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Preface and Acknowledgments
PREFACE AND ACKNOWLEDGMENTS This book is the extended form of six public lectures delivered in the Ernest Bloch Lecture Series from September 18 to October 23, 1989, in the Department of Music at the University of California at Berkeley. To my regret, the presentation of this expanded version, which for the most part I had finished by the end of 1992, is somewhat overdue, but not without good reason. For an American publication I found that I could not help but produce, if I may say so, a magnum opus, a summary of three decades of Bartók studies, thereby offering grateful, if belated, thanks to the University of California and to my colleagues and students at Berkeley. It was proba- bly the happiest time of my life: I had the honor not only of presenting the music of Béla Bartók but also, at a turning point in Bartók studies, of outlining the tasks awaiting future research on his oeuvre before the most resonant, expert audience I have ever met outside of my country, Hungary—the homeland of Bartók. Coming half a century after the death of the composer, this is the first book dedicated to the study of Bartók's compositional process to be based on the com- plete existing primary source material. Therefore, a great many things need to be accomplished simultaneously: a description of the sources (chapter 3) as well as the first reliable list of manuscripts (in the appendix); an extensive discussion of Bar- tók's sketches and drafts (chapters 4 and 7); an introduction to auxiliary research fields as for instance in paper studies (chapter 6). -
Bartók Béla Életének Krónikája Translated by Márta Rubin
BÉLA BARTÓK JNR. Chronicles of Béla Bartók’s Life BÉLA BARTÓK JNR. CHRONICLES OF BÉLA BARTÓK’S LIFE Magyarságkutató Intézet Budapest, 2021 Translation based on Béla Bartók Jnr.’s original Bartók Béla életének krónikája Translated by Márta Rubin Book Editor: Gábor Vásárhelyi Assistant: Ágnes Virághalmy The publication of this book was sponsored by EMMI. A kötet megjelenését az EMMI támogatta. Original edition © Béla Bartók Jnr., 1981 Revised edition © Béla Bartók Jnr.’s legal successor (Gábor Vásárhelyi), 2021 Translation © Márta Rubin, 2021 ISBN 978-615-6117-26-7 CONTENTS Foreword ......................................................7 Preface .......................................................11 Family, Infancy (1855–1889) ....................................15 School Years (1890–1903) .......................................21 Connecting to the Music Life of Europe (1904–1906) ...............71 Settling In Budapest. Systematic Collection of Folk Songs (1907–1913) ................99 War Years (1914–1919) ........................................149 After World War I (1920–1921) .................................189 Great Concert Tours on Two Continents (1922–1931) .............205 Economic Crisis (1932–1933) ..................................335 At The Academy of Sciences. Great Compositions (1934–1938) .....359 World War II. Second and Third American Tour (1939–1945) .......435 Last Journey Home, “… But For Good” (1988) ....................507 Identification List of Place Names ...............................517 FOREWORD FOREWORD I have the honour of being a family member of Béla Bartók Jnr., the author of this book. He was the husband of my paternal aunt and my Godfather. Of our yearly summer vacations spent together, I remember well that summer when one and a half rooms of the two-room-living-room cottage were occupied by the scraps of paper big and small, letters, notes, railway tickets, and other documents necessary for the compilation of this book. -
CHAPTER 4 the Second Violin Concerto
i ABSTRACT The Violin Concerti of Béla Bartók By So Jin Kim There are two violin concertos in Béla Bartók’s body of compositions. The first concerto written in 1907 is obscure and rarely heard, while the second, completed in 1939, is widely performed and generally regarded as a twentieth-century masterwork. Bartók had contrasting relationships with the violinists for whom the works were written: the first, for Stefi Geyer; and the second, for Zoltán Székely. My thesis will compare the two concerti, illustrating how the second refines, expands and more fully develops the compositional approach of the first. It will also examine the working relationship and influence the performers had on the ultimate outcome of the concerti. This comparison of two works with very different outcomes offers insights into Bartók’s compositional methods and development. ii ACKNOWLEDGMENTS Dr. Anthony Brandt, for your guidance, patience, expertise, and insights. Dr. Bailey, for your detailed and thoughtful advice. Cho-Liang Lin, for your encouragement and being the source of my artistic inspiration throughout my time at Rice University. And to my family, for their love and support. CONTENTS ABSTRACT i ACKNOWLEDGMENTS ii INTRODUCTION 1 CHAPTER ONE. BRIEF BIOGRAPHICAL INFORMATION ON BÉLA BARTÓK AND BACKGROUND INFORMATION ON THE FIRST AND SECOND VIOLIN CONCERTOS Béla Viktor János Bartók (1881-1945) 3 The First Violin Concerto 11 The Second Violin Concerto 14 CHAPTER TWO. THE FIRST VIOLIN CONCERTO Unconventional Concept 18 The discovery of folk music and early compositions (1904-1907) 19 Bartók’s First Violin Concerto 25 Bartók and Geyer: Their Relationship 36 CHAPTER THREE. -
