldwide attention after her arrest on December 12, 2001 for shoplifting from a Saks Fifth Avenue store in Beverly Hills, California.

Born Winona Laura Horowitz in Olmsted County, Minnesota, she was named after the nearby city of Winona.[3] She was given her middle name, Laura, because of her parents' friendship with Aldous Huxley's wife, Laura Huxley. Her mother, Cynthia Palmer (née Istas), is an author, as well as a video producer and editor.[3] Her father, Michael Horowitz, is an author, editor, publisher and antiquarian bookseller.[3] Ryder's mother is a Buddhist and her father is an atheist.[4] Regarding her ancestry, Ryder has described herself as "Jewish",[3][5][6] her paternal grandparents were Jewish immigrants from Russia, and relatives of hers died in The Holocaust. Ryder has one sibling, a younger brother, Uri, an older half-brother, Jubal, and an older half-sister, Sunyata. Ryder's family friends included her godfather, LSD guru Timothy Leary, beat poets Allen Ginsberg and Lawrence Ferlinghetti, and science fiction novelist Philip K. Dick.[3]
In 1978, when Ryder was seven years old, she and her family relocated to Rainbow, a commune near Elk, California, where they lived with seven other families on a 300-acre (1.2 km²) plot of land. As the remote property had no electricity or television sets, Ryder began to devote her time to reading and became an avid fan of J. D. Salinger's The Catcher in the Rye.[7][3] She developed an interest in acting after her mother showed her a few movies on a screen in the family barn. At age 10, Ryder and her family moved on again, this time to Petaluma, California. During her first week at the Kenilworth Middle School, she was bullied by a group of her peers who mistook her for an effeminate, scrawny boy.[3] As a result, she ended up being homeschooled that year. In 1983, when Ryder was 12, she enrolled at the American Conservatory Theater in nearby San Francisco, where she took her first acting lessons. Ryder graduated from Petaluma High School with a 4.0 GPA in 1989.[8] She has also revealed that she suffers from aquaphobia due to the trauma caused by an incident in which she nearly drowned at age 12.[3] This caused problems when she had to act in some of the underwater scenes in Alien Resurrection (1997) and the scenes had to be reshot numerous times

In 1985, Ryder sent a videotaped audition, where she recited a monologue from the novel Franny and Zooey by J. D. Salinger, to appear in the film Desert Bloom. She was rejected and the part went to Annabeth Gish.[7][3] Despite her rejection, David Seltzer, a writer and director, soon noticed her talent and cast her in his 1986 film Lucas. When asked how she wanted her name to appear in the credits, she suggested "Ryder" as her surname as a Mitch Ryder album which belonged to her father was playing in the background.[7] Her next movie was Square Dance (1987), where her teenage character creates a bridge between two different worlds — a traditional farm in the middle of nowhere and a large city. Ryder won acclaim for her role, and The Los Angeles Times called her performance in Square Dance "a remarkable debut".[9] Both films, however, failed to gain Ryder any notice, and were only marginally successful commercially. Director Tim Burton decided to cast Ryder in his film Beetle Juice (1988), after being impressed with her performance in Lucas.[10] In the film, she plays gothic teenager Lydia Deetz. Lydia's family moves to a haunted house populated by ghosts played by Geena Davis, Alec Baldwin, and Michael Keaton. Lydia quickly finds herself the only human with a strong empathy toward the ghosts and their situation. The film was a success at the box office, and Ryder's performance and the overall film received mostly positive reviews from critics.[11]
Ryder landed the role of Veronica Sawyer in the 1989 independent film Heathers. The film, a satirical take on teenage life, revolves around Veronica, who is ultimately forced to choose between the will of society and her own heart after her boyfriend (Christian Slater) begins killing popular high school students. Ryder's agent initially begged her to turn the role down, saying the film would "ruin her career".[3] Reaction to the film was mostly lukewarm,[12] but Ryder's performance was critically embraced, with The Washington Post stating Ryder is "Hollywood's most impressive inge'nue [sic] ... Ryder ... makes us love her teen-age murderess, a bright, funny girl with a little Bonnie Parker in her. She is the most likable, best-drawn young adult protagonist since the sexual innocent of Gregory's Girl."[13] The film was a box office flop, yet achieved status as a predominant cult film.[14] Later that year, she starred in Great Balls of Fire!, playing the 13-year-old bride (and cousin) of Jerry Lee Lewis. The film was a box office failure and received largley divided reviews from critics. In April 1989, she played the title role in the music video for Mojo Nixon's "Debbie Gibson Is Pregnant with My Two-Headed Love Child".[15] In 1990, Ryder was selected for four film roles. In Edward Scissorhands (1990), she played the leading female role alongside her then-boyfriend Johnny Depp. The film reunited Tim Burton and Ryder, who had previously worked together on Beetlejuice in 1988. Edward Scissorhands was a significant box office success, grossing US$56 million at the United States box office and receiving much critical devotion.[16][17] Later that year, she withdrew from a role in Francis Ford Coppola's The Godfather Part III (after traveling to Rome for filming) due to exhaustion.[18] Eventually, Coppola's daughter Sofia Coppola was cast in the role. Ryder's third role was in the family comedy-drama Mermaids (1990), which co-starred Cher and Christina Ricci. Mermaids was a moderate box office success and was embraced critically. Ryder's performance was also acclaimed; critic Roger Ebert of the Chicago Sun-Times wrote: "Winona Ryder, in another of her alienated outsider roles, generates real charisma."[19] For her performance, Ryder received a Golden Globe nomination for Best Actress in a Supporting Role.[20] Ryder then performed alongside Cher and Christina Ricci in the video for "The Shoop Shoop Song", the theme from Mermaids. Following Mermaids she starred in the lead role in box office flop Welcome Home, Roxy Carmichael (1991).

