Lajos Szamosi’s Life Continued

Alfredo Casella also welcomed him. Szamosi asked his permission to dedicate his study, which was to be published in Italian, to him. Casella gladly accepted the offer, but unfortunately the Maestro unexpectedly died, so the study was published “In memoriam Alfredo Casella”.

One of Szamosi’s students was the wife of the musicologist, Matteo Glinsky, the editor of Osservatore Romano, the official journal of the Vatican. Glinsky was very interested in Szamosi’s work and often audited his lessons. On the occasion of the publication of La via al libero canto, he wrote a long article in the Osservatore Romano under the title, Il segreto del bel canto (the secret of bel canto). The last sentence of the article was as follows: “Lodovico Szamosi's pedagogic theories — apart from their practical value — have perhaps finally illuminated for us those secrets of the Italian bel canto that many until now believed to be irretrievably lost.” Working with the Italian voices enriched Szamosi’s work with new and interesting knowledge.

In 1949, world politics took a turn and Szamosi had to decide where he wanted to live. – On the recommendation of Virgilio Mortari, a well known composer, he was invited to teach in a major musical institution. A condition, however, would have been that he declare his alienation and assume Italian citizenship. He would also have had to made a political declaration. Szamosi did not want to accept either condition. For this reason, and because he had two sons and a grandson living in Hungary, he decided to move back with his wife and daughter. They arrived in Budapest in the fall of 1949.

Shortly after their return, Zoltán Vásárhelyi, whom he had not known before, visited him and invited him to become the voice teacher of the choir of the Honvéd Ensemble. After about 9 months of intensive voice training work, the November 24, 1950 issue of Szabad Nép wrote this about their first concert at the Music Academy: “We can clearly say: We have never had a male choir as excellent as the Honvéd Ensemble, neither in terms of volume nor in terms of homogeneity of tone.” The critic of Kis Újság (Little Newspaper) reported on November 24, “resonant basses and baritones, and soaring tenors”. None of the articles mentioned the name of the voice teacher. Shortly afterwards, Szamosi was dismissed on the grounds of ‘professional inadequacy’. He lived for almost two years without an adequate job until he was hired as a voice teacher in 1952 at the Ferenc Erkel Conservatory, later named Béla Bartók Conservatory.