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Cambridge University Press 978-0-521-66958-0 - The Cambridge Companion to Bartok Edited by Amanda Bayley Index More information Index acoustic scale (see also Romanian folk music), Concerto, for Piano No. 2 (1931), xiv, 58, 218 118–27, 128–32, 146, 169, 170, 211, 232, Adorno, Theodor W.,50–51, 184, 206, 207 235, 236, 242 Ady, Endre, 7, 9, 14, 15–16, 19, 20–21, 63, 80–83, Concerto, for Piano No. 3 (1945), xiv, 136 118–21, 123–25, 127–30, 132, 149–50, Africa, north, 32, 33, 57, 143, 157 191, 205, 207, 209 Algeria, 32 Concerto for Two Pianos, Percussion and Antokoletz, Elliott, 222, 223, 224, 227–28, 229 Orchestra (1940), xiv, 210–11, 239 (see Arabic folk music, 32, 58, 139, 226 also Sonata for Two Pianos and Arányi, Jelly, 136, 139, 190 Percussion) Asztalos, Sándor, 191 Concerto, for Viola (1945 incomplete), xiv, atonality, 2, 120, 151, 152, 157, 158, 163, 206, 133, 148–50 215, 221 Concerto, for Violin No. 1 [op. posth.] art songs, 78, 80–83, 99 (1907–08), xi, 54, 64, 144–45, 146, 149, axis of symmetry, 218–19, 222–23, 227–28 (see 191 also symmetry) Concerto, for Violin No. 2 (1937–38), xiv, 58, 134, 142, 145–48, 149, 150, 187, Babbitt, Milton, 220–23, 225, 230 203–04, 205, 241 Bach, Johann Sebastian, x, 139, 165, 235, 238 Contrasts (1938), xiv, 116–17, 124, 133, 190, performing editions of, xi, 95–96, 97 195, 213 St Matthew Passion,88 Dance Suite (1923), xiii, 51, 56–58, 88, bagpipe, 38, 48, 143 184 Balázs, Béla, 10, 21, 63, 64, 66–68, 69, 71–72, 181 Dances from Transylvania (1931), xii, xiv Ballets Russes,70 Divertimento for Strings (1939), xiv, 150, Balogh, Erno˝, 93, 198 152, 153, 172–74 Baloghy, Erno˝, 14, 16 Duke Bluebeard’s Castle, Op. 11 (1911), xii, Bánffy, Dezso˝,13, 16, 19 21, 55, 62–68, 71–73, 74, 77, 181, 186, Bangha, Béla, 188 211 Baroque, influence of, 59, 87–88, 122, 139, 146, Eight Hungarian Folksongs (1907/17), xi, 147, 172, 173, 174 xiii, 79, 91 Bartalus, István, 24 ‘Evening in the Country’/’Evening in Bartók, Béla, Jr., 16 Transylvania’ (see Ten Easy Pieces) Bartók, Béla, Sr., 16 Fifteen Hungarian Peasant Songs Bartók Béla: (1914–18), xiii, 100, 101, 102 as folklorist, 1–2, 9, 19, 20, 22, 26–42, 54, 67, First Term at the Piano, The (1913), 95 80, 99, 108, 111, 129, 133, 137, 141, 147, Five ‘Ady’ Songs Op. 16 (1916), xiii, 80–83, 151, 153, 162, 168, 190–91, 195, 200, 213, 90, 136, 152 231, 233, 242 Five Songs Op. 15 (1916), xiii, 80, 152 as pianist, 20, 86, 92–94, 97, 98–99, 118–19, For Children (1908–09), xi, 95, 97, 98, 100, 130–32, 133, 185, 186, 194, 196, 231–42 101, 143, 213 as teacher, 92–94, 186, 231, 240–41 Forty-four Duos (1931), xiv, 133, 142–43 health of, 58–59, 197–98 Four Dirges Op. 9a (1909–10), xii, 108–09 works: Four Hungarian Folksongs (1930), xiv, Allegro Barbaro (1911), xii, 73, 108, 109, 86–87 110–11, 112, 113, 114, 236, 239 Four Old Hungarian Folksongs (1910–12), Cantata Profana (1930), xiv, 58, 86–88, 90, xii, 79 91, 186 Four Orchestral Pieces Op. 12 (1912), xii, Concerto for Orchestra (1943), xiv, 58–61, 55–56, 58 122, 127, 145, 191, 192, 199, 203–04, 205, Four Piano Pieces (1903), xi, 105–06 207, 208–09, 242 Four Slovak Folksongs, for voice and piano Concerto, for Piano