p r i d e • p a i n • j o y • seriousness • m e d i t a t i o n • h u m o u r Yehudi Menuhin

Bartók 1881–1945

Cantata Profana 1

Bartók in London, January 1936 Ars poetica Only national art can be, at least at this time, genuine and Bartók: “Staat und worthwhile art. Although every age displays universal artistic Kunst” [State and elements, the way these common elements constitute a work Art], notes of a of art is naturally different and characteristic of each country. speech prepared Of course, this differentiation is accomplished only if a genuine for a 1934 meeting artist’s creative power manifests itself spontaneously in the of the League of works. After all, national art and higher art in general, Nations for example rural folk art, can only come into being spontaneously, never as a result of some mechanical, The reciprocal influence between compositions in the history of music. artificial or official intervention. A truly significant artist East and West found its greatest They never fail to be immediately will create national art through works bearing the stamp expression in Béla Bartók, the compelling and clear, displaying the of his individuality. last romantic composer. Deeply full range of human emotions, the (Bartók: “Staat und Kunst” [State and art], 1934) tied to his homeland and rooted in its heritage of living generations. Pride, cultural heritage, well versed in the pain, joy, seriousness, meditation centuries-old traditional folk music and humour —all find their enduring in almost every village, convincing expression in Bartók’s an expert on folklore, rhythms every single note, from the shortest and melodies of all countries of works of a few bars to the longest the Balkans, Turkey and the North symphonic and chamber works. African coast, Bartók was also a (Yehudi Menuhin: “Béla Bartók— highly disciplined and intellectual ein Genie im 20. Jahrhundert” man and musician. As far as intellect [Béla Bartók—a genius in the 20th and structure are concerned, his century], 1982) works belong among the greatest

I am deeply interested in all peasant music and my goal is simply to capture their quintessence. Modern music does not follow the lead of folk music. Its two towering figures are Stravinsky and Schoenberg. Their roads are also divergent, Stravinsky lying closer to my Allegro barbaro for piano (1911), heart. ... I definitely consider myself a member of Ady’s generation.* the first page of the autograph (From an interview with Béla Bartók, Kassai Napló, 23 April 1926) * Endre Ady (1877–1919), the most significant Hungarian poet of his time. Childhood I was born on 25 March 1881, in Nagyszentmiklós [Sânnicolau Mare], which now, together with the whole county of Torontal, belongs to Romania. My mother gave me my first piano lessons when I was six years old. My father, who was the head of an agricultural school, was gifted musically and active in many directions. He played the piano, organized an amateur orchestra, learned the cello in order to play that instrument in his orchestra, and composed some dance music. I was eight years old when I lost him. After his death my mother had to work as a schoolmistress and struggle hard for our daily bread. ... I began writing piano music when I was nine years old and made my first public appearance as a “composer” and pianist at Nagyszöllős in 1891; it was therefore a matter of some importance for us to settle at last in a biggish town. (Bartók: “Autobiography”, 1921–23) 2 The 18-year-old student Bartók on completing his final school examinations, Pozsony, 1899

Since you left, I had to answer a question in school only once, from Latin, and I knew it ... I have come up with a new piece which will be good for Gabi. I have also added a passage to the Emma Waltz. My piano teacher didn’t come on Tuesday, but today he came and first of all wanted to see if I could play from the notes ... Then he taught me the names of 3 chords. ... (Bartók, aged 10, to his mother, 10 September 1891)

Béla and Elza Bartók, his younger sister, Pozsony, 1892 Béla Bartók, Sr., Paula Voit, mother of the composer’s father the composer

After his father’s untimely death, his mother, Paula Voit, took it upon herself to raise the eight-year-old boy and her younger daughter, Elza, wandering from town to town before finally settling in Pozsony (Bratislava, today in Slovakia) where young Béla received systematic musical training and finished his secondary-school studies.

This summer your mummy mentioned how suffered such a lot, and I suffered also with him, and accompanied me with the exact beat. good it would be if I were to write down a few as I couldn’t do anything about the pain he was If I changed over from 3/4 to 4/4 time, things about your father’s childhood, because in. ... This rash ... lasted until he was five years he left off drumming for a moment, then that would interest you very much. [...] old. ... resumed in the proper time. Even now When he was born, your father was a very At the age of 3 he was given a drum, and I can visualize just how seriously and strong, healthy child, but after a vaccination at was very pleased with it. When I played attentively he accompanied my playing. 3 months ... he got a rash on his face ... which the piano he sat on his little chair, with (Bartók’s mother to her grandson, Béla, Jr., later spread over his entire body. The poor boy his drum in front of him on the footstool, 14 August 1921) Student at the Royal Academy of Music 3

The old building of the Academy of Music in Budapest, where Liszt’s former home can be found and in Picture postcard with the composer’s photo and greetings, 1901 which Bartók studied

When my education at the Gymnasium (high From this stagnation I was roused as by a Other circumstances entered my life at the same school) was concluded ... I took [Ernő] Dohnányi’s lightning stroke by the first performance in time which proved a decisive influence on my advice and came to Budapest and became a pupil Budapest of Thus Spake Zarathustra, in 1902. development. It was the time of a new national of István Thomán (in piano) and Hans Koessler (in The work was received with real abhorrence movement in Hungary, which also took hold of composition). I stayed here from 1899 till 1903. I in musical circles here, but it filled me with art and music. In music, too, the aim was set to started studying with great enthusiasm Wagner’s the greatest enthusiasm. At last there was a create something specifically Hungarian. When work, till then unknown to me—The Ring, way of composing which seemed to hold the this movement reached me, it drew my attention Tristan, The Mastersingers—and Liszt’s orchestral seeds of a new life. At once I threw myself to studying Hungarian folk music, or, to be compositions. I got rid of the Brahmsian style, into the study of all Strauss’s scores and more precise, what at that time was considered but did not succeed via Wagner and Liszt in began again to write music myself. Hungarian folk music. finding the new way so ardently desired. ... (Bartók: “Autobiography”, 1921–23)

Mr. Béla Bartók made a strong impression at the latest evening of the Vienna Music Society by his stupefying rendition of his own piano transcription from Richard Strauss’s Ein Heldenleben. The sympathetic young pianist, a virtuoso and an accomplished musician, absorbed the extremely complex work of the now famous composer and performed it on the piano as something originating in his own experience. The art, immediacy and freshness of this tour de force was a huge success. (Neue Freie Presse, quoted in Pressburger Zeitung, 13 February 1903)

Liszt pupil István Thomán surrounded by his students at the Academy of Music, 1901 (Bartók is standing in the rear, third from left) Composer of the Symphony

Everyone, on reaching maturity, has to set himself a goal and must direct all his work and actions towards this. For my own part, all my life, in every sphere, always and in every way, I shall have one objective: the good of Hungary and the Hungarian nation. I think I have already given some proof of this intention in the little ways that have been possible to me. To the memory of my first concert: (Bartók to his mother, 8 September 1903) the composer of the Kossuth Symphony in Hungarian attire, 903 1903 I propose (and I surely expect that this proposal will meet general approval) that my sister* be called Böske from now on. It is of course 4unacceptable that one member of this Hungarian family is called by a standard Germanic name when there is a perfectly acceptable Hungarian substitute for it. (Bartók to his mother, 12 June 1903) * Elza Bartók

After the Kossuth Symphony’s hugely successful Budapest première, followed by a Manchester performance under the baton of Hans Richter, both in 1904, Bartók soon rejected his composition and never again did he allow it to be performed.

