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The saxophonist, clarinetist, died at the age of 82 as a composer due to complications from coronavirus infection.
He was present at every milestone. In the Holéczy band, at the inauguration of the Buda Youth Park, at the establishment of the jazz club in the downtown Dália pub, at the pharmacists’ dance, at the dawn of the Dance Song Festivals, on the cocktail boat, almost all the radio recordings and albums of the singers. He played the saxophone, but he played all the instruments. He always lectured on his band’s songs and was once described as “The best DJ in Hungary”. He even wrote criticisms of amateur bands in the mid-sixties after renaming his own band from Youth Jazz to Bergendy: “His musical abilities are very poor, characterized by dilettantism. It comes from the primitiveness of the big beat style. “But the true popularity that István Bergendy has always desired came from his return after the Swiss hospitality and double certification of Latzin, Demjén. Dizzy, Tip Toe or Aquarius, released by the record label as “Dance music”, he left without Demjén in the Park, but the title was already Beatablak. And on New Years Eve in the seventies, when there were three empty minutes to midnight, they told the band to fill in the remaining time to the anthem live, and then millions always went up to the ears of the Always the Same, the beginning of the golden age of the Bergendy band. You are the lexebbet and the Zime-zum of the Phase, the Return, the vagabond, the Password: love, love, you broke my heart in the Pieces, the Relaxation by your side and the home of the Ganz-MÁVAG culture used to leave as many people a week as many as they could fit. At Christmas 1971, Syrius and István Bergendy , Péter Bergendy, Csaba Debreczeni, Ferenc Demjén, S ándor Hajdú, Norbert Latzin, György Oroszlán performed the best Bergendy – down at the bar and the Sakál Vocal in relief – Bergendy was the last performer as the number one band of the moment. But backpacking got tough when Latzin and then Demjén left the band, because the dainty lounge band didn’t even make waves as big as the world burns with Flowers. It hurt a lot for István Bergendy, who above all had a heart that turned out to be his music for the fairy tale Süsü, the Dragon: it is identical voice to voice to Willie Mitchell’s American trumpet composition Cherry Tree. Everyone will remember the unmistakable individuality as one of the pioneers. He looks at Benkő, Mihály Tomira, Feco or Latzin, who lived forty-three years less than him, and in his direct style he says: I came to rest with them.
