Index of Complete Works

Systematic-Chronological List of Mátyás Seiber’s Compositions

A. Orchestral Works

Besardo Suite no. 1 (1940)
‘Transylvanian Rhapsody’ (1941)
Besardo Suite no. 2, for string orchestra (1942)
Pastorale and Burlesque for flute and string orchestra (1941-1942)
Fantasia Concertante for violin and string orchestra (1943-1944)
‘La Gitana’ (1944)
Notturno for horn and string orchestra (1944)
Concertino for clarinet and string orchestra (1951; arrangement of the Divertimento for clarinet and string quartet from 1926-1928)
Elegy for viola and orchestra (1951-1953)
Tre Pezzi for violoncello and orchestra (1956)
‘Fantasia on Strobel’ and ‘Geburtstagsgruss an Heinrich Strobel’ (1958)
Three Cornered Fanfare for 3 brass bands (1959)
Renaissance Dance Suite (1959)
Improvisations for jazz band and orchestra, written with John Dankworth (1959)
‘Croydon Suite’ (1960) [Three Besardo pieces]
‘John Gilpin’s Ride’ (1960)

A.a. Undated Orchestral Works

Idylle and Dance

B. Instrumental and Chamber Music

B.1. Works for Piano

Two and three part inventions (1922-1923)
Három magyar népal (Three Hungarian Folk Songs) (1922-1923)
Kis Szvit Gyermekeknek (Little Suite for Children) (1923)
Sirató Ének (1923)
Leichte Tänze. Ein Querschnitt durch die neuen Tanzrhythmen (1932)
Rhythmische Studien (1933)
Passo Maestoso (1943)
Scherzando Capriccioso (1944)
Pezzo per il Clavicordo (1950)

B.1. Works for Piano

Two and three part inventions (1922-1923)
Három magyar népal (Three Hungarian Folk Songs) (1922-1923)
Kis Szvit Gyermekeknek (Little Suite for Children) (1923)
Sirató Ének (1923)
Leichte Tänze. Ein Querschnitt durch die neuen Tanzrhythmen (1932)
Rhythmische Studien (1933)
Passo Maestoso (1943)
Scherzando Capriccioso (1944)
Pezzo per il Clavicordo (1950)

B.1.a. Undated Works for Piano


B.2. Other works

Sarabande and Gigue for violoncello and piano (1922, revised 1941)
Sonata da Camera for violin and violoncello (1925, revision for violin and piano published 1946)
String Quartet no. 1 (1924)
Serenade for six wind instruments (1925)
Virginia Stomp for Jazz Ensemble (1929)
Divertimento for clarinet and string quartet (1926-1928; 1951 revised as Concertino for clarinet and string orchestra)
Four Hungarian Folk Songs for two violins (1931)
Two jazzolettes (1929, 1932)
String Quartet no. 2 (1935)
Phantasy for violoncello and piano (1941)
Phantasy for string quartet, flute and horn (1945)
Andante pastorale for clarinet and piano (1949)
Old Scottish Air for violin, strings and harp (1950)
String Quartet no. 3 (Quartetto Lirico) (1951)
Four Studies for two violins (1953)
Concert Piece for violin and piano (1954)
Eight Besardo Dances for guitar (1956)
Rhythmic Development for three drums (1956)
Improvisation for oboe and piano (1957)
Permutazioni a Cinque for wind quintet (1958)
Violin Sonata (1960)

B.2.a. Undated Chamber Works for Various Instruments

Various works for two violins
Introduction and Allegro for clarinet, violoncello and piano
Introduction and Allegro for violoncello and accordion

C. Vocal Works

C.1. Vocal Works with Orchestra

Four Greek Songs for soprano and string orchestra (English words by Peter Carroll) (1942)
‘Ulysses’, cantata for tenor solo, chorus and orchestra (words from the novel by James Joyce) (1947)
Four French Folk Songs (‘Réveillez-vous’, ‘J’ai descendu’, ‘Le Rossignol’, ‘Marguerite, elle est malade’) for soprano and string orchestra (1948)
Choral Suite from Faust for soprano and tenor soli, chorus, and orchestra (words by J. W. von Goethe) (1949)
Cantata secularis for chorus and orchestra (words by Vergil) (1949-1951)
Three fragments from ‘A Portrait of the Artist as a Young Man’ for speaker, chorus and instrumental ensemble (words from the novel by James Joyce) (1956-1957)
Two old French Ballads (‘Le Roi Renaud’ and ‘Le Roi a fait battre tambour’) for medium high voice and orchestra (1958-1959)
‘The famous Tay Whale’, melodrama for speaker and orchestra (1958)