—Which is the first composition you truly consider your own? He. The Fourteen Pieces for Piano. The First Quartet. The Kossuth Symphony, the Rhapsody for piano and orchestra, Op. 1 and the Suite —The Kossuth Symphony? No. 1, Op. 3, all border on the Erkel–Liszt kind of Hungarianism. But which way to go He (making a gesture). Not that. Its form is not yet mature. from there? In that direction there was no longer any room for development, nothing (From “Béla Bartók: An Interview” by Dezső Kosztolányi, outstanding new to say. It was then that he began to become interested in the folk song. Hungarian poet and author, 1925) (Kodály Zoltán: “Bartók the Folklorist”, 1950)

In 1904 the Budapest newspapers reported on an uncommon scandal. At an orchestral rehearsal an Austrian trumpet-player refused to play a parody of the Austrian national anthem as demanded by the score of a new composition. The Anthem Gott erhalte (written by Haydn and used as a theme with variations in his String Beginning of the autograph German-language programme notes by the composer Quartet in C major) was in Hungary the hated symbol of for the Kossuth Symphony Austrian oppression, whereas the new work was Bartók’s Kossuth*, a programme symphony, its theme being the latest heroic effort of Hungary towards independence in 1848. ... The composer, who wore Hungarian attire, had previously been known as an eminent pianist, but now he became famous overnight. (Zoltán Kodály: “Bartók Béla”, 1921)

*Louis Kossuth (1802–1894) was one of the greatest and most influential politicians of 19th-century Hungary and a leading figure during the 1848 uprising.

Piano transcription of the final section of the Kossuth Symphony (1903): proof with the composer’s corrections 5

Collecting peasant songs at Zobordarázs in Nyitra county (now Dražovce, Slovakia), 1907 The Discovery of Folk Music

In my studies of folk music I discovered that what we and pursued them in areas which linguistically were purely had known as Hungarian folk songs till then were more Hungarian. Later on I became fascinated by the scientific or less trivial songs by popular composers and did not implications of my musical material and extended my work over contain much that was valuable. I felt an urge to go territories which were linguistically Slovakian and Romanian. deeper into this question and set out in 1905 to collect The outcome of these studies was of decisive influence upon my and study Hungarian peasant music unknown until work, because it freed me from the tyrannical rule of the major With Zoltán Kodály, 1908 then. It was my great good luck to find a helpmate and minor keys. The greater part of the collected treasure, and for this work in Zoltán Kodály, who, owing to his deep the more valuable part, was in old ecclesiastical or old Greek insight and sound judgment in all spheres of music, modes, or based on more primitive (pentatonic) scales, and the could give me many a hint and much advice that proved melodies were full of the most free and varied rhythmic phrases of immense value. and changes of time, played both rubato and Tempo-giusto. I started these investigations on entirely musical grounds 908 (Bartók, “Autobiography”, 1921–23)

The dear, the naïve, the primeval people! It is already the second day that I am amusing myself here with them, as they stand around my phonograph, as they strive to gather as many tunes as possible into the machine. Of course, they are not interested in the result of the collection, only in the big horn, the “trúba”. And how inexhaustible they were with their songs: in two afternoons they gave up 60; likewise 1 year ago, 50. Yet this place Darázs is quite a small community, with some 1,000 inhabitants. I’m living and doing my collecting in a peasant house. There was a festivity on Tuesday; they were already starting to come in to me by 4 o’clock, and soon the room was full with young and old alike. And the songs poured out. From time to time charming incidents took place. ... At half past 9 they went away. Well now, what will dinner be? There are 3 eggs, milk—so they say. But the fire has gone out and has to be lit. They bring fuel—it doesn’t want to light. As we look around on the wooden floor we see just water, as if they had just been scrubbing it—the great crowd of people had brought in all this water on their feet. They make the beds—by chance I brush against the wall: water is almost flowing from it. To Hell with it: well, what is this from? Outside it was bitterly cold, while inside 30 people were exhaling for 6 hours: voilà tout. (Bartók to Márta and Hermina Ziegler, 4 February 1909) Ethnographical map of Hungary in the early 20th century in an atlas from the period Personal Crisis and The development of his new musical style was influenced by the personal retour à la vie crisis of his unrequited love towards the violinist Stefi Geyer in 1907–1908. Mine is the domain of dissonances! (Bartók to Stefi Geyer, 6 September 1907) 907–908

After reading your letter, I sat down to the piano—I have a sad misgiving that I shall never find any consolation in life save in music. And yet – – – For some time, I have been in a very strange mood, going from Two Portraits, Op. 5 containing one extreme to the other. One letter from you, a line, even a the first movement of the word—and I am in a transport discarded early Violin Concerto of joy, the next brings me almost written for Stefi Geyer and to tears, it hurts so. What is to be the orchestration of Bagatelle the end of it all? And when? It is no. 14: planned title page for the as if I am in a state of spiritual Rozsnyai first edition intoxication all the time. Just what one needs for work (composing)! 6 (Bartók to Stefi Geyer, 11 September 1907) Violinist Stefi Geyer, 1905

I count these pieces among the most individual Since writing [the Bagatelles], I have regained some and interesting creations of our time. Their inner “harmony”, so that, today, I am not in need content is exceptional and original; but not in of the contradictory accumulation of dissonances the sense usually meant by original. Even so, which express that particular mood. This may be the they are simple in their conception and natural consequence of allowing myself to become more in their strangeness. and more influenced by folk music. (Ferruccio Busoni on the Fourteen Bagatelles, (Bartók to composer Frederick Delius, August– 1908) September 1910)

[...] I strongly believe and profess that love, grief and perhaps despair—that is, the every true art arises under the influence so-called sublime emotions—have acted of impressions—“experiences”—which as motivations. While it is only in our time we gather from the external world. ... I that vengeance, hyperbole and sarcasm cannot visualize artistic productions in any do or will live in music. So, perhaps, in way other than the creator’s manifestation contrast to the idealism evident in earlier of his boundless zeal, despair, grief, rage, times it is possible to call contemporary vengeance, twisted irony, sarcasm. I did composition realistic when it candidly and not believe this until I experienced for indiscriminately admits truly every human myself that one’s work actually shows more emotion within its expressive repertory. [...] exactly than a biography the noteworthy (Bartók to Márta and Hermina Ziegler, 4 February Ernő (Ernst von) Dohnányi conducts Two events and driving passions of a life. ... It 1909) Portraits at his concert in Carnegie Hall on is strange that hitherto in music only zeal, 21 October 1925 Professional Life, Private Life 7

With his first son, Béla, in the garden of their house at Rákoskeresztúr near Budapest, 1916

In 1909 he married Márta Ziegler (1893–1967) who bore him his first son, Béla (1910–1994).

