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Székelyfonó
''Székelyfonó'' (''The Spinning Room'') is a one-act theatre piece with music by Zoltán Kodály from Hungarian folk songs.〔(Universal edition, work summary in English ) Accessed 20 May 2011.〕 The work is described as ‘Daljáték egy felvonásban’, folk songs in one act.〔Booklet notes accompanying Qualiton recording, LPX 1009-10, 1963.〕 First created in 1924 as a short cabaret with a small accompanying orchestral ensemble, Kodály expanded the work, with mime but without dialogue for a full production at the Royal Hungarian Opera House, Budapest in 1932. The songs and dances are taken from Transylvanian folk music, and include spinning choruses and musical pictures representing death, burial, betrothal and marriage folk-rituals.〔Milnes R. Two resounding sneezes. ''3 (3 magazine )'', January 1983, p41-46.〕 The work is sometimes referred to as ''The Transylvanian Spinning Room'' in English.
==Background==
After the 1924 performances Kodály wrote "through hearing these songs in the concert hall I realized that, torn from their natural environment they are scarcely intelligible. The whole purpose of my present experiment was to attempt to display them in a living unity with the life from which they have sprung..."〔Eösze L. ''Zoltán Kodály – his life and work.'' Collet’s Holdings Ltd, London, 1962.〕 Kodály continued "''Székelyfonó'' is not an experiment in opera"; Eösze describes it, with its 27 songs, ballads, dances and musical games, as a dramatic rhapsody or operatic folk-ballad.〔
In his first stage work, ''Háry János'', Kodály had used the layout of musical 'numbers' with solos, duets, and choruses and spoken dialogue in between. In the final version of ''Székelyfonó'' orchestral bridge passages link some of the numbers. The music consists mostly of Transylvanian folk melodies whose words suggest action, although the nature of the work is more that of a scenic cantata.〔Carner M. Music in the mainland of Europe: 1918-1939. In: ''The New Oxford History of Music (X) – The Modern Age 1890-1960'', ed Cooper M. Oxford University Press, London, New York and Toronto, 1975.〕 The piece might also be described as "a mimed action to vocal, choral and orchestral accompaniment" and is in some ways reminiscent of Stravinsky’s ''Les Noces''.〔
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