No. 1 (1926), xiii, 58, (1907/16), xi 118–25, 128–29, 132, 146, 152, 169, 183, Four Slovak Folksongs for mixed choir and [266] 184, 211, 235 piano (1917), xiii, 79 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66958-0 - The Cambridge Companion to Bartok Edited by Amanda Bayley Index More information 267 Index Fourteen Bagatelles Op. 6 (1908), xi, 54, Sonata No. 1, for violin (1921), xiii, 135–39, 95–97, 100, 106, 107–08, 228 152, 184, 203, 211, 217, 235 From Olden Times (1935), xiv, 78, 89 Sonata No. 2, for violin (1922), xiii, 135–39, Hungarian Folksongs (1906; with Zoltán 152, 203, 211, 217 Kodály), xi, 7, 17, 19, 78–79, 91, 99–100, Sonatina (1915), xii, 95, 100, 240 101, 180 String Quartet No. 1 Op. 7 (1908–09), xi, Hungarian Folksongs (First Series) 144, 145, 151–52, 153–55, 156, 172 (1904–05), xi, 85 String Quartet No. 2, Op. 17 (1915–17), Hungarian Folksongs (Second Series) xiii, 70, 73, 114, 139, 151–52, 155–58, (1906–07), xi 159, 164, 168, 222–23 Hungarian Sketches (1931), xi, xii, xiii, 57 String Quartet No. 3 (1927), xiii, 151, 152, Improvisations on Hungarian Peasant 158–60, 172, 184, 190, 203, 217 Songs Op. 20 (1920), xiii, 83, 100, 101, String Quartet No. 4 (1928), xiv, 59, 90, 123, 102, 113, 115–16, 211 151, 152, 160–63, 164, 169, 170, 171, 172, Kossuth (1903), xi, 7, 11, 46–50, 55, 59, 61, 203–04, 217, 221, 222–23, 225, 226, 228 105, 177–79 String Quartet No. 5 (1934), xiv, 59, 123, Mikrokosmos (1926–39), xiv, 89, 100, 134, 145, 151, 152, 163–66, 222–23 143, 224, 229 String Quartet No. 6 (1939), xiv, 151, 153, Miraculous Mandarin, The (1918–19), xiii, 166–69, 172, 174, 203–04, 223 56, 63, 68, 73–77, 124, 152, 168, 184, 185, Suite No. 1 for orchestra Op. 3 (1905), xi, 207, 210 50–52, 59, 180 Music for Strings, Percussion and Celesta Suite No. 2 for orchestra Op. 4 (1905–07), (1936), xiv, 58, 119, 140, 151, 152–53, xi, 50, 52–54, 57, 182 160, 172, 174 Suite Op. 14 (1916), xii, 110, 111–12, 136 Nine Little Piano Pieces (1926), xiii, 104, Székely Folksongs (1932), xiv, 88–89 114, 116, 239 Ten Easy Pieces (1908), xi, 95, 96–97, Nine Romanian Folksongs (c.1912) 98–99, 100, 101, 236 unpublished, xii, 79–80 Three Burlesques Op. 8c (1908–11), xi, Out of Doors (1926), xiii, 114–16, 125, 129, 108–09, 111 211, 235, 240 Three Hungarian Folksongs (1914/18), xiii Petite Suite (1936), xiv, 100, 143 Three Hungarian Folksongs from the Csík Piano Quartet (1898) unpublished, 105 District (1907), xi, 95, 100 Piano Quintet (1903–04), xi, 106, 134, 160 Three Piano Pieces (1898) unpublished, Rhapsody for piano and orchestra, Op. 1 105 (1904), xi, 50, 106–07, 108, 112, 119, 123, Three Rondos on Folk Tunes (1916/27), 130, 131, 132 xiii, 100 Rhapsody No. 1, for violin and piano Three Studies Op. 18 (1918), xiii, 110, 111, (1928), xiii, 124, 133, 141–42, 186, 235 112–13, 211 Rhapsody No. 2, for violin and piano Three Ukranian Folksongs (1945), xiv (1929), xiii, 124, 133, 141–42 Transylvanian Dances (1931), xii, 57 Romanian Christmas Carols (colinde) Twenty Hungarian Folksongs (1929), xiii, (1915), xii, 95, 100, 101 84–86, 89, 90 Romanian Folk Dances (1915), xii, 57, 95, Twenty-seven two- and three-part 100 choruses (1935–36), xiv, 89–90 Scherzo for piano and orchestra