One of Béla Bartók’s characteristic qualities When I asked what his first thought was on was that he was always teaching, he gave of his receiving the telegram about the birth of our own experience and wanted to make his circle son Béla, he replied (with tears in his eyes), “My more developed and learned. He acquainted thought was that I would teach him to write.” my older sister and me with the Pest Museums [...] and galleries while we were still his pupils. He But one thing he did not like: teaching at the Academy taught us the names of the stars, how to prepare of Music. This was a problem, a burden for him and he, the insects and moths that he collected, he who used to call himself “time-needy”, felt that the acquainted us with the poetry of Endre Ady and time spent there kept him from more important things his beloved French writers, Flaubert, Maupassant (scholarly work, composition, etc.). He put all his lessons and Daudet, and one of his best-loved books, into three days, the most condensed time possible. He Jacobsen’s Niels Lyhne. slept alternately at my mother’s and at Kodály’s and He used to play unknown works for me on the piano when he could, he hurried back to Rákoshegy. on the evenings he was not too busy and I had to guess (Márta Ziegler: “Thirteen Years”, 1966) the composer and even then he was teaching me (but it Márta Ziegler with her mother-in-law, was also a relaxing game). 1915

When an appointment as piano professor at the Academy of Music in Budapest was offered to me in 1907 I considered this a happy event because it enabled me to settle in Hungary and to continue my studies in musical folklore. In 1907, at the instigation of Kodály, I became acquainted with Debussy’s work, studied it through thoroughly and was greatly surprised to find in his work “pentatonic phrases” similar in character to those contained in our peasant music. ... Similar influences can be traced in Igor Stravinsky’s work. (Bartók: “Autobiography”, 1921–23)

Aladár Körösfői-Kriesch: The Fountain of Art, fresco in the Budapest Academy of Music built in 1907 The Folk Song Collector 8 90s

There is nothing to do about it: this work has become inseparably attached to me. I’ve got used to it as much as the smoker does to smoking. (Bartók to Márta Ziegler, April 1917) Bartók playing the hurdy-gurdy surrounded by his peasant-style furniture in his Budapest home, 1908

For more than a decade, he devoted most of his energies to field trips to some 3500 Romanian, 3000 Slovak and 2700 Hungarian melodies. remote areas of pre-First-World-War Hungary that also included large areas From 1906 on, he often worked together with fellow composer and of partly or mainly Slovak- and Romanian-speaking ethnic groups. Quite ethnomusicologist Zoltán Kodály (1882–1967). In search of ancient musical early in his research, Bartók turned to the collection of folk music from cultures, Bartók even collected rural Arab songs in Algeria in 1913 and later the minorities as well. He was particularly interested in archaic features of he visited Turkey in 1936. His collecting activity, however, practically ended in peasant music that he described as a “natural phenomenon” whose study 1918, soon before the partitioning of Hungary in the wake of the First World should be considered as “scientific” work. His extensive collections include War and the disintegration of the Austro-Hungarian Empire.

He went collecting regularly during main holidays He had to contend with many problems when like Christmas, Easter and Whit Sunday, as it was collecting, the peasants were unsure of him, as they then that he found peasants at home. He looked for were of every “gentleman”, and the notary, priest or villages that were furthest away from the railway the teacher (according to which one tried to arrange [...] He encountered quite a lot of misunderstandings the collecting) did not always find ways of breaking with the village intelligentsia. Once, when he entered this barrier down. ... [the peasants] usually relaxed a village, he was escorted to the village hall by when he played the first recording back on the policemen, who regarded him as a suspicious phonograph and the singers were delighted to hear stranger, which amused him greatly. He let himself their own voices. [...] be accompanied and only in the office did he show After returning home from the folk song collecting trip his letter of recommendation from the Minister of it came to transcribing the cylinders, Culture in which the minister asked the authorities copying onto master sheets and to give his work the greatest possible support.[...] classification, in which members of the His first collection began with a small primitive phonograph family could be of help, thereby saving Photo taken by ... This he took with him in his rucksack. ... He took as little him a lot of time. Bartók in Hédel as possible with him in a small bag; a change of underwear, (Márta Ziegler: “Thirteen Years”, 1966) toilette supplies, a shoe horn and small manuscript (now Hiadeľ, books bound in black waxed canvas for noting down the Slovakia), 1915 transcriptions. [...]

Photo taken by Bartók in Pónik (now Poniky, Slovakia), 1915

With Emma and Zoltán Kodály at Magyargyerőmonostor in Transylvania (now Mănăstireni, Romania), 1912 Composition from Peasant Song 9

My works ... from Opus 4 onwards were added to this broken plan and in ... were received in Budapest with 1912 I retired completely from public animosity. There were several reasons life. With more enthusiasm than ever for this lack of understanding, one I devoted myself to studies in musical of which was the inadequacy of the folklore. More than one daring journey performances in which our new to faraway countries was planned in orchestral works were heard. We could my head, out of which, as a modest find neither a conductor who would beginning, one only was carried understand our works nor an orchestra out. In 1913 I travelled to Biskra able to perform them. In 1911, when [Algeria] and the surrounding these controversies became very heated, countryside, collecting Arabic folk Bartók at Vésztő, 1920, where “Angoli Borbála” was noted down by a number of young musicians, Kodály music. Then came the outbreak him in 1918 and myself among them, tried hard to of the war, which—apart from found a New Hungarian Musical Society. general human considerations— So far—pour dégourdir mes membres musicaux—I have harmonized The chief aim of the new organization hit me very hard because it put an 7 Hungarian songs from my summer collection, among others Róza would have been to form an orchestra end to my work. Only a small part Ökrös’s famous Angoli Borbála. I recommend that you listen to her able to perform old, new and recent of Hungary remained open to my because it is truly sensational to hear such a thing in Hungarian, and music in a proper way. But we strove in studies and I worked there under furthermore, right in the centre of the Great Plain, and what’s more in vain, we could not achieve our aim. hampered conditions till 1918. Other more personal disappointments 7/8 time. (Bartók: “Autobiography”, 1921–23) (Bartók to his wife, Márta Ziegler, 5 September 1918)