In 1991, Ryder played a young taxicab driver who dreams of becoming a mechanic in Jim Jarmusch's Night on Earth. The film was only given a limited release at the box office, but received critical praise.[21] Ryder then starred in the dual roles of Count Dracula's reincarnated love interest Mina Murray and Dracula's past lover Princess Elisabeta, in Bram Stoker's Dracula (1992), a project she brought to director Francis Ford Coppola's attention.[3] In 1993, she starred in the melodrama The House of the Spirits, based on Isabel Allende's novel. Ryder played the love interest of Antonio Banderas' character. Principal filming was done in Denmark and Portugal. The film was poorly reviewed and a box office flop, grossing just $6 million on its $40 million budget.[22] Ryder also starred in The Age of Innocence with Michelle Pfeiffer and Daniel Day-Lewis, a film based on a novel by Edith Wharton and helmed by director Martin Scorsese, whom Ryder considers "the best director in the world".[23] Her role in this movie won her a Golden Globe Award for Best Supporting Actress[20] as well as an Academy Award nomination in the same category.[24]
Ryder's next role was in the Generation X drama Reality Bites (1994), directed by Ben Stiller, playing a young woman searching for direction in her life. Her performance received acclaim and the studio hoped the film would gross a substantial amount of money, yet it flopped.[25] Bruce Feldman, Universal Pictures' Vice-President of Marketing said: "The media labeled it as a Generation X picture, while we thought it was a comedy with broad appeal."[25] The studio placed TV ads during programs chosen for their appeal to 12–34-year-olds and in interviews Stiller was careful not to mention the phrase "Generation X".[25] In 1994, Ryder was handpicked to play the lead role of Josephine March in Little Women, an adaptation of Louisa May Alcott's novel. The film received widespread praise; critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel, and also remarked on Ryder's performance: "Ms. Ryder, whose banner year also includes a fine comic performance in 'Reality Bites,' plays Jo with spark and confidence. Her spirited presence gives the film an appealing linchpin, and she plays the self-proclaimed 'man of the family' with just the right staunchness."[26] She also received an Best Actress Oscar nomination the following year.[24] She also made a guest appearance in The Simpsons episode "Lisa's Rival" as Allison Taylor, whose intelligence and over-achieving personality makes her a rival of Lisa's. Her next starring role was in How to Make an American Quilt (1995), an adaptation of the novel of the same name by Whitney Otto, co-starring Anne Bancroft. Ryder plays a college graduate who spends her summer hiatus at her grandmother's property to ponder on her boyfriend's recent marriage proposal. The film was not a commercial success, nor was it popular with critics.

