Historical Recordings of Bartók's Folksong Arrangements
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Historical recordings of Bartók’s folksong arrangements (1928); variations of performance practice with striking surprises Kornélia Pérchy A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. I certify that all the assistance received in preparing this thesis and sources have been acknowledged. Ethical approval has been granted for the study presented in this thesis from the University of Sydney Human Research Ethics Committee on 15 May 2012 (Protocol number: 14777). Participants were required to read an information statement and sign a consent form. Signed: ................................................................................................................... Date: ....................................................................................................................... 1 Abstract His Master’s Voice recorded two of Béla Bartók’s song cycles in 1928, the Five Hungarian Folksongs (BB 97), and the Eight Hungarian Folksongs (BB 47) with the composer at the piano. The research primarily focuses on the analysis of the 1928 recordings, analysing the singers’ performance, and identifies the three singers’ musical choices. The performance analysis discusses whether the performers’ interpretation conformed to the score and what specific differences they made. The analysis also examines how flexible Bartók was with the singers’ interpretation of his songs. The final section of the thesis traces how the performance of these songs has evolved over time. For the comparison, recordings made between 1950 and 2011 are considered. The analysis examines what specific performance trends emerge from the artists over this period and how the performing style of the songs has changed since the 1928 recordings. The link between the research and the D.M.A. final recital was to attain a comprehensive background to the two song cycles, to highlight the variety of performance choices in the analysis, and to apply some of the findings in the recital. The findings may be useful for modern performers and performer-scholars in terms of the background of these songs. Furthermore, if current vocal practitioners decide to perform Bartók’s folksong arrangements, the thesis offers a wide range of musical choices that they might like to consider in their practice. The thesis also contributes to the better understanding of Bartók’s performance of his own music. ii Acknowledgements I would like to thank my supervisor, Dr Michael Halliwell, for the time, support, and advice he gave me during the writing of this thesis. I am also grateful to my associate supervisor, Dr Rowena Cowley, for her guidance, particularly in preparation for the recitals. My gratitude also extends to the University of Sydney, Conservatorium of Music who provided financial support in the form of the Australian Postgraduate Award and the Postgraduate Research Support Scheme. The latter made it possible for me to participate in three international conferences: Singapore (2012), Porto Allegre, Brazil (2013), and Cambridge, U.K. (2014). My heartfelt thanks also go to my singing teacher, Melánia Rosner-Králik † (Head of Vocal Studies – Ferenc Liszt University, Teaching Institute in Budapest). I am fortunate for having known her and been taught by her. I would also like to thank my other singing teacher, Mária Fekete (Head of Vocal Studies at the Béla Bartók Conservatorium in Budapest) whose wealth of knowledge on Hungarian music and singers assisted me immensely during the writing process. I would not have been able to write this thesis without the support of my family, particularly my husband, Marcos. Finally, I would like to acknowledge my father † and mother. It is because of their love and encouragement that I became a musician. They taught me the value of perseverance and it is to them that I dedicate this thesis. iii Table of Contents Declaration .................................................................................................................... i Abstract ........................................................................................................................ ii Acknowledgements ..................................................................................................... iii Table of Contents ........................................................................................................ iv List of Figures ........................................................................................................... viii List of Tables............................................................................................................... xi List of Sound Files ..................................................................................................... xii INTRODUCTION AND LITERATURE REVIEW .................................................... 1 CHAPTER 1 - HISTORICAL BACKGROUND ...................................................... 18 1.1 Influences of Bartók’s early compositional style ................................... 18 1.1.1 Urban popular music in the gypsy style .......................................... 21 1.1.2 Bartók’s first encounter with genuine Hungarian folksongs ........... 23 1.2 The phonograph in ethnography ............................................................. 25 1.2.1 Edison’s phonograph ....................................................................... 25 1.2.2 Jesse Walter Fewkes ........................................................................ 27 1.2.3 Béla Vikár and the beginning of folk music research in Hungary .. 28 1.2.4 Vikár’s achievements in Paris 1900 ................................................ 31 1.2.5 Kodály and Vikár ............................................................................. 33 1.3 Kodály and Bartók’s initial field trips .................................................... 34 1.4 Twenty Hungarian folksongs (BB 42, 1906) .......................................... 35 1.5 Pentatonic scale ...................................................................................... 38 1.6 The end of the field trips ......................................................................... 39 1.7 Characteristics and classification of Hungarian folksongs ..................... 40 1.7.1 An overview of the characteristics of the ‘old’ and ‘new’ style ...... 41 1.7.2 Classification based on Ilmari Krohn’s system ............................... 44 CHAPTER 2 - 1928 THE HMV RECORDINGS...................................................... 48 iv 2.1 Bartók’s recordings ................................................................................. 48 2.1.1 Kuno Klebelsberg and the HMV recordings ................................... 52 2.1.2 Bartók’s correspondence with Universal Edition ............................ 54 2.2 Performers of the 1928 recordings ......................................................... 55 2.2.1 Vilma Medgyaszay (1885–1972) .................................................... 56 The first cabaret in Hungary ..................................................................... 56 Vilma Medgyaszay’s career ..................................................................... 59 2.2.2 Mária Basilides (1886–1946) .......................................................... 66 2.2.3 Ferenc Székelyhidy (1885–1954) .................................................... 69 CHAPTER 3 – ANALYSIS OF THE TWO SONG CYCLES ................................. 75 Characteristics to be considered in the analysis ........................................... 75 Bartók’s views on the interpretation of Hungarian folksongs ...................... 76 Rhythm adjustment ....................................................................................... 77 How do non-Hungarian singers perform Hungarian folksongs? .................. 77 Portamento .................................................................................................... 78 Bartók’s notation .......................................................................................... 80 3.1 FIVE HUNGARIAN FOLKSONGS (BB 97) ........................................ 82 3.1.1 Far behind I left my country ............................................................ 83 3.1.2 Crossing the river ............................................................................. 89 3.1.3 In the summer fields ........................................................................ 96 3.1.4 The horseman ................................................................................ 103 3.1.5 Walking through the town ............................................................. 109 Some conclusions on Medgyaszay’s performance ................................. 112 3.2 EIGHT HUNGARIAN FOLKSONGS (BB 47) ................................... 115 3.2.1 Black is the earth ........................................................................... 118 3.2.2 My God, my God ........................................................................... 123 3.2.3 Women, women; let me be your companion ................................. 126 v 3.2.4 So much sorrow ............................................................................. 131 3.2.5 If I climb the high summit ............................................................. 132 Some conclusions on