I was seventeen when I met Béla that time. He was such a modest Bartók, and doing work in the man, and did not press me to sing fields of the Wenckheim estate in any further. Kertmegpuszta, next to Vésztő. There were many workers in the Bartók’s brother-in-law was the estate barn—the quarters—and in the manager there. We were working evening everyone retired to rest. Only I in the fields when a man about sang. I well remember how careful he thirty-five, with fair hair—not was that my singing and his work did tall—came over to us and asked not disturb the others. About myself The notation of the “Angoli Borbála” folk ballad on a master sheet if anyone knew any old songs I remember that I was then already a used for folk song classification and would be prepared to sing great lover of songs, and if I heard a them to him. There were many new song I would set about learning it. girls all together but they were Mostly I learnt these songs while all diffident and, in their shyness, working. My father died when I was said that they did not know any 10. I never heard my mother sing. old songs. But I volunteered. I learnt very many songs, but now In the evening he came to our I’m getting old and I’ve forgotten quarters and sat down on a so many of them. However, I worker’s case, with a night-light haven’t forgotten Béla Bartók— beside him. I sat opposite him and it’s as if he were here before me sang. He noted it down. I sang today. He has always remained in two songs, the “Fehér László” my memory. and the “Angoli Borbála.” I was (Róza Ökrös’s recollection of Bartók, undoubtedly awe-struck, for no “Ballade”: theme and variations on the “Angoli Borbála” folk song, 1981) more songs came to my mind at no. 6 of Fifteen Hungarian Peasant Songs (1914–18) The Man–Woman Problem in Bartók’s Opera

Because of its alleged “lack of stageworthiness”, his opera, Duke Bluebeard’s Castle, composed in 1911 to a text by Béla Balázs, was refused at two opera competitions. It was only after the successful reception of the first performance of his ballet, , composed in 1914–17 to a fairy tale also by Balázs, that the opera was finally accepted for performance in 1918. At that time, Bartók had already started work on . Now behold my spacious kingdom. 10 90s Title page of Béla Balázs’s “Mystery plays” containing the first edition of Duke Bluebeard’s Castle

“I cannot say much about my opera,” Bartók replied, “I prefer my music to speak for itself. The favourable reception of The Wooden Prince drew Count Miklós Bánffy’s attention to my other stage works. I mentioned Bluebeard’s Castle, took it to him, played it before him and it will be premièred this year. I haven’t changed anything in the music, I still stick to what I have put down. My way of thinking hasn’t changed since the time of its composition. You might be interested to hear that Bluebeard’s Castle is my first vocal composition ever. Indeed, I hadn’t composed songs before. Balázs’s poem is about psychological processes and emotions rather than dramatic action and, accordingly, the music is also of the same kind. Seven doors play a significant role in the drama: these seven doors provide the balanced form of the music. With singers Olga Haselbeck (Judith) and Oszkár I am very happy that I’ll be finally able to see my first and so far only opera on stage. The two main roles Kálmán (Bluebeard), and the stage director (Dezső are sung by Olga Haselbeck and Oszkár Kálmán, the orchestra is directed by Egisto Tango, who already Zádor) of the Budapest première of Bluebeard’s showed, when conducting the ballet, that he perfectly understands my intentions.” Castle, 24 May 1918 (Bartók’s statement about Duke Bluebeard’s Castle, 1917)

Bluebeard Hearts that I have loved and Hers is now the swelling sunrise. For a long time Bluebeard stands Thine is now the crown of diamonds. cherished! Hers its cool and coloured mantle, confronting Judith in silence. They gaze Judith Spare me, oh it is too heavy. See, my former loves, sweet Judith. Hers its gleaming crown of silver, into each other’s eyes.) Bluebeard (He hangs the jewels round Judith (Shrinking back astounded and Hers the dawn of ev’ry new day. (The Fourth Door closes slowly.) her neck.) horrified.) Judith Ah, she’s richer far than I! Bluebeard Thine is the wealth of my kingdom. Living, breathing. They live here! (The first wife slowly returns whence The fourth I found at midnight. Judith Spare me, oh it is too heavy. (Through the Seventh Door his former she came.) Judith No more, no more, Bluebeard, no Bluebeard Thou art lovely, passing wives come forth. ...) Bluebeard more. lovely, Bluebeard (As though in a trance he The second one I found at noon, Bluebeard Thou art queen of all my women, stretches out his arms to them.) Silent, flaming, golden-haired noon. Starry ebon-mantled midnight. My best and fairest! Radiant, royal! Matchless beauty! Hers is ev’ry noon hereafter. Judith No more, no more, I am still here. (They gaze into each other’s eyes. They shall ever live immortal. Hers their heavy burning mantle. Bluebeard Bowed down by the weight of the They have gathered all my riches. Hers their golden crown of glory. Thy pale face was all aglimmer. cloak, her head dropping, Judith goes They have bled to feed my flowers. Hers the blaze of ev’ry noon hereafter. Splendid was thy silky brown hair. the way of the other women, walking Yea, they have enlarged my kingdom. Hers the blaze of ev’ry midday. Ev’ry night is thine hereafter. along the beam of moonshine toward All is theirs now, all my treasures. Judith Ah, she’s fairer far than I! (He goes to the Third Door and brings the Seventh Door. She enters, and it Judith (She stands with the others so as (The second wife goes back through forth the crown, cloak and jewels that closes after her.) to make the fourth in the line, looks the door.) Judith had placed on the threshold. The Henceforth all shall be darkness, broken in spirit and afraid.) Bluebeard The third I found at evening. Third Door closes. He lays the cloak over darkness, darkness. Dazzling beauty past believing. Quiet, languid, sombre twilight. Judith’s shoulders.) (The stage is slowly plunged in Oh, compared with these I’m nothing. Hers is each returning sunset. Thine is now the starry mantle. total darkness, blotting Bluebeard Bluebeard (Bluebeard rises to his feet and Hers the grave and umbered mantle. Judith Bluebeard, Bluebeard, spare me, from sight.) whispers intently to Judith.) Hers is ev’ry solemn sundown. spare me. The first I found at daybreak, Judith Fairer, richer far than I. Bluebeard (Béla Balázs: Duke Bluebeard’s Castle, last Crimson, fragrant early morning. (The third wife returns. (He places the crown on her head.) scene, trans. by Christopher Hassal) The Man–Woman Problem in Bartók’s Pantomime The reviews of Bluebeard were better than those of the Wooden Prince... However, this year’s greatest success for me was not this, but rather my success in entering into a long-term agreement with a first-rate publisher. around As far back as January “Universal Edition” (Vienna) made me an acceptable offer. Now, 920 after protracted negotiations, we have agreed on everything... This is of great significance because for approx. 6 years nothing of mine has 11 appeared—thanks to our home publishers— and because a foreign publisher has perhaps never before approached a Hungarian musician with such an offer. (Bartók to Ioan Buşiţia, 6 June 1918) The prince and the princess from The Wooden Prince: drawings by Count Miklós Bánffy for the first performance, 1917