Op. 2 Two Elegies Op. 8b (1908–09), x, 108, 112 (1904), xi, 50, 119, 123–24, 132 Two Hungarian Folksongs (1906), xi Seven Sketches Op. 9b (1908–10), xii, 100, Two Hungarian Folksongs (1907) 108, 109–10 unpublished, xi, 88–89 Slovak Folksong (1916), xi Two Pictures Op. 10 (1910), xii, 54–55, 144, Slovak Folksongs (1917), xiii, 79 180, 181, 186 Sonata for piano (1898) unpublished, Two Portraits Op. 5 (1907–11), xii, 54–55, 105 144 Sonata for piano (1926), xiii, 114–16, 152, Two Romanian Dances Op. 8a (1909–10), 211, 230, 235 xii, 100 Sonata for Solo Violin (1944), xiv, 139–41, Village Scenes (1924), xiii, 83–85, 88, 91 191, 213–14, 241 Wooden Prince, The (1914–17), xii, 21, 56, Sonata for Two Pianos and Percussion 63, 68–73, 77, 88, 152, 181, 183, 186, 241 (1937), xiv, 119–24, 128, 130, 169 Bartók, Ditta (Pásztory), 119, 120, 125, 127, 149, Sonata, for Violin (1903), xi, 134–36 195, 197, 198, 237 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66958-0 - The Cambridge Companion to Bartok Edited by Amanda Bayley Index More information 268 Index Bartók, Elsa, 18, 89, 99 Demény, János, 32 Bartók, Márta (Ziegler), 19, 120 Dohnanyi, Erno˝, 16, 92, 104, 105–06, 135, 178, Bartók, Paula (Voit),16, 18, 174, 178, 194 179, 185, 190, 192 Bartók, Peter, 148, 197 Dvor˘ák, Antonin, 52 Basilides, Mária, 91 Basle chamber orchestra, 152 Eimert, Herbert, 205 Beethoven, Ludwig van, 104, 107, 123, 146, 151, Elgar, Edward, 241 155, 179, 236, 237, 238 Erdélyi, Csaba, 148 performing editions of, 95 Doflein, Erich, 142, 208 Békés county, 28, 30, 33 Erkel, Ferenc, 16, 25, 146–47, 178 Béldi, Izor, 182 ethnomusicology (see Bartók, Béla: as folklorist) Berg, Alban, 107 Escher, M. C., 118 Berger, Arthur, 213–14 Berlioz, Hector Fassett, Agatha, 239 Rákoczy March, 25 Fejér county, 28, 30, 33 Bernard, Jonathan W.,225 Feszty Árpád, 12 Berry, Wallace, 225 Fibonacci series, 123, 218–19, 220 Beu, Octavian, 57 Földes, Andor, 192, 236, 240 Bihor county, 30, 33, 37 folksong collecting (see Bartók, Béla: as birdsong, 61, 118, 127–28, 163 folklorist) Bishop-Kovacevich, Stephen, 232 form, 51, 59–60, 65, 67, 70–71, 82, 83, 84, Biskra (see Africa, north) 85–86, 102, 118, 119–24, 133, 134, 136, Boulez, Pierre, 192 137, 139, 140, 141, 145–46, 147, 148, 150, Brahms, Johannes, 51, 104–05, 123, 135, 146, 153, 154, 155, 156, 158, 160, 163, 164, 178, 179, 235, 236, 238 166, 171, 179, 216, 219 (see also Hungarian Dances, 25, 104, 134 symmetry) Bratislava (see Pozsony) formalism, 191, 210, 217 Budapest, 7, 9–11, 16–19, 22, 67, 86, 110, 121, Forte, Allen, 222, 227 177, 178, 179, 180, 182, 184, 185, 186, Frigyesi, Judit, 7, 20, 52, 71, 134, 162 197, 211, 212, 234 Budapest Academy of Music, 10, 16, 17, 20, 26, Gavoty, Bernard, 205 31, 47, 92, 93, 134, 180, 188 Gerlice puszta, 27, 31, 52 Budapest Philharmonic Society, 50, 177, 179, Geyer, Stefi, 19, 20, 54, 64, 134, 139, 144–45 182, 183, 186 Gillies, Malcolm, 50 Bulgarian folk music, 129, 164 Glieman, Wanda,80 Busoni, Ferruccio, 232 Golden Section, 123, 126, 218–19 Bus¸it¸ia, Jan, 31 Gömbös, Gyula, 187 Gombossy, Klára, 80 Carter, Elliott, 240 Gömör county, 31, 31, 33 Chopin, Frederic, xiii, 113, 235, 238