Ryder made several film appearances in 1996, the first in Boys. The film failed to become a box office success and attracted mostly negative critical reaction. Roger Ebert of the Chicago Sun-Times stated that "Boys is a low-rent, dumbed-down version of Before Sunrise, with a rent-a-plot substituting for clever dialogue."[29] Her next role was in Looking for Richard, Al Pacino's documentary on a production of Shakespeare's Richard III, which grossed only $1 million at the box office, but drew moderate critical acclaim.[30][31] She also starred as the lead in The Crucible, alongside Daniel Day-Lewis and Joan Allen. The film, an adaptation of Arthur Miller's play, centered on the Salem witch trials. The film was expected to be a success, considering its budget, but became a large failure.[32] Despite this, it received acclaim critically, and Ryder's performance was lauded, with Peter Travers of Rolling Stone saying, "Ryder offers a transfixing portrait of warped innocence."[33] In December 1996, Ryder accepted a role as a humanoid robot in Alien Resurrection (1997), alongside Sigourney Weaver, who had appeared in the entire Alien trilogy. Ryder's brother, Yuri, was a major fan of the film series, and when asked, she took the role. The film became one of the least successful entries in the Alien film series, but was considered a success as it grossed $161 million worldwide.[34] Weaver's and Ryder's performances drew mostly positive reviews, and Ryder won a Blockbuster Entertainment Award for Best Actress. Ryder then starred in Woody Allen's Celebrity (1998), after Drew Barrymore turned down Ryder's role, in an ensemble cast.[3] The film satirizes the lives of several celebrities.
In 1999, she performed in and served as an executive producer for Girl, Interrupted, based on the 1993 autobiography of Susanna Kaysen. The film had been in project and post-production since late 1996, but it took time to surface. Ryder was deeply attached to the film, considering it her "child of the heart".[3] Ryder starred as Kaysen, who has borderline personality disorder and was admitted to a psychiatric hospital for recovery. Ryder starred alongside Whoopi Goldberg and Angelina Jolie. While Ryder was expected to make her comeback with her leading role, the film instead became the "welcome-to-Hollywood coronation" for Jolie,[35] who won an Academy Award for Best Supporting Actress for her performance. Jolie thanked Ryder in her acceptance speech.[36] The same year, Ryder was parodied in South Park: Bigger, Longer & Uncut. The following year, she starred in the romantic comedy Autumn in New York, alongside Richard Gere. The film revolves around a relationship between an older man (Gere) and a younger woman (Ryder). Autumn in New York received mixed reviews, but was a commercial success, grossing $90 million at the worldwide box office.[37][38] Ryder then played a nun of a secret society loosely connected to the Roman Catholic Church and determined to prevent Armageddon in Lost Souls (2000), which was a commercial failure. Ryder refused to do commercial promotion for the film.[3] Later in 2000, she was one of several celebrities who made a small cameo appearance in Zoolander. On October 6, 2000, Ryder received her own star on the Hollywood Walk of Fame, located directly in front of the Johnny Grant building next to the Hollywood Roosevelt Hotel on Hollywood Boulevard. She was the 2,165th recipient of this honor.

Ryder had a moderate hiatus after her shoplifting incident in 2001 (see below). The book Conversations with Woody Allen reports that in 2003 film director Woody Allen wanted to cast Robert Downey, Jr. and Ryder in his film Melinda and Melinda, but was unable to do so because "I couldn't get insurance on them ... We couldn't get bonded. The completion bonding companies would not bond the picture unless we could insure them. [...] We were heartbroken because I had worked with Winona before [on Celebrity] and thought she was perfect for this and wanted to work with her again."[39][40]
In 2002, Ryder appeared in two films. The first was a romantic comedy titled Mr. Deeds with Adam Sandler. This was her most commercially successful movie to date, earning over $126 million in the United States alone.[41] She played a cynical reporter for an unscrupulous television program. The second film was the science fiction drama S1m0ne in which she portrayed a glamorous star who is replaced by a computer simulated actress due to the clandestine machinations of a director, portrayed by her Looking For Richard costar Al Pacino.