So, in the meantime, I am writing music for a play by Menyhért Lengyel. Bill of the première of Its title is: The Miraculous Mandarin. And just listen to how miraculously The Miraculous Mandarin in beautiful the story is. In a ruffians’ den three rogues force a beautiful young girl to entice men up to her place so that they can then rob them. The first Cologne, 27 November 1926 one is a poor lad, the second one is no better, but the third one is a rich Chinaman. He is a good catch, the girl entertains him with dancing and the mandarin’s desire is awakened, passionate love blazes within him, but the girl is repulsed by him. The ruffians attack him, rob him, suffocate him with an eiderdown, run him through with a sword, but all in vain, they are no match for the mandarin, who looks at the girl with loving and longing eyes. His second ballet, Female intuition comes into play, the girl fulfils the mandarin’s desire, at The Miraculous Mandarin, which point he falls lifeless to the floor. was banned following its (Interview with Bartók, March 1919) première in 1926 in Cologne. In Hungary, despite later successful performances abroad, it was only staged in late 1945, after the composer’s death.

... in Cologne after Mandarin there Gabriella Lakatos (girl) and Gyula Harangozó was a noisy demonstration against (old cavalier) at the 1956 Budapest revival of the text and a counter-demonstration The Miraculous Mandarin in my support. The riot lasted a good ten minutes and they lowered the safety curtain, too, but the people still didn’t leave, so the fire-door was twice opened, too. Well, I can tell you that there was frantic applause (and frantic hissing)! You really should have been there, at such a big disturbance! ... The Pest newspapers report that the piece was officially banned; this is very likely, and my people in Cologne were, on the one hand, also afraid of this, and yet on the other, Szenkár says there’s no finer First page of the full score of The Miraculous Mandarin publicity than a ban like this. Well, we (1918–19, orchestration 1924), copied by Márta Ziegler and shall see. Ditta Pásztory; title, composer’s name and some insertions are in Bartók’s hand (Bartók to his mother, 2 December 1926) The Composer as Pianist in International Musical Life

With violinists Jelly (left) and Adila Arányi (right), London, March 1922 920s

By the end of the First World War, especially his compositions12 were published by Universal after the successful premières of his ballet, Edition, Vienna and he could start to build an The Wooden Prince (1914–17), and opera, international career as a pianist and, more Duke Bluebeard’s Castle (1911), in 1917 and importantly, composer, regularly visiting 1918, respectively, Bartók had established Paris, London and other musical centres of himself as the leading composer of his Europe. He also toured the United States and generation in Hungary. From that time on, the Soviet Union in the later 1920s.

[T]he London article (in the “Sackbut”) is absolutely sensational, even the way it looks: 8 pages of densely packed small print; not to mention its content: e.g., it says that the 1st Suite is a youthful work, in the best sense of the word, exhibiting a degree of excellence that is usually achieved by composers only after the youthful freshness of their conceptions has already faded. It states that the 1st quartet is the best quartet since Beethoven ... No Hungarian artist, be he musician, sculptor, painter or writer, has ever been praised like that abroad. ... (Bartók to his mother, 8 January 1921) One of Bartók’s composer’s evenings in London, at which he performed his First Violin Sonata with Jelly Arányi, 24 March 1922

Well, the Paris concert is over, too! There wasn’t a lot of fuss in the press here, and probably it’ll continue that way, but the presence and enthusiasm of the musicians here made the event a warmer one than was the case in A composer’s evening in Bucharest, where London. After the concert, which began at 5 Bartók performed his Second Violin Sonata o’clock, there was a dinner at 8 o’clock at the with Georges Enesco, 20 October 1924 Prunières’ place (sans cérémonie). Present were Ravel, Szymanowski and Stravinsky, and – – Bartók. In brief, it was a truly celebrity event of music history (as Jelly says), as only Schoenberg was missing. After dinner still others came: Milhaud, Poulenc, Honegger, Albert Roussel, as well as Marya Freund, Caplet (the conductor) and many other musicians and amateurs besides. Before this truly select company we played the sonata once again. Ravel sat on my right and turned pages for me; Milhaud looked at the music from my left; Poulenc turned pages for Jelly. The response was very enthusiastic, not only for the sonata but also for Jelly’s playing. (Bartók to his wife, Márta Ziegler, 10 April 1922) With one of his regular violinist partners Zoltán Székely, who later commissioned the Violin Special Bartók issue of the Vienna periodical Concerto (1937–38), in Székely’s home in Musikblätter des Anbruch published for the 40th Nijmegen, Holland, 1925 birthday of the composer in March 1921 Second Marriage and the Composition of the 1923 marks Bartók’s divorce from his13 first wife and his marriage to his young pianist pupil, Ditta Pásztory. Their child, Péter Bartók, was born in the following year. It was at this time that he composed his Dance Suite for orchestra (1923), whose 923 international success, almost unrivalled among modernist orchestral works of the period, started two years later when it was performed at the Prague Music Festival in 1925.

I am very glad that Márta’s letter reassured the only thing that makes me sad. In fact, you to some extent because I was very sad I would never have asked her to make this for your distress. It is true, however, that I sacrifice, I couldn’t have brought myself to perfectly understand what makes you worry. do it even if common sense had dictated it. On the other hand, you do have to try to put But she herself persuaded me to make this it aside as long as you do not have a clear change and I was unable not to accept. After picture of the situation. I think it will be all all, this isn’t just about me. [...] right or at least better than it has been so (Bartók to his mother, 13 August 1923) far. It will be worse only for Márta; this is With his second wife, Ditta Pásztory, Switzerland, 1927

The aim of the whole work was to put example, the melody of the first subject together a kind of idealized peasant music— of the first movement is reminiscent of you could say an invented peasant music—in primitive Arabic peasant music, whereas such a way that the individual movements of its rhythm is of East European folk music. the work should introduce particular types of ... The ritornello theme is such a faithful music. Peasant music of all nationalities imitation of a certain kind of Hungarian served as a model: Hungarian, folk melody that its origin might puzzle Romanian, Slovak, and even Arabic. In even the most knowledgeable musical fact, here and there hybrid forms of folklorist... these species can be found. Thus, for (Bartók about the Dance Suite, 1931)

Inner title page of the Dance Suite (1923) composed for the 50th Dance Suite performed at the last concert of the 1925 Prague Music anniversary of the unification of Buda, Pest and Óbuda as Budapest, Festival organized by the International Society for Contemporary Music first Philharmonia study score (Universal Edition, Vienna)

... Finally, the concert ends with a real masterpiece, Béla Bartók’s Dance Suite, music full of imagination, rich in colours just like some wonderful Magyar embroidery, music of formidable technical skill but also of sophisticated and ingenuously dreamlike poesy. In recent years, I have rarely experienced beauty of such strength and spiritual as well as technical perfection. (Alfredo Casella, “Lettera da Praga” [Letter from Prague], Il Pianoforte 6, no. 5, 1925, 195)