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  • Hungarian Elements in Selected Piano Compositions of Liszt, Dohnanyi, Bartok, and Kodaly

    Hungarian Elements in Selected Piano Compositions of Liszt, Dohnanyi, Bartok, and Kodaly

    Graduate Theses, Dissertations, and Problem Reports 2017 Hungarian Elements in Selected Piano Compositions of Liszt, Dohnanyi, Bartok, and Kodaly Helga Scheibert Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Scheibert, Helga, "Hungarian Elements in Selected Piano Compositions of Liszt, Dohnanyi, Bartok, and Kodaly" (2017). Graduate Theses, Dissertations, and Problem Reports. 6579. https://researchrepository.wvu.edu/etd/6579 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Hungarian Elements in Selected Piano Compositions of Liszt, Dohnányi, Bartók, and Kodály Helga Scheibert Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Piano Performance Peter Amstutz, DMA, Chair and Research Advisor Cynthia Anderson, MM, Director of Graduate Studies James Miltenberger, DMA William Haller, DMA John Goldwasser, PhD School of Music Morgantown, West Virginia 2017 Keywords: Hungarian, Folk Song, Liszt, Dohnányi, Bartók, Kodály Copyright 2017 [Helga Scheibert] A BSTRACT Hungarian Elements in the Piano Music of Liszt, Dohnányi, Bartók and Kodály Helga Scheibert This paper begins by discussing Hungarian folk music, clarifying the difference between folk and art music.
  • Béla Bartók's Editorial Input As Seen in His Edition of Piano Sonata Hob

    Béla Bartók's Editorial Input As Seen in His Edition of Piano Sonata Hob

    BÉLA BARTÓK’S EDITORIAL INPUT AS SEEN IN HIS EDITION OF PIANO SONATA HOB.XVI:49 IN E FLAT MAJOR BY JOSEPH HAYDN So Young Cho, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2014 APPROVED: Adam Wodnicki, Major Professor Elvia Puccinelli, Committee Member Joseph Banowetz, Committee Member Steven Harlos, Chair of the Department of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Cho, So Young. Béla Bartók’s Editorial Input as Seen in His Edition of Piano Sonata Hob.XVI:49 in E flat Major by Joseph Haydn. Doctor of Musical Arts (Performance), December 2014, 40 pp., 3 tables, 18 musical examples, bibliography, 41 titles. Béla Bartók (1881-1945), one of the twentieth century’s most significant composers, is also well known as an ethnomusicologist and concert pianist. However, Bartók’s work as a pedagogue and as an editor has received relatively little scholarly attention, despite famous pupils and despite his preparation of numerous critical and educational editions of his own and others’ works. While the critical editions are few, a significant number of Bartók’s editions of piano works have an educational purpose; these editions contain highly detailed performing indications and hold substantial potential for investigating Bartók’s ideas on the performance of works by other composers. Bartók edited nineteen piano sonatas by Haydn for educational purposes between 1911 and 1920. Bartók’s edition of Haydn’s Piano Sonata Hob.XVI:49 in E-flat Major is compared with both the first edition and the facsimile of the manuscript, with a focus on articulation, pedaling, dynamics, fingering, and other significant markings such as indications of expression and ornamentations.