In 2006, after her hiatus, Ryder appeared in Richard Linklater's A Scanner Darkly, a science fiction film based on Philip K. Dick's critically acclaimed 1977 novel. Ryder starred alongside Keanu Reeves, Robert Downey, Jr., and Woody Harrelson. Live action scenes were transformed with rotoscope software and the film was entirely animated. A Scanner Darkly was screened at the 2006 Cannes Film Festival and the 2006 Seattle International Film Festival. Critics disagreed over the film's merits; Carina Chocano of the Los Angeles Times found the film "engrossing" and wrote that "the brilliance of [the film] is how it suggests, without bombast or fanfare, the ways in which the real world has come to resemble the dark world of comic books."[42] Similarly, Matthew Turner of ViewLondon, believing the film to be "engaging" and "beautifully animated", also praised the film for its "superb performances" and original, thought-provoking screenplay.[43] Ryder also recently appeared in the comedy The Darwin Awards, starring alongside Joseph Fiennes. The film premiered at the Sundance Film Festival on January 25, 2006.[44]
Ryder also confirmed in an interview with Entertainment Weekly she is reuniting with Heathers screenwriter Daniel Waters for the surreal black comedy Sex and Death 101 (2007).[45] The story follows the sexual odysseys of successful businessman Roderick Blank, played by Simon Baker, who receives a mysterious e-mail on the eve of his wedding, listing all of his past and future sex partners. "We will be doing a sequel to Heathers next." Ryder stated. "There's Heathers in the real world! We have to keep going!"[45]. In a more recent interview Ryder was quoted as saying on the speculation of a Heathers sequel: "I don't know how much of the movie is official; it's a ways away. But it takes place in Washington and Christian Slater agreed to come back and make an Obi-Wan-type appearance. It's very funny."[46]
Ryder also appeared in David Wain's comedy The Ten, alongside Jessica Alba, Paul Rudd, Justin Theroux, Famke Janssen, Oliver Platt, and Adam Brody. The film centers around ten stories, each of them inspired by one of the Ten Commandments. The film debuted at the Sundance Film Festival 2007 on January 10, 2007,[47] with a theatrical release on August 3, 2007. Ryder will play the female lead opposite Wes Bentley and Ray Romano in Geoffrey Haley's offbeat romantic drama The Last Word.[48] She has also signed up to appear as a newscaster in the upcoming movie version of The Informers,[49] will join Robin Wright and Julianne Moore in Rebecca Miller's The Private Lives of Pippa Lee, which is scheduled to start filming in April 2008 in Connecticut,[50] and will appear in Paramount Pictures' and director J. J. Abrams's Star Trek (2009), as Spock's mother Amanda Grayson, a role originally played by Jane Wyatt.

Ryder has had many high-profile relationships with actors. She was engaged to actor Johnny Depp for three years beginning in July 1990. She met Depp at the Great Balls of Fire! premiere in June 1989, two months later they began dating.[52] During their relationship, Depp had a tattoo placed on his arm reading "Winona Forever", which he had altered to "Wino Forever" after their separation.[53] Ryder later had serious relationships with Soul Asylum's Dave Pirner, and actor Matt Damon.[54] Ryder also told W Magazine in a June 2002 issue that she is close friends with comedian and actor Jimmy Fallon.[55] She was also close friends with actress Gwyneth Paltrow, until they reportedly "grew apart" in the late 1990s.

Winona Laura Horowitz, 1971. október 29-én a Minnesota állambeli Winonában született (innen kapta keresztnevét). A hippi, szabadszellemű Michael és Cindy Horowitz lánygyermeként jött a napvilágra, ami nagyban meghatározta azt, hogy Winona gyermekkora nem volt szokványos. A Horowitz-család egy technikai vívmányokat nélkülöző kommunában telepedett le a kaliforniai Northernben, ahol Winonának és testvéreinek még tv-nézési lehetőségük sem volt.

A fiatal Winona helyette egy moziban nézett filmeket, amelyben édesanyja dolgozott, és bevetette magát a szépirodalom olvasásába. A klasszikus filmek nézésének volt köszönhető, hogy a lányt komolyan el kezdte érdekelni a filmezés, illetve a Zabhegyező hőse, Holden Caulfield volt a másik örökre meghatározó élmény Winona számára, ami szintén az alternatív filmszerepekre fordította a figyelmét.