Wedding Now she has a husband; Lullaby Darling, slumber, slumber, Première of Three Though she’s lost a lover, baby, Annie, in your boxes, Darling, slumber, slumber, She shall not, like a rose, Wee white angel On the wagon carried, Darling, little baby! Fade away and wither, Don’t you ever leave me, There’s fine clothes and When your mother grows old, (27 November 1926) She shall not, like a rose, Darling never fly away! bedding, Will you then take care of arranged for the Fade away and wither. All for when you’re married, her? (Bartók: Three Village Scenes, Russian-born Serge There’s fine clothes and I’m a rose, a rose, but 1924–26, arrangements of —I will take care of you, bedding, Only when I’m single, Slovak folk songs, selected Kussevitzky, who later, Mother, while I’m single; All for when you’re married, When I have a husband, stanzas in translation from in 1943, commissioned But when I am married, Ai-ya-ya-ya-ya-ya-ya-ya-ya- Petals drop and shrivel, nos. 1–2) Soon I’ll go off and leave you. the Concerto for ya-ya! ... When I have a husband ... Petals drop and shrivel. .... Orchestra A New Compositional Style

1926 was a turning point in Bartók’s development. It was then that he integrated neo-baroque and neo-classical elements into his musical style.

I myself believe that I have developed in a consistent manner and in one direction, except perhaps from 1926, when my work became more contrapuntal and also more simple on the whole. A greater stress of tonality is also characteristic of this time. (From an interview with Bartók by Friede F. Rothe, The Etude, 14 February 1941) 926 With his wife Ditta Pásztory, sister Elza and son Péter, Szőllőspuszta, summer 1926

When I was young, my role model of beauty was not the artistry of Bach and Mozart but rather that of Beethoven. This has changed somewhat recently: in recent years I have been studying pre-Bach music, and I think evidence of this can be found in e.g. the Piano Concerto and the Nine Little Piano Pieces. (Bartók to German musicologist Edwin von der Nüll, November 1927)

Bartók played some of his piano pieces composed in 1926 on his composer’s evening in Moscow, 24 January 1929

Somehow I felt now, after a watchwords linear, horizontal, long time not working, like a vertical, objective, impersonal, man who lies in bed over a long, polyphonic, homophonic, long period, and finally tries to tonal, polytonal, atonal, and use his arms and legs, gets on the rest; even if one does not his feet and takes one or two concern one’s self with all of it, steps. A man like this cannot just one still becomes quite dazed suddenly walk up Hármashatár when they shout it in our ears hegy.* I, too, gradually grew so much. ... But now things are accustomed to movement: and all right; you can imagine how so in this manner I only produced pleased I am that at last there piano pieces. But even this was will be something new, and something. Because, to be frank, something I myself can play, on recently I have felt so stupid, so my own, instead of the eternal dazed, so empty-headed that I Allegro barbaro, A Bit Tipsy and have truly doubted whether I am Romanian Dance. able to write anything new at all (Bartók to his second wife, Ditta anymore. All the tangled chaos Pásztory, 21 June 1926) that the musical periodicals vomit thick and fast about * A hill in Buda, a favoured place First Piano Concerto (1926): notes for the performer at the beginning of the the music of today has come for outings. Universal Edition full score concerning the special treatment of percussion to weigh heavily on me: the instruments Bartók and Children Bartók’s piano music, Allegro barbaro (1911) and (1926), and his pedagogical compositions, (1909–1910) and (1932–39), as well as the Forty-four Violin Duos (1931) occupy a significant place in 20th century composition.

[...] In Bartók’s dealing15 with children there is nothing of the pomposity of the “pedagogue” or the stilted manner of the adult disguising himself as a child. He does not “patronize” the child, he looks at him as an equal. He looks at him as only those can do, who, despite their grey hair, have managed to preserve the child in themselves unscathed. And he can surely take full responsibility as a grown-up for what he has said to the child; for the adult can also understand it. This is full- fledged art – for adults, too. (Zoltán Kodály: “Bartók Béla gyermekkarai” [Béla Bartók’s children’s With his son Péter, 1929 choirs], 1936)

He loved children as much as he loved nature and his main endeavour in this field was to plant the desire for a better life into the still pliable child. In music, he tried to accomplish this in several ways: the piano school co-authored With his son Béla, 1915 with Sándor Reschofsky, the For Children series and the methodically structured Mikrokosmos all were intended to provide Dear Peter, They wrote to me that your examinations went well; I bought for you a story book, to be given the future generation with adequate basic to you if the results of the examinations are good. Ask musical training. He was very careful your Mother for it, if she has not yet given it to you. with the education of children, keeping I am here in France, among very tall snow-capped in mind, as a basic principle, that children mountains. The clouds are again trying to come in are independent personalities whose through the window. There is no forest here, only a education should mainly rely on good forestlet; and even among forestlets it is a teeny-weeny example and never on force. one, there are not even ten trees in it. (Béla Bartók, Jr.: “Apámról” [About my For Children for piano (1908–1909): title (Bartók to his son Péter, 25 June 1931) father], 1955) page of the Rozsnyai first edition

Passage from the beginning of “Bread-baking” I recall a tranquil winter morning with deep, fresh snow on the ground. From inside the window of our comfortably warm ground floor apartment I watched him, dressed in black winter overcoat, black hat and white silk scarf, wearing his usual pince- nez glasses, walk by. At my window he stopped. With the point of his umbrella he drew a pattern in the virgin snow near the

window that, to him, looked something like: R E T É P

After a moment’s pause, to see if I recognized the meaning of those symbols, he was gone. My father was leaving for work. (Peter Bartók: My Father, 2002) “Bread-baking”, one of the 27 choruses for children’s and women’s choirs (1937): title page of the Magyar Kórus first edition , a setting of the text of a Romanian ballad (colindă) composed in 1930 and first performed in 1934 in London, The Composer of the represents the composer’s most original and forthright statement by referring to a sacred genre, the cantata, but abnegating its religious Cantata profana connotation by calling it “profane.”

... Bartók declared that this was the work he felt and professed to be his most personal “credo.”