C.1.a. Undated Vocal Works with Orchestra

Patapan for child’s choir and small orchestra

C.2. Choral Music without Accompaniment or with Piano

Mass (Missa Brevis) for unaccompanied mixed choir (1926)
Three Hungarian Folk Songs for unaccompanied mixed choir (1927)
Two Madrigals for unaccompanied mixed choir (words, Christian Morgenstern) (1929, 1930)
‘Zwei Schweinekarbonaden’ for three male voices (words, Joachim Ringelnatz) (1930)
Three Hungarian Children’s Songs for female chorus or mixed choir (1931; also for child’s voice and piano)
‘Vom Himmel Hoch’ for five part mixed choir (1932)
Six Yugoslav Folk Songs for unaccompanied mixed choir (1942)
‘O Sudden Wind …’ for female chorus and piano (words, W. H. Auden) (1945)
‘Mordvin Lullaby’ for mixed choir and piano (1947)
Three Hungarian Folk Songs, ‘The Handsome Butcher’, ‘Apple, Apple’, ‘The Old Woman’ (English words, A. L. Lloyd) (1949)
‘Missa Brevis’ for unaccompanied mixed choir (1950)
Two Arne Songs (words, Shakespeare: ‘When daisies pied’ and ‘When icicles hang by the wall’) (1950)
‘Marching Song’, based on a Hungarian folk-tune, for male voices (English words, A. L. Lloyd) (1951)
‘David’s Lament’ for soprano and alto soli, chorus and harp or piano (1955)
Two nonsense songs, ‘There was an old man in a tree’ and ‘There was an old person of Cromer’ (words, Edward Lear) (1956)
‘Sirmio’ (words, Catullus) (1956)

C.2.a. Undated Choral Music without Accompaniment or with Piano

Soldier’s songs (Hungarian Folk Songs) for male chorus
12 Russian Folk Songs for child’s chorus and piano

C.3. Songs for One Voice and Accompaniment

‘Five Petöfi Songs’ song with piano accompaniment (1922-1924)
‘Two Ady Songs’ song with piano accompaniment (1923, revised 1943)
‘Bábszínház’ (two songs for puppet theatre), song with piano accompaniment (1924)
Three Morgenstern Songs for voice and clarinet (‘Die Trichter’, ‘Das Knie’, ‘Das Nasobem’) 1929
Three Hungarian Children’s Songs for child’s voice and piano (1931; also for female chorus or mixed choir)
‘Anzhol én elmenyek’ song with piano accompaniment (1935)
Four Hungarian Folksongs for baritone and violin (1936)
‘Májusi Dal’ song with piano accompaniment (1945)
‘Lied des Jaguars’ (from ‘James Bridie’ [Osborne Henry Mavor], ‘Tobias and the Angel’) (1945)
Four medieval French Songs (‘Gentilz galans de France’, ‘Pastourelle’, ‘A vous amanz’, ‘Pourquoi me bat mon Mari’), for soprano, viola d’amore, viola da gamba and guitar (1945)
Four French Folksongs (‘Réveillez-vous’, ‘Voici le mois de Mai’, ‘J’ai descendu dans mon jardin’, ‘Marguerite elle est malade’), for high voice and piano (1945, score for high voice and guitar published 1959)
‘Le Bossu’ song with piano accompaniment (1946)
Mosca’s song from ‘Volpone’ for baritone and guitar (1946)
‘The Shaking of the Sheets’ (1948)
‘A Dialogue between Miss Molly and her Mother about a Hoop’ song with piano accompaniment (1948)
Song cycle ‘To Poetry’ (‘Oh, heavenly poesy’, ‘Shall I compare thee to a summer’s day?’, ‘Weep you no more, sad fountains’, ‘Timor mortis’; words by different authors), for high voice and piano (1952)
‘Dal’ song with piano accompaniment (1955)
‘The Owl and the Pussycat’ for soprano, violin and guitar (words, Edward Lear) (1956)
‘More Nonsense’ for medium voice and four instruments (words, Edward Lear) (1958)

