For Piano, Op. 2, DD 2 -- Composed in 1890 Mazurka for Piano, Op
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Bartok Cover 6/6/07 4:12 Pm Page 1
Bartok Cover 6/6/07 4:12 pm Page 1 CD IO D U A H T I BARTÓK W Connections A guide for performers and programmers by Malcolm Gillies www.boosey.com Bartok Cover 6/6/07 4:12 pm Page 3 BARTÓK Reading & Listening Photo: Ernest Nash / courtesy of Peter Bartók with Ditta in New York (1940) Photo: courtesy Peter Bartók Photo: courtesy Peter Bartók with his phonograph machine in Bucharest at his Bösendorfer piano This handbook brings together key information about Bartók and Malcolm Gillies his works. Malcolm Gillies is Vice-President (Development) of the Further reading is listed in the on-line Bartók articles of The New Australian National University and Chair of the Australian Grove Dictionary of Music and Musicians (www.grovemusic.com) Youth Orchestra. As a musicologist he has written half a and Die Musik in Geschichte und Gegenwart (www.mgg- dozen studies of the life and works of Béla Bartók, online.com). including Bartók Remembered, The Bartók Companion, Bartók in Britain and The New Grove Dictionary’s For more detailed studies of Bartók’s works see: extended article on Bartók. As a musician he has György Kroó, A Guide to Bartók (Budapest: Corvina, 1974) associated with the Emerson, Belcea, New Zealand, and Elliott Antokoletz, The Music of Béla Bartók Australian quartets in presentations of Bartók’s cycle of (Berkeley: University of California Press, 1984). quartets, and co-curated a Bartók festival at Wigmore Hall, David Yeomans, Bartók for Piano London, in 2006. In 2007 he becomes the President of City (Bloomington: Indiana University Press, 1988) Photo: courtesy Bartók Archive Budapest University London. -
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.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. -
Marketing Fragment 6 X 10.5.T65
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. -
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 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. -
Articulating Bartók: Understanding the Touch Notation in His Pedagogical Works
Articulating Bartók: Understanding the Touch Notation in his Pedagogical Works Victoria Fischer Faw, D.M.A., NCTM Elon University [email protected] Presentation to the MTNA Annual Conference Sunday, March 17, 2019 Spokane, Washington ABSTRACT: Béla Bartók (1881-1945), composer of those difficult, formidable and modern piano works also stands as one of the most important contributors to the elementary and intermediate piano repertoire. His Piano Method and First Term at the Piano, For Children, Fourteen Bagatelles, Op. 6, Ten Easy Pieces, Mikrokosmos and various other beginning pieces provide teachers with high quality 20th-century literature as well as an introduction to the charms of folk music. But the notation----the articulatory signs, pedal indications and unconventional key signatures and rhythms---can be difficult to interpret. The solutions can be found in understanding the sources: the folk music Bartók incorporated, as well as his ideas about piano technique and how to teach it. Bartók’s deep study and appreciation of the folk music he collected transferred to his compositions. This, combined with his pedagogical interest in developing coordination at the piano, resulted in a thick layer of dots, dashes and slurs, pedal marks, and all manner of combinations. This presentation will share insights into what the notation means, and how to teach and play it. Representative works valuable to the beginning and intermediate studio will be demonstrated and explained. OVERVIEW OF PIANO WORKS Early Works (pre-folksong 1896-1905) • Der Junge Bartók (Editio Musica Budapest) Drei Klavierstücke ( from 1896-7), Scherzo, Variations, Petits Morceaux • Funeral March from Kossuth (1903) • Four Piano Pieces (1904) • Rhapsody, Op.