(Bence Szabolcsi: “Bartók Béla: Cantata profana”, 1974) 16 930

[...] I consider myself a Hungarian the embodiment of the very concept composer. The fact that the melodies in of integration so much emphasized some of my own original compositions in Hungary today. ... My own idea, were inspired by or based on Romanian however—of which I have been fully folk songs is no justification for classing conscious since I found myself as a A cubist caricature of the composer of Cantata profana published in the me as a compositorul român; such composer—is the brotherhood of Radio Times (18 May 1934) before the London première of the piece a label would have no more truth peoples, brotherhood in spite of all than the word “Hungarian” applied wars and conflicts. I try—to the best to Brahms, or Schubert, and is as of my ability—to serve this idea in We must not think of colinde, however, in terms of the religious Christmas carols of inappropriate as if one were to speak my music; therefore I don’t reject any the West. First of all, the most important part of these texts—perhaps one-third of of Debussy as a Spanish composer, influence, be it Slovakian, Romanian, them—have no connection with Christmas. Instead of the Bethlehem legend we because their works were inspired by Arabic or from any other source. The hear about a wonderful battle between the victorious hero and the—until then— themes of Hungarian or Spanish origin. source must only be clean, fresh and unvanquished lion (or stag), we are told the tale of the nine sons who—after ... healthy! hunting for so many years in the old forest—have been changed into stags... Thus My creative work, just because it arises (Bartók to Octavian Beu, here are texts truly preserved from ancient, pagan times! from 3 sources (Hungarian, Romanian, 10 January 1931) (Bartók: “Romanian Folk Music”, 1933) Slovakian), might be regarded as

Once upon a time there Was an aged man, he Had nine handsome boys. Never has he taught them Any handicraft, he Taught them only how to Hunt in forests dark. There they roamed, hunted All the year around, and Changed into stags in Forests dark and wild. Never will their antlers Enter gates and doors, but Only woods and shrubs; Never will their bodies Bartók’s full-length study of Wear a shirt and coat but Romanian colinde written and Only foliage; published in German (1935) Nevermore their feet will Walk on houses’ floors but Only on the sward; Nevermore their mouth will Drink from cups and jugs but From the clearest springs. Autograph Hungarian libretto of Cantata profana for soloists, double (Bartók: Cantata profana, the final choir and orchestra (1930) which is section of the libretto based on a setting of Romanian colindă texts Romanian colinde, in Bartók’s own translated by the composer English translation) The “Natural Scientist” of Musical Folklore

With Gertrud and Paul Hindemith, and composer Jenő Studying folk music recordings in Collecting folk music among members of the Takács at the Congress of Arab Music, Cairo, 1932 Bucharest, Romania, 1934 Kumarli tribe in Turkey, 1936

The peasant makes all his things alone, In 1913 he learned Arabic for his tour to Algeria. And in 1936, on account He provides with ornaments his tools, of his collecting trip at the invitation of the Turkish government, he his house, his suits, studied enough Turkish to be able to write down his recordings himself. Alongside such knowledge of languages and such exceptional musical ability, He doesn’t learn from books his music only the collector’s passion was necessary to make a large-scale folklorist out of and his songs, anyone. And that, too, was there: from early childhood Bartók loved to collect And he doesn’t need the frippery insects and butterflies (later bringing home some specimens from Africa). He from the town. often spent the summer in the Swiss Alps. On such occasions he conscientiously There is no greater master than collected and pressed the mountain flowers and read the various plant- a peasant, identifications. Besides this he collected folk embroidery, carvings, jugs, and And no one has a sweeter life than he! plates, and studied their literature. Such widely diverging interests would have dissipated any other person’s energy. It was Bartók’s achievement that his various (Bartók: From Olden Times, 1937, based on Hungarian activities, instead of obstructing each other, actually helped each other. folk texts, the conclusion of no. 3) (Zoltán Kodály, “Bartók the Folklorist”, 1950) 17

We Hungarian students of musical folklore have, as have our colleagues in the kindred branches of learning (general folklore and ethnography), weighty reasons for restricting ourselves to the peasant class for source material. As a matter of fact, we consider ourselves scientists not unlike the researchers in the natural sciences, for we choose for our subject of investigation a certain product of nature, peasant music. It should be known that the cultural products of the peasant class originate—at least here, in Eastern Europe—in a manner totally different from those of other classes of society. They can be considered products of nature because their most characteristic trait, the formation of markedly unified styles, can be explained solely by the instinctive faculty of consistently aligned variation Comparing Slovak, Ruthenian (Ukrainian), Romanian possessed by great masses living in a spiritual kinship. This faculty for variation is and Hungarian melodies in his scholarly study nothing short of a natural force. Hungarian Folk Music and the Folk Music of the (Bartók: “Gipsy Music or Hungarian Music”, 1931) Neighbouring Peoples (1934), facsimile of the examples in the composer’s hand

Delivering He loved nature in all its manifestations, went regularly for walks and his inaugural outings, and, if circumstances permitted, following the end of the lecture on academic year, he went to spend a month in the high mountains, where Franz Liszt at he refreshed himself physically and mentally, and thus invigorated he the Hungarian mainly composed his greater works in the second half of his summer Academy of vacation. He was equally interested in plants, animals and minerals among Sciences, 1936 natural phenomena, he was particularly knowledgeable of them and even collected them. As a child, he bred silkworms that he took with him even for longer trips from Pozsony (now Bratislava, Slovakia) to Nagyszentmiklós (now Sânnicolau Mare, Romania). Later he had a fine collection of insects and also assembled a plant collection. (Béla Bartók, Jr.: “Apámról” [About my father], 1955) Farewell to Europe Following Nazi Germany’s occupation of Austria, Bartók changed publishers to the London-based Boosey and Hawkes and started to arrange for his departure from threatened Hungary and Europe, departing for the United States in 1940.

This voyage is, actually, like plunging into the 18 unknown from what is late 930s known but unbearable. If only on account of my none-too-satisfactory state of health; I mean my periarthritis, still incompletely cured. God only knows how and for My father was known to be how long I’ll be able to uncompromising. Had he been, as work over there. some said, a little more flexible, But we have no choice; it he could have saved himself so isn’t at all the question much trouble in this world. Had he whether this has to happen not found the Nazi movement so (muss es sein); for it must repulsive as to be intolerable, he happen (es muss sein). could have avoided the hardship of migrating to a new world. It could (Bartók to Mme Müller- be asked, however: had he not been Widmann, 14 October 1940) uncompromising, would his music be still the same? On board, travelling to (Peter Bartók: My Father, 2002) America, April 1940

Only the day before yesterday I received the notorious questionnaire about His last concert, grandfathers, etc., then: “Are you of German blood, of kindred race, or non-Aryan?” under János Naturally neither I nor Kodály will fill in the form: our opinion is that such questions Ferencsik’s are wrong and illegal. Actually it’s rather a pity, for we could give answers that baton, in would make fun of them; e.g., we could say that we are non-Aryans—because Budapest, (according to my lexicon) in the last analysis “Aryan” means “Indo-European”; we before leaving Hungarians are Finno-Ugrians, or ethnically, we might possibly be northern Turks, for the United that is we are a non-Indo-European people, and consequently non-Aryans. States, October (Bartók to Mme Müller-Widmann, 13 April 1938) 1940 (photo: Károly Escher) With composer Conrad Beck (left) “An un- and conductor precedented Paul Sacher triumph”: Music (right), Pratteln, for Strings, Switzerland, 1937 Percussion and Celesta (1936)