  • Bartoknakahara Yusuke Válság És Kultúra-Microcosmos

    Bartoknakahara Yusuke Válság És Kultúra-Microcosmos

    YUSUKE NAKAHARA * MIKROKOSMOS: COMPANION FOR LATER GENERATIONS FROM THE YEARS OF CRISIS Bartók’s Mikrokosmos is acknowledged as a collection of valuable pedagogical pieces. I propose that it can also be understood as the composer’s reaction to his contemporary circumstances, and that it may hold a message for the audience, especially children, since pedagogical works usually have sustainable effects on children beyond the limit of strictly educational concerns such as transmitting knowledge or technique. Hungarians’ political situation could be described as continuously unfavourable for the first half of the 20 th century; however, Bartók observed this differently. He emphasised the importance of co-operation among people instead of hostile acts rooted in nationalistic sentiment, which Bartók considered a true crisis. His ideology—in his words the ‘brotherhood of peoples’ or ‘race impurity’ which propagates cultural interaction as a positive and prolific phenomenon—can be taken as his counter- reaction to the crisis. Even though Bartók’s Mikrokosmos does not apply folk music from various nations as its basis (unlike Forty-Four Duos , which can be considered an embodiment of the ‘brotherhood of peoples’ due to its selection of materials), it freely combines elements distilled from folk music and produces an imaginary union of cultures that transcends the reality, similar to the Fifth String Quartet , in which at least four types of folk-music elements (Bulgarian, Hungarian, Slovakian and Rumanian) can be found. On the other hand, unlike his masterpieces, such as the Fifth String Quartet and Cantata profana , whose performances were not always accessible to a wider audience, Mikrokosmos can serve as daily bread for children.
  • Principles of Pitch Organization in Bartók's Duke Bluebeard's

    Principles of Pitch Organization in Bartók's Duke Bluebeard's

    Principles of Pitch Organization in Bartók’s Duke Bluebeard’s Castle Rita Honti Principles of Pitch Organization in Bartók’s Duke Bluebeard’s Castle Studia musicologica universitatis Helsingiensis XIII Studia musicologica universitatis Helsingiensis General Editor Eero Tarasti Faculty of Arts Department of Musicology PO Box 35 00014 University of Helsinki Finland http://www.helsinki.fi/taitu/musiikkitiede/esittely.htm Copyright © Rita Honti 2006. World rights reserved. No part of this publication may be stored in a retrieval system, transmit- ted, or reproduced in any way, including but not limited to photocopy, photograph, magnetic or other record, without prior agreement and written permission of the publisher. Printed by Gummerus ISSN 0787-4294 ISBN 952-10-3331-2 ISBN 952-10-3347-9 (PDF) CONTENTS ABSTRACT vii ACKNOWLEDGEMENTS ix 1.INTRODUCTION 1 2.INSEARCHOFASYSTEM 13 2.1. Analytical problems, theoretical issues 13 2.1.1. Pitch organization 17 2.1.2. Synthesis of folk- and art-music sources 19 2.1.3. Bartók’s tonal system 30 2.1.4. New chromaticism 43 2.2. Lendvai’s theories 53 2.2.1. The tonal axis system 57 2.2.2. The α-chord structures 60 2.2.3. Alternating-distance scales 64 2.3. A cycle-based system for relating pitch-class sets 67 2.4. Pitch-web analysis 78 2.5. Outline of an integrated analytic technique 89 3.BÉLABARTÓKASFOLK-MUSICRESEARCHER 97 3.1. Some cultural aspects of turn-of-the-century Hungary 97 3.2. Hungarian musical tradition: Whose heritage? 106 3.2.1. Verbunkos and Magyar nóta 107 3.2.2.