C.3.a. Undated Songs for One Voice and Accompaniment

‘Der Song vom Bridge’
‘Song vom Nas Everhull’

D. Stage Works

Incidental music for ‘Leonce und Lena’ (Georg Büchner) (1931)
‘Eva Spielt mit Puppen’, puppet opera (Auerbach) (1934)
‘Kleine Suite’ from ‘Leonce und Lena’ for eleven instruments (1931)
‘A Palágyi Pékek’ comic opera in one act (libretto, György Mikes) (1943)
‘Balaton’ comic opera in one act (libretto, György Mikes) (1944)
‘The Invitation’ ballet (1960)

D.a. Undated Stage Works

Incidental music for ‘Der Absturtz’ (Hermann Kesser) and ‘Der Alte Wurm’
Songs and incidental music for Pódium (London Hungarian theatre) (words mostly by György Mikes, 1943-1944)

E. Incidental Music for Radio

‘Die vertauschten Manuscripte (Hörspiel)’ (1929)
‘Wozzek’ (also: ‘Woyzeck’) (words, Georg Büchner) (1946)
‘The Saga of Grettir the Strong’ (words, Louis Macneice) (1947)
‘Johnny Miner’ ballad opera (words, Douglas Geoffrey Bridson) (1947)
‘The Christmas Child’ (words, D. G. Bridson) (1948)
‘Faust’ (words, Goethe; translation, Louis MacNeice) (1949)
‘Christmas Crackers’ (words, G. Mikes) (1950)
‘E.C.A. [Europe Calling America]’ broadcasts (1950)
‘The Jungle in Retreat’ (1952)
‘Master of this House’ (1952)
‘For the Time Being’ a Christmas Oratorio (words, W. H. Auden) (1952)
‘The Living Tradition’ (also: ‘Time has brought me hither’) (words, Louis Macneice) (1953)
‘The Cat and the Moon’ (words, W. B. Yeats) (1953)
‘No Commemorating Stone’ (words, Frederick Bradnum) (1954)
‘La Zapatera Prodigiosa’ (words, Federico Garciá Lorca) (1954)
‘From Morn to Midnight’ (words, Georg Kaiser) (1955)
‘The Star we Follow’ (1955)
‘Also among the Prophets’ (words, Louis Macneice) (1955)
‘The Oresteia’ (Aeschylus) (1955)
‘The Trojan Women’ (Euripides) (1958)
‘The Death of Hector’ (from the Homeric Iliad) (1958)
‘The Tale of the Child’ (words, Josef Bard) (1958)
‘The Game of Chess’ (words, Josef Bard) (1959)

E.a. Undated Incidental Music for Radio

‘Csönd Marsch’ (words, G. Mikes)
‘Der Absturz’ (Georg Kaiser)
‘France 1940-43’
Songs for ‘The Dark Valley’ (words, W. H. Auden, 1940)
‘The Two Wicked Sisters’ (words, Louis Macneice)