8 éves korában, Winona szülei úgy döntöttek, hogy visszaköltöznek a kaliforniai Petalumába. Bár vékony alkatú volt, Winona mégis verekedős fiúnak hatott az első pár hétben az iskolában. Emiatt otthon volt kénytelen befejezni a tanulmányait, majd későb jelentkezett az American Conservatory Theater-be San Franciscoban. Mialatt az American Conservatory Theater színpadán szerepelt, Winonát felfedezte egy tehetségkutató, aki elvitte egy meghallgatásra a Desert Bloom c. filmhez, amelyben a főszerepet a legendás Jon Voight játszotta. Nem kapta meg a szerepet, de a felvétele zöld utat jelentett a Triad Artists-hoz. Az ügynökségnek köszönhetően, Winona szerepet kapott az 1986-as Lucas c. filmben. Bár nem volt egy jelentős film, mégis mérföldkövet jelentett Winona karrierjében, mivel ekkor szerepelt először úgy, mint Winona Ryder (egy Mitch Ryder albumról kérte a névváltoztatást). Ezt számos felejthető filmszerep követte, míg Winonára végül felfigyeltek az 1988-as Tim Burton rendezte komédiában, a Beetlejuice-ban nyújtott alakítása után. A szellem-barát, dark tinédzser szerepe elindította Winona "sötét" szerepeinek sorát, amelyeket mintha rászabtak volna. A Heathers c. film, amelyben Winona szintén dark szerepet játszik egy nagyon "sötét" filmben, Winona rajongóinak a kedvenc filmje.

Miután feltűnt a Great Balls of Fire! c. filmben, Winona ismét egy Tim Burton-filmben játszott, Edward Scissorhands szerelmét alakította, és ez volt egyik legemlékezetesebb szerepe. Ugyanabban az évben Cher lányát játszotta a Mermaids c. filmben. Ezek után Winona új szakaszba lépett, amelyben jóval érettebb szerepeket játszhatott és nagyobb hatású filmekben tünhetett fel. Játszott egy független filmben, a Night on Earth c. Jarmush-filmben, majd ismét meghatározó szerepet kapott - Michael Corleones lányát alakíthatta a The Godfather 3. részében. Sajnos, Winona kénytelen volt otthagyni a filmfelvételeket egy súlyos fertőzés miatt. Viszont aláírt egy szerződést a Creative Artists ügynökséggel, és megkapta Francis Ford Coppola rendezte Bram Stoker's Dracula c. film forgatókönyvét. A híres rendező beválogatta a szereplőgárdába és ráosztotta a vérszívó gróf szerelmének a szerepét. Winona teljesen felnőtt és karrierje szárnyalt. Ismét jelentős szerephez jutott, amikor Daniel Day Lewis partnereként játszott a The Age of Innocence c. filmben. Alakítását a Legjobb Mellékszereplőnek járó Oscar-djíra való jelöléssel jutalmazták.

Miután visszatért a modern valóságba Gen-Xer szerepében a Reality Bites c. filmben, Winona ismét régi időket idéző filmekben szerepelt, a The House of Spirits és a Little Women filmadaptációkban nyújtott alakításaiért a Legjobb Színésznő Oscar-díjára jelölték. A Little Women c. filmet Polly Klaas emlékének dedikálta, akit szülővárosában raboltak el és öltek meg. Miután szerepelt olyan filmekben, mint a How to Make an American Quilt; Al Pacinoval a Looking for Richard-ban; a The Crucible adaptációjában; a sci-fi Alien Resurrection-ben; valamint Woody Allen sztárokat felvonultató Celebrity c. filmjében Leo DiCaprio, Famke Janssen és Charlize Theron mellett, Winona főszerepet játszott és executive producer volt a Girl, Interrupted c. filmben, az üstökös Angelina Jolie-val. Annak ellenére, hogy Winona a hollywoodi mozikban már a 80-as évek közepe óta játszik, első talk show-beli megjelenése a Jay Leno vezette The Tonight Show-ban volt, amelyben a Girl, Interrupted-ről volt szó. Nemrégiben láthattuk a szentimentális Autumn in New York c. romantikus filmben, a sokkal idősebb Richard Gere partnereként, illetve a Lost Souls c. thrillerben. 1997-ben a People Magazine a Világ legszebb 50 embere közé sorolta, de biztosan állíthatjuk, hogy nemcsak a People tekinti Winonát gyönyörűnek, és erről barátjai és szerelmei hosszú listája is tanúskodik. A színésznő 3 évig volt eljegyezve Johnny Depp-pel, hosszan tartó viszonya volt David Pirnerrel, és együttjárt olyan hírességekkel, mint Christian Slater, Daniel Day Lewis, David Duchovny, Chris Noth, Matt Damon és Beck.... És nemcsak Winona szépségét dicsérhetnénk, hanem különböző filmszerepei széles palettáját, természetes báját és ragyogó tehetségét, mindazt, amit biztosítja, hogy még sokáig láthatjuk őt a mozivásznon.