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. -
Modern Music a Collection of Manuscripts and First & Early Editions
J & J LUBRANO MUSIC ANTIQUARIANS Catalogue 90 | November 2020 modern music a collection of manuscripts and first & early editions 20TH CENTURY PART I MODERN MUSIC a collection of manuscripts and first & early editions 20TH CENTURY PART 1 TABLE OF CONTENTS in order by composer’s surname 1 Auric - Burleigh 11 Castelnuovo-Tedesco - Honegger 21 Jacob - Milhaud 30 Orff - Satie 43 Schoenberg 62 Schoop - Trillat 70 Vaughan WIlliams - Wolfsohn 81 References 82 Conditions of Sale All items in the catalogue include a link to the item’s listing on our website with further details and purchasing options. Please see our Conditions of Sale notice at the back of the catalogue for further information. J & J Lubrano Music Antiquarians LLC 6 Waterford Way Syosset, NY 11791 U.S.A. (516) 922-2192 | [email protected] www.lubranomusic.com Front cover illustration detail from item #5 AURIC - BARTО`K AURIC, Georges 1899-1983 2. 1. Petite Suite [Solo piano] Paris: Heugel [PNs H. 29,832-29,836], 1928. Original publisher’s ivory printed wrappers. Unbound as issued. 15 pp. I. Prélude – II. Danse – III. Vilanelle et Entrée – IV. Sarabande – V. Voltes “Les nos. 2 et 3 sont écrits d’après des pièces de luth polonaises du XVIe siècle.” Wrappers slightly browned and soiled; publisher’s handstamps to upper, “Hommage de l’Editeur” to title. Small hole to pp. 3-4 just touching text. First Edition. Schmidt GA56, I, pp. 282-283. $100 (33799) 2. Printemps [Solo piano] inspired fashion designers including Christian Paris: Durand & Cie [PN D. & F. 12,621], Dior and Elsa Schiaparelli; he also designed 1935. -
Béla Bartók: the Uncompromising Hungarian
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 1972 Béla Bartók: The Uncompromising Hungarian Sally McCarty Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Composition Commons, and the Ethnomusicology Commons Recommended Citation McCarty, Sally, "Béla Bartók: The Uncompromising Hungarian" (1972). Honors Theses. 676. https://scholarlycommons.obu.edu/honors_theses/676 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. / / BELA BARTOK:·. THE UNCOMPROMISING HUNGARIAN HONORS FROGRA£vl SPECIAL STUDIES Sally McCarty D~cP ~bPr 12, 1972 / , BELA BARTOK: THE UNCOMPROMISING HUNGARIAN INTRODUCTION YPars b~for~ the earli~st record~d compositions by prof~ssional musicians, the common peoplP san~; dancPd; and chantPd. lullabiPS, work songs, and prayers to their gods. Gradually, professional musi- cians and art music developed, and a distinction grew up bPtWPen art music and folk music. The theory was that ~v~rything good and beau- ti~ul came from the gifted f~w an~ n~v~r ~rom the common crowd. It never struck anyon~ as o~d that thosP who ~xprPssed contPmpt of thP people and all th~ir works, continuPd to borrow all the bPst produc- tions of th~ people, such as its finPst folk melodies, dane~ rhythms, scal~s, an~ instruments. It has only be~n in th~ last few y~ars that we hav~ been abl~ to ~~t an accurate pictur~ of what rPal folk music is. -
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. -
Piano Syllabus, 2015 Edition
Piano SYL LABUS / 2015 EDITION PianoPiano SYLLABUS / 20152015 EDITIONEDITION The Royal Conservatory © Copyright 2015 The Frederick Harris Music Co., Limited All Rights Reserved The Royal Conservatory of Music is one of the largest and most respected music education institutions in the world, providing the definitive standard of excellence in curriculum design, assessment, performance training, teacher certification, and arts-based social programs. The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that the arts are humanity’s greatest means to achieve personal growth and social cohesion. Advancing the transformative effect that music and the arts have on society lies at the heart of everything The Royal Conservatory does. Increasingly, music and the arts are also being recognized as crucial intellectual building blocks, closely linked to cognitive functions such as brain and verbal-linguistic development; spatial reasoning; complex problem solving in mathematics and science; the development of emotional intelligence; interpersonal skills; and self-expression. Since its inception in 1886, The Royal Conservatory has translated the latest research on music and arts education into effective programs benefiting millions of people around the world. The more than five million alumni of The Royal Conservatory have enjoyed the many benefits of music study and carried these benefits into subsequent careers in a wide range of fields, including medicine, business, politics, education, science, and sports. Others, such as Glenn Gould, Oscar Peterson, Diana Krall, Teresa Stratas, Sir Roger Norrington, and Jon Vickers, have achieved international musical acclaim. The Royal Conservatory Certificate Program provides a recognized standard of musical achievement through an effectively sequenced system of study and individual student assessments, from preparatory to advanced levels. -
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.