F. Film music

‘Adventures of Abu Zaid’ cartoon films, nos. 1-4 (1942-1943)
‘Combined Operations’ (1943-1946)
‘Jungle Welfare’ (1943-1946)
‘Modern Guide to Health’ (1943-1946)
‘Old Wives’ Tales’ (1943-1946)
‘Six Little Jungle Boys’ (1943-1946)
‘Pattern for Progress’ (1947)
‘Charley’ cartoon series (1947-1949): No. 1. ‘New Town’ (1947); No. 2. ‘Your very Good Health!’ (1947); No. 3. ‘Charley’s March of Time’ (1947); No. 4. ‘Charley Makes Ends Meet’ (1948); No. 5. ‘Charley’s Black Magic’ (1948); No. 6. ‘Farmer Charley’ (1949); No. 7. ‘Charley Junior’s Schooldays’ (1949)
‘As Old as the Hills’ (1949)
‘Fior d’agosto’ (1950)
‘National Savings Cartoon’ (1950)
‘Tankers’ (1950)
‘The Earth in Labour’ (1950)
‘The Figurehead’ (1950)
‘The Mouthwatch’ (1950)
‘The Shoemaker and the Hatter’ (1950)
‘Winter Garden’ (circa 1950-1951)
‘Two Corbies’ (circa 1950-1951)
‘Check to Song’ (circa 1950-1951)
‘B.P. Service’ (1951)
‘Nel Regno di Vanda’ (1951)
‘Poet & Painter’ (1951)
‘Miscela Leone’ (1952)
‘Thomy’ (1952)
‘Prima Colazione’ (1952)
‘La Scarpa innamorata’ ([1952?])
‘Graham Sutherland’ (1953)
‘The Owl and the Pussy Cat’ (1953)
‘Fantasia de Polo Sud’ ([1953?])
‘Hey, Amin’ ([1953-1955?])
‘Animal Farm’ (1954)
‘Mr Kolynos’ (1954)
‘Le Caneton débile’ (1954)
‘Down a Long Way’ (1954)
‘The Diamond’ ([1954])
‘The Last Vision’ (1955)
‘To your Health’ (1955)
‘Think of the Future’ (1955)
‘The little bear’ (1955)
‘Speed the Plough’ (1955)
‘A Town like Alice’ ([1955?], 1956)
‘Animal, Vegetable or Mineral’ (1956)
‘Le Chat et le Souris’ (1956)
‘The Candlemaker’ ([1956?])
‘Chase a Crooked Shadow’ (1957)
‘Robbery under Arms’ (1957)
‘The Christmas Visitor’ (1958)
‘Hey! Amin’, No. 2 (1958)
‘The Lion Tamer’ ([1958-1959?])
‘The Widow and the Pig’ ([1958-1959?])
‘The Woodbine Story’ ([1958-1959?])
‘The Energy Picture’ (1959)
‘I Wanna Think’ (1959)
‘Moment of Danger’ (1959)

F.a. Undated Film music

‘Job with a Future’
‘The Thief of Bagdad’

G. Arrangements, Transcriptions, etc.

Dietrich Buxtehude, ‘Praeludium e Fuga pro Organo Pleno’ arranged for string orchestra ([1928])
Kurt Weill, two songs from ‘Mahagonny’ (bef. 1935): ‘Denn wie man sich bettet so liegt man’; ‘Alabama Song’
Mozart arrangements (1938-bef. 1958, n.d.): Two French songs, ‘Dans un bois solitaire’ K.307 and ‘Oiseaux, si tous les ans’ K.308, arranged for voice and string orchestra (n.d.); Menuet and Gigue K.355, 574, arranged for small orchestra (bef. 1958); Fantasia in F minor K.608, arranged for full orchestra (1938)
Realisations for piano of the continuo part of arias with flute obbligato from cantatas by J. S. Bach ([1951])
‘The Londonderry Air’ arranged for string quartet, for solo violoncello and string quartet, and for two or three diatonic harmonicas ([1955]); ‘Old Scottish Air’ for violin and piano ([1954]); ‘Songs of the British Isles’ for two and three part recorder consorts ([1960])
Courant and Gaillard by Samuel Scheidt arranged for string quintet (n.d.)
Transcriptions from J. B. Besardo, Thesaurus Harmonicus (1603), and other early printed collections, with arrangements from the Thesaurus for harpsichord and flute and for strings (n.d.)
Various transcriptions, principally of works by Machaut and by English composers of the 16th and 17th centuries (n.d.)
Realisation for strings of works by William Brade, Giovanni Gabrieli, Hans Leo Hassler, John Hilton, Orlando di Lasso and Giovanni Battista Vitali (n.d.)