Whoever met Bartók, thinking fire. In the flash of his piercing Bartók is particularly and Celesta has been section of the International of the rhythmic strength of glance no falseness nor associated with Basel considered one of his greatest Society for Contemporary his work, was surprised by his obscurity could endure. If in through the works which compositions since its Music: The Sonata for Two slight, delicate figure. He had performance an especially he composed for our city. première on 21 January 1937. Pianos and Percussion was the outward appearance of a hazardous and refractory In June 1936 he accepted In spring 1939, he agreed once first performed on 16 January fine-nerved scholar. Possessed passage came off well, he a commission to write a again on composing a piece 1938 ... Since then, these of fanatical will and pitiless laughed in boyish glee; and work for the celebratory for BCO, the Divertimento works, which belong to his severity, and propelled by when he was pleased with concert marking the 10th for string orchestra. It was most mature creative period, an ardent spirit, he affected the successful solution of a anniversary of the Basel composed in the summer have conquered the concert inaccessibility and was problem, he actually beamed. Chamber Orchestra (BCO). We of the same year in Saanen halls all over the world. reservedly polite. His being That meant more than forced had no idea that we would ... In the meantime, in May (Paul Sacher, “Béla Bartók zum breathed light and brightness; compliments, which I never receive a true masterpiece. 1937, Bartók accepted a Gedächtnis” [In memory of Béla his eyes burned with a noble heard from his mouth... Music for Strings, Percussion commission from the Basel Bartók], 1945) Apart from giving concerts, Bartók was mainly active at universities (Columbia University, from which he received an honorary Creation in doctorate, and Harvard University). During his American exile, his fatal illness, leukaemia, soon made its appearance. Still, he was able to compose some great masterpieces, such as the Concerto for Orchestra (for conductor Serge Koussevitzky, 1943), the Sonata for the Shadow Solo Violin (for the violinist Yehudi Menuhin, 1944) and his Third Piano Concerto written for his wife. He was also able to prepare for publication most of his folk music collections, which appeared, of Illness however, only posthumously. 19

... my father went to work, in his bed, on the manuscript lying on the table. He also asked me to assist him by drawing bar-lines on two pages of orchestra score paper, so many, he indicated, for seventeen measures. When I finished with the ruler he counted the bar-lines to make sure their number was correct, then added a double line to the last one and added the word: “Vége” [Hungarian for “The End”]. Those were to be the concluding measures of the Third Piano Concerto, full score; filling in the notes was the “something” my father would have liked to do at home. Soon afterwards he was taken to the West Side Hospital. ... With my mother, Victor Bátor, myself, and a nurse standing by his bed, he died on the 26 of September, 1945. It was afterwards that I learned about one of his last visitors at the hospital when my father was still able to converse. Dr. Henry Lax, a noted Hungarian physician, paid a visit as a friend. They spoke alone. As Dr. Lax related it afterwards, my father said to him: “What I most regret is having to leave with a full trunk.” (Peter Bartók, My Father, 2002) A rehearsal for the recording of : Bartók is playing with the commissioners of the piece, violinist Joseph Szigeti and jazz clarinettist Benny Goodman, April 1940

With his former piano pupil György Sándor, 1945

The première of the Concerto for Orchestra, 1 December 1944, in the programme booklet

Title page of the pro- gramme booklet for the 1944–45 concert season of the Boston Symphony Orchestra

The title of this symphony-like fugue built on the last theme of the “trio”—a short chorale for brass first movement. The form of the orchestral work is explained by exposition. instruments and side-drum— fourth movement—“Intermezzo its tendency to treat the single Less traditional forms are found in follows, after which the five interrotto”—could be rendered instruments or instrument groups in the second and third movements. sections are recapitulated in a more by the letter symbols “A B A – a “concertant” or soloistic manner. The main part of the second elaborate instrumentation. interruptions – B A”. ... movement consists of a chain of The structure of the third The general mood of the work As for the structure of the work, independent short sections, by movement likewise is chain-like; represents—apart from the jesting the first and fifth movements are wind instruments consecutively three themes appear successively. second movement—a gradual written in a more or less regular introduced in five pairs (bassoons, These constitute the core of the transition from the sternness of the sonata form. The development of oboes, clarinets, flutes, and muted movement, which is enframed by first movement and the lugubrious the first movement contains fugato trumpets). Thematically, the five a misty texture of rudimentary death-song of the third, to the life- As honorary doctor of Columbia sections for brass; the exposition in sections have nothing in common motives. Most of the thematic assertion of the last one. the finale is somewhat extended, and could be symbolized by material of this movement derives University, 1940 (Bartók: “Explanation to Concerto for and its development consists of a the letters a, b, c, d, e. A kind of from the “Introduction” to the Orchestra”, 1944) Mosaic of Bartók’s Influence My mother tongue is Bartók and 20 Bartók’s mother tongue was Beethoven. (Hungarian composer György Kurtág, from an interview by Friedrich Spangemacher, 1998)

...we of the younger musical generation were captivated by Bartók, and to listen to a fresh work of his became an event, alas too rare, of capital importance. Most writers have agreed to hold Schoenberg and Stravinsky responsible for the reaction which set in after Debussy. Some have included Erik Satie. I personally would nominate Bartók instead. These three are the authentic representatives of the musical revolution of that generation. Less direct and sparkling than Stravinsky, less dogmatic than Schoenberg, Bartók is perhaps the most profoundly musical of the three and best manifests a close-knit organic development. (Arthur Honegger, “Preface”, in Serge Moreux’s work Béla Bartók, 1953) Bartók: statue by Imre Varga in London

It is obvious that I regard Bartók as a composer of key significance in 20th century music. That truth is recognized by everybody who knows the history of music in our century. Quite frankly, I am not very interested in the folk-music inspired side of Bartók’s œuvre, for it is not so important from the point of view of music history. But perhaps Bartók was the only one among his contemporaries who conquered the Beethovenian heights of human thinking and emotion. He is the only one whom we can associate with Beethoven’s music, primarily on the basis of such masterpieces as the String Quartets, the Music for Strings, Percussion and Celesta and the Sonata for Two Pianos and Percussion. (Witold Lutosławski, from an interview by András Bálint Varga, 1974)

Composition is possible only through dissonance. Consonance is nothing but dissonance disclosed. ... There are some musicians who try to understand Bartók from Bach. It is impossible. ... Bach can be understood The composer’s tombstone in New York Bartók’s remains were taken to Hungary through Bartók and not the other way round. and reburied in Budapest in 1988. Upon (From a planned essay by the great Hungarian poet Attila his tomb stands a memorial sculpture by József, 1936) Miklós Borsos.

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