Writings of Mátyás Seiber

“Kodály a tanitó” [Translated: Kodály the teacher.] in: Crescendo, I/3, 1926.
“Az aerofon” [Translated: The Aerophone] Crescendo, II/5, 1927.
“A koncert feltámadása” [Translated: Resurrection of the concerto.] in: Crescendo, I/6-7, 1928.
“Jazz als Erziehungsmittel” in: Melos, VII, 1928, pp. 281-286.
Schule für Jazz-Schlagzeug (Mainz: Schott, 1929)
“Jugend und Jazz” in: Zeitschrift für Schulmusik, III, 1930, pp. 29-32.
“Jazz-Instrumente, Jazz-Klang und neue Musik” in: Melos, IX, 1930, pp. 122-126.
“Welche Rolle spielt die Synkope in der moderne Jazzwerke?” in: Musikecho, 1931.
“Einiges über meine “Leichten Tänze”” in: Melos, XII, 1933, suppl. No. 2 (=“Der Weihergarten”), pp. 11-12.
Accordion Tutor (i-x, London, 1939)
“Mozart and Light Music” in: The Listener 31:805 (1944:June 15), p. 673.
w\ Walter Goehr: J. S. Bach. “The Art of the Fugue.” Die Kunst der Fuge. A guide to the new concert version by Walter Goehr and Matyas Seiber. [L.P.O. Booklet. no. 3.] (London, 1944)
w\ GERHARD, Roberto and WELLESZ, Egon: “English Musical Life: a Symposium” in: Tempo, no. 11, 1945, pp. 1-6 [Gerhard’s contribution is on pp. 2-3, Wellesz’s contribution is on p. 4, Seiber’s contribution is on pp. 5-6]
“Béla Bartók” in: Monthly Musical Record, vol. 75 no. 871 (1945), pp. 195-199.
“Rhythmic Freedom in Jazz?” in: The Music Review, VI, 1945, pp. 30-41, 89-94, 160-171.
The String Quartets of Béla Bartók (Boosey & Hawkes: London, 1945)
“Kodály: Missa brevis” in: Tempo, no. 4, 1947, pp. 3-6.
“Béla Bartók’s Chamber Music” in: Tempo, no. 13, 1949, pp. 19-31.
“A Note on “Ulysses”” in: Music Survey, III, 1950-1951, p. 263-270.
“Composing with Twelve Notes” in: Music Survey, IV, 1951-1952, p. 472-489.
“Arthur Benjamin: Symphony” in: Tempo, no. 32, Summer 1954, pp. 8-12.
“Bartók and his String Quartets” in: The Listener 54:1393 (1955: November 10), p. 817.
“Some Thoughts on ‘Ulysses’” in: Musical Events 12:12 (1957:December), pp. 20-21.
“Folk Music and the Contemporary Composer” in: Recorded Folk Music, II, July-August 1959, pp. 6-9.
w\ CHAGRIN, F.: “The Composition and Recording of Music for Animated Films” in: HALAS, John; MANVELL, Roger (eds.): The Technique of Film Animation (London and New York, 1959) pp. 238-253 [Chagrin’s contribution is on pp. 239-249, Seiber’s contribution is on pp. 249-253]
“Kodály the Master” in: New Hungarian Quarterly 3:8 (1962:Oct./Dec.), p. 22. (=translation of “Kodály a tanitó”)
“Bartók” in: Chamber’s Encyclopedia (London, 1963)
“Kodály” in: Chamber’s Encyclopedia (London, 1963)
w\ GERHARD, Roberto: “England, spring 1945” in: Tempo, Great Britain Vol. 100 (July 1972) pp. 4-8. (=reprint of “English Musical Life: a Symposium” but without Wellesz’s contribution)

Writings by Other Authors

[Anonymous]: “Az elfelejett Seiber Mátyás” in: Muzsika (October 1985), pp. 14-15.
[Various authors]: “Jazz am Konservatorium” in: Der Auftakt, VII:12, Prague 1927, pp. 317-319.
ÁBEL, L.: “Seiber és az ‘Ulysses’” in: Irodalmi Ujság, IX, London 1958.
ADORNO, Teodor Wiesengrund: “Zum Rundfunkkonzert vom 7. November 1930” in: Schriften 18 (= Musikalische Schriften V) (Frankfurt am Main, Suhrkamp, 1984) pp. 557-564.
_____ : “Abschied vom Jazz” in: Europäische Revue, no. 9, 1933, pp. 795-799, reprinted with variations in: Schriften 18 (= Musikalische Schriften V) (Frankfurt am Main, Suhrkamp, 1984) pp. 795-799.
_____ : “Neunzehn Beiträge über neue Musik” in: Schriften 18 (= Musikalische Schriften V) (Frankfurt am Main, Suhrkamp, 1984) pp. 57-178.
_____ : “Über Jazz” in: Zeitschrift für Sozialforschung, V/2, 1936, pp. 235-259; reprinted with variations in: Moments Musicaux (Frankfurt am Main: Suhrkamp, 1962) pp. 84-115, and in: Schriften 17 (= Musikalische Schriften IV) (Frankfurt am Main, Suhrkamp, 1984) pp. 74-108.
_____: Minima Moralia: Reflexionen aus dem beschädigten Leben (Frankfurt am Main: Suhrkamp, 1951)
_____: Philosophie der neuen Musik (Frankfurt am Main: Suhrkamp, 81997)
BABBITT, Milton [and others]: “In Memoriam Mátyás Seiber” in: The Musical Times, CXI, 1970, pp. 886-887.
BOHLÄNDER, Carlo: “The Evolution of Jazz Culture in Frankfurt: A Memoir” in: Michael J. Budds (ed.): Jazz and the Germans: Essays on the Influence of “Hot” American Idioms on 20th-Century German Music (Hillsdale: Pendragon Press, 2002) pp. 167-178.
BUDDS, Michael J.: Jazz and the Germans: Essays on the Influence of “Hot” American Idioms on 20th-Century German Music (Hillsdale: Pendragon Press, 2002)
CAHN, Peter: Das Hoch’sche Konservatorium in Frankfurt am Main, 1878-1978 (Frankfurt a. M.: Dr. Waldemar Kramer, 1979)
CRISP, Clement: “The Invitation” in: The Musical Times, CII, 1961, p. 88 f.
CARNER, Mosco: “Matyas Seiber and his Ulysses” in: The Music Review, XXII/2, May 1951, pp. 105-112 (reprinted in: idem: Major and minor (London: Duckworth, 1980) pp. 172-182).
CHADWICK, Nick: “Mátyás Seiber’s Collaboration in Adorno’s Jazz Project, 1936” in: British Library Journal, XXI/2, 1995, pp. 259-288.
COOKE, Mervin; WOOD, Hugh: “Seiber, Mátyás” in: Stanley Sadie (ed.) The New Grove Dictionary of Music and Musicians 29 vols. (London: Macmillan; New York: Grove, 2001), vol. 8, pp. 46-47.
FRICKER, Peter Racine: “In Memoriam Matyas Seiber (1905-1960)” in: DICKINSON, Peter: Twenty British composers (London: Chester Music for the Feeney Trust, 1975) pp. 45-46.
_____ : “Mátyás Seiber’s Chamber Music” in: The Listener, 70, 26 September 1963, p. 485.
GOMBOSI, Otto: “Ungarische Musik der Gegenwart” in: Melos, VI, 1927, pp. 347-350.
GRÄTER, Manfred: Konzertführer. Neue Musik (Frankfurt: Fischer Bücherei, 1958)
GRAUBART, Michael: “Matyas Seiber: 1905-1960” in: Composer, 86, winter 1985, pp. 1-4.
HOLL, Karl: “Umschau: Jazz im Konservatorium” in: Melos, VII, 1928, pp. 30-32.
KATER, Michael Hans: Different Drummers: Jazz in the Culture of Nazi Germany (New York: Oxford University Press, 1992)
D. K. [Dezső Keresztury (?)]: “Mátyás Seiber (An Obituary)” in: New Hungarian Quarterly 2:2, April-June 1961, pp. 171-174.
KELLER, Hans: “Mátyás Seiber and his Twelve Notes” in: The Listener 51, 15 April 1954, p. 669.
_____ : Mátyás Seiber. in: The Musical Times, XCVI, 1955, pp. 580-584.
_____ : “Seiber and the Rebirth of the String Quartet” in: The Listener 52, 8 September 1955, p. 397.
_____ : “Improvisation” in: The Listener 63, 30 June 1960, p. 1153.
_____ : “Mátyás Seiber 1905-1960” in: Tempo, 55/56, 1960, pp. 4-5.
KLENZ, William: “Music for Violoncello: Mátyás Seiber: Tre pezzi per violon-cello ed orchestra [review]” in: Notes, 2:15:3, June 1958, pp. 476-477.
KODÁLY, Zoltán: “Tizenhárom fiatel zeneszerzö” in: Budapest Hirlap, 14.6.1925.
_____ : “Thirteen Young Hungarian Composers” in: Ferenc Bónis, Zeneműkiadó Vállalat (eds.): The Selected Writings of Zoltán Kodály translated by Lili Halápy and Fred Macnicol (London et al.: Boosey & Hawkes, 1974), pp. 70-74.
_____ : “Dreizehn junge Musiker” in: Ferenc Bónis (ed.): Wege zur Musik: Ausgewählte Schriften und Reden translated by Géza Engl (Budapest: Corvina Kiadó, 1983), pp. 255-259.
KOWALKE, Kim: Kurt Weill in Europe, 1900-1935: A study of his music and writings (Yale University, PhD., 1977)
W. L.: “Mátyás Seiber: 4 Etüden für 2 Geigen [review]” in: Melos, XXVI/6, June 1959, p. 196.
LEWIS, Robert Hall: “ Mátyás Seiber: Fantasia concertante für Violine und Streichorchester [review]” in: Notes, 2:17:1, December 1959, p. 149.
MARJAI, M.: “Seiber Mátyás” in: Irodalmi Ujság, XI, London 1960.
MASON, Colin: “The Musical Personality of Mátyás Seiber” in: The Listener 57, 31 January 1957, p. 205.
McCREDIE, Andrew Delgarno: “Karl Amadeus Hartmann and the Hungarian music of the early twentieth century” in: Studia musicologica Academiae Scientiarum Hungaricae, 33/1-4, 1991, pp. 151-193.
MOLNÁR, A.: “Seiber Mátyás” in: Muzsika, III, Budapest 1960.
NEWMAN, E.: “Ulysses” in: The Sunday Times No. 6671, London, 25.2.1951.
PORTER, Andrew: “Matyas Seiber” in: Musical Events, 9/6, June 1954, pp. 29-31.
_____ : “Arne—“When Daisies Pied” and “When Icicles hang by the Wall” [music review]” in: Musical Events, 9/6, June 1954, p. 35.
_____ : “Seiber’s Quartetto lirico” in: Musical Events, 11/2, February 1956, pp. 43-44.
_____ : “Matyas Seiber: Concert Piece for Violin and Piano [music review]” in: Musical Events, 11/2, February 1956, p. 45.
RAAB-HANSEN, Jutta: NS-verfolgte Musiker in England (Hamburg: von Bockel, 1996)
RÁNKI, G.: “Seiber Mátyás 50 éves” in: Uj Zenei Szmele, VI, Budapest 1955.
_____ : “Seiber Mátyás” in: Magyar Zene, I, Budapest 1961.
RENNER, Hans: Reclams Konzertführer: Orchestermusik (Stuttgart: Reclam, ²1954)
ROGGE, Wolfgnag: Ernst Kreneks Opern. Spiegel der 20er Jahre (Wolfenbüttel and Zürich: Möseler, 1970)
RUFER, Josef: Composition with Twelve Notes Related Only to One Another (London/New
York: Rockliff/Macmillan, 1954) [translated by Humphrey Searle]
_____ : Die Komposition mit zwölf Tönen (Kassel et al.: Bärenreiter, 21966)
H. R. [RUTLAND, Harold]: “Music in London: Music of the 20th Century” in: The Musical Times, C, 1959, p. 434.
SAID, Edward W.: “Reflections on Exile” in: idem: Reflections on Exile and Other Essays (Cambridge: Harvard University Press, 32002), pp. 173-186.
SCHELLHOUS, Rosalie: “Ulysses: Seiber’s homage to Joyce” in: The Music review, XLIV/3-4, August-November 1983, pp. 263-273.
SCHNEIDER, Herbert: “Seibers “Ulysses” erzielt tiefe Wirkungen” in: Melos, XXII, 1955, p. 88.
SCHOEN, Ernst: “Jazz und Kunstmusik” in: Melos, VI, 1927, pp. 512-519.
_____ : “Mátyás Seiber: Schule für Jazz-Schlagzeug [review]” in: Melos, VIII, 1929, pp. 322-323.
SCHWEIZER, Gottfried: “Zwischen Bartók und Schönberg. Das Bild Mátyás Seibers” in: Zeitschrift für Musik, CVI, 1955, pp. 269-272.
_____ : “Komponistenportrait: Mátyás Seiber 50 Jahre” in: Musica, 9/5, May 1955, pp. 233-4.
SEARLE, Humphrey; LAYTON, Robert: Twentieth-century composers. III: Britain, Scandinavia, and the Netherlands (London: Weidenfeld and Nicolson, 1972)
SHAWN-TAYLOR, D.: “Music of the Spheres” in: The New Statesman and Nation, 39/1000, 6 May 1950, pp. 513-4.
SILVERMAN, Julian: “Some thoughts on Matyas Seiber (1905-1960)” in: Tempo, Great Britain, 143, December 1982, pp. 12-14.
SMITH-BOUWERS, Kathryn: “East Meets West: Contributions of Mátyás Seiber to Jazz in Germany” in: BUDDS, Michael J.: Jazz and the Germans: Essays on the Influence of “Hot” American Idioms on 20th-Century German Music (Hillsdale: Pendragon Press, 2002) pp. 119-140.
STEPHAN, Rudolf: “Alban Berg” in: Carl Dahlhaus (ed.): Die Wiener Schule heute [=Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt, Band 24] (Mainz et al.: Schott, 1983), pp. 45-62.
TABORI, Paul: “The Anatomy of Exile” (London: Harrap, 1972)
TREITLER, Leo: “Matyas Seiber: Elegie für Viola und kleines Orchester [review]” in: Notes, 2:17:4, September 1960, p. 658.
VARRO, Michael Franklin: The music of Matyas Seiber (1905-1960) DMA diss., Performance: University of Washington, 1975.
VLAD, Roman: “Mátyás Seiber: Ulysses, Besardo Suite No. 2, Due Canti dal Faust di Goethe” in: Rassegna Musicale, 22, 1952, p. 58 f.
_____ : Storia della Dodekafonia (Mailand: Edizioni Suvini Zerboni, 1957)
WALLNER, Bo: “Om Blomdahlarkivet” in: Nutida musik, Sweden, XVI/3, 1972-73, pp. 40-41.
WEISSMANN, John S.: “Mátyás Seiber: Style and Technique” in: The Listener, 45, London 1954, 22.3.1951, p. 476.
_____ : “Die Streichquartette von Mátyás Seiber” in: Melos, XXII, 1955, pp. 344-347, & 23, 1956, pp. 38-41 [translated by Willi Reich].
_____ : “Seiber, Mátyás” in: Friedrich Blume (ed.): Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik 17 vols. (Kassel et al.: Bärenreiter, 1951-1986), vol. 7, columns 468-471 [translated by Klaus Hortschansky].
WILCOCK, Evelyn: “Adorno, Jazz and Racism: “Über Jazz” and the 1934-7 British Jazz Debate” in: Telos, CVII, 1996, pp. 63-80.
_____ : “The Dating of Seiber/Adorno Papers held by the British Library” in: British Library Journal, XXIII/2, 1997, pp. 264-266.
WOLF, Robert Erich: “Mátyás Seiber: Quartetto N. 1 per archi [review]” in: Notes, 2:14:2, March 1957, p. 200.
WOLFF, Hellmuth Christian: “M. Seiber, The String Quartets of Béla Bartók (Book Review)” in: Die Musikforschung, 8/4, 1955, p. 498.
WOOD, Hugh: “The Music of Mátyás Seiber” in: The Musical Times, CXI, 1970, pp. 888-891.

Articles in Newspapers

“Jazz Bitterly Opposed in Germany” The New York Times, March 11,1928, Amusements section, p. 8.
“Matyas Seiber dies in Car Crash” The Times, Monday Sept. 26, 1960, p. 14.
“Obituary: Mr. Matyas Seiber: A Musician of Diverse Gifts” The Times, Tuesday Sept. 27, 1960, p. 16.
“Matyas Seiber Memorial Concert” The Times, Tuesday Oct. 4, 1960, p. 18.