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A guide for performers and programmers
B ARTÓK Connections
Photo: courtesy Peter Bartók
Photo: courtesy Peter Bartók
Reading & Listening
at his Bösendorfer piano
Photo: Ernest Nash / courtesy of Peter Bartók
with Ditta in New York (1940)
with his phonograph machine in Bucharest
This handbook brings together key information about Bartók and his works. Further reading is listed in the on-line Bartók articles of The New Grove Dictionary of Music and Musicians (www.grovemusic.com) and Die Musik in Geschichte und Gegenwart (www.mggonline.com). For more detailed studies of Bartók’s works see: György Kroó, A Guide to Bartók (Budapest: Corvina, 1974) Elliott Antokoletz, The Music of Béla Bartók (Berkeley: University of California Press, 1984). David Yeomans, Bartók for Piano (Bloomington: Indiana University Press, 1988) The Bartók Companion, ed. Malcolm Gillies (London: Faber & Faber, 1993) Lászlo Somfai, Béla Bartók: Composition, Concepts, and Autograph Sources (Berkeley: University of California Press, 1996). Useful websites: Boosey & Hawkes www.boosey.com Universal Edition www.universaledition.com Editio Musica Budapest www.emb.hu Bartók Records www.bartokrecords.com Bartók Archives Budapest www.zti.hu/bartok For further information and resources for festival programming, please contact our Promotion Department: North America Boosey & Hawkes Inc 35 East 21st Street, New York, NY 10010 6212 USA Tel: +1 (212) 358 5300 Email: email@example.com UK (and rest of world) Boosey & Hawkes Music Publishers Ltd Aldwych House, 71-91 Aldwych, London, WC2B 4HN UK Tel: +44 (0)20 7054 7200 Email: firstname.lastname@example.org Germany Boosey & Hawkes/Bote & Bock GmbH & Co Lützowufer 26, D-10787 Berlin Germany Tel: +49 (030) 2500 1300 Email: email@example.com Publications on sale are available from www.boosey.com/shop or from your local music dealer Some publications might not be available in all territories
Malcolm Gillies is Vice-President (Development) of the Australian National University and Chair of the Australian Youth Orchestra. As a musicologist he has written half a dozen studies of the life and works of Béla Bartók, including Bartók Remembered, The Bartók Companion, Bartók in Britain and The New Grove Dictionary’s extended article on Bartók. As a musician he has associated with the Emerson, Belcea, New Zealand, and Australian quartets in presentations of Bartók’s cycle of quartets, and co-curated a Bartók festival at Wigmore Hall, London, in 2006. In 2007 he becomes the President of City University London.
Photo: courtesy Bartók Archive Budapest
with his son Peter in Switzerland (early 1930s)
Cover image portrait aged 41 (1922)
Photo Lajos Bátyi / courtesy Bartók Archive Budapest
Produced with special thanks to Hungaroton for their assistance in assembling the CD sampler, and to Peter Bartók and László Vikárius of the Bartók Archive Budapest for their kind provision of photographic material.
Editor: David Allenby Design: David Plumb ARCA PPSTD Printed in UK by Halstan & Co Ltd © 2007 Boosey & Hawkes
Bartok Connections 6-6-07
B ARTÓK Connections
A guide for performers and programmers
Photo: courtesy Bartók Archive Budapest
by Malcolm Gillies
photo portrait (1916)
Table of Contents
“A very original and powerful character”
Alban Berg, 1920
Bartók Renewed Bartók Connected Bartók’s Works with programming tips Bartók and World Timelines Works Index by Genre Reading and Listening
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by contrast. With original texts in languages such as Hungarian. The conductor Georg Solti left early. or leaving for the international ‘hot spots’ of western Europe or north America.1 Béla Bartók was a Hungarian whose nationality lies at the heart of his musical inspiration and innovation. they continue to lurk – despite European Union expansion eastwards – behind an iron curtain of language and culture. Overshadowed by the musical supremacy of Germany and Austria. Today’s inheritance of Bartók’s repertory is patchy and not always a good reflection of the ultimate quality of his music – or its relevance to the ears of new twenty-first-century audiences. during Bartók’s frequent but fleeting visits abroad in the 1920s and 1930s. interestingly. Bartók and his colleague Erno Dohnányi dallied – patriotic yet disillusioned – but ultimately they left. Zoltán Kodály stayed put. but too late to establish worthy new careers abroad. usually involving pianos or strings somewhere in the mix. given those thousands of folksongs he spent half his life analyzing and categorizing! - Photo: courtesy Peter Bartók . Yet listen to Village Scenes or the Cantata Profana and you realize how vocal Bartók has its own mastery. Bartók’s choral and vocal works. and being considered a merely provincial phenomenon. Mostly they are instrumental works. And it led him to the rich veins of other East European traditions. available in myriad arrangements from solo piano to full orchestra. But Bartók’s nationality has also been a stumbling block to his acceptance as a musical master of the stature of Johannes Brahms or Igor Stravinsky. And little wonder.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 2 2 B ARTÓK Renewed at a US performance of Piano Concerto No. and the advocacy of others. a small set of six Romanian Folk Dances (1915). are neglected. any talented Hungarian in Bartók’s day was faced with the dilemma of staying at home. Their musical fates came to hang on the whims of posterity. Romanian or Slovak. although artistically they lack nothing at all. and to his ultimate cosmopolitanism as a musician and man. The works we now know best usually started out with early exposure on the international stage. His most popular work over the ages is.
Bartók’s Cantata Profana was the first of an intended “Danube trilogy”. Richard Strauss. But he also digested these influences to produce. into lists of the top halfdozen best-selling twentieth-century composers. to confront Bartók afresh. the Sonata for Solo Violin that Yehudi Meuhin commissioned from Bartók in 1944 remains as breath-taking. and such pianists as Kentner and Sándor – promoted his works across the world more effectively than Bartók himself could ever have conceived. Bartók died within weeks of the end of the Second World War. in part. from the 1980s. No self-respecting orchestra can overlook the late-flowering. or individual movements. The new LP era pushed Bartók. However. Bartók’s gift for the stage is sometimes overlooked. at least in the West. the gramophone and new opportunities for travel helped him to transcend artistic and political boundaries. Other music with superb filmic potential includes the supernatural moments of The Miraculous Mandarin (1918-19). and provide the simple tonic of the less familiar. Copland. But Bartók’s unique Hungarianness only began when he realized that this heroic Hungarian lament was nothing but a pastiche of his Germanic inspiration of the moment. To renew audiences. Lutosl Benjamin Britten. Crumb. Later. Percussion and Celesta (1936) to build the film’s incredible tension. is an unrivalled masterpiece – truly Bartók’s answer to Igor Stravinsky’s ballet The Rite of Spring and Alban Berg’s opera Wozzeck. Bartók means more than a small cluster of quartets. the diaspora of great Hungarian musicians – conductors like Reiner and Doráti. war surrender and revolution (1918-19). The six string quartets led at the quality end of the classical market. mellow fruits of Bartók’s years of exile in America: the Concerto for Orchestra and Third Piano Concerto. With such a strong portfolio of instrumental works for the concert hall. and Messiaen. and the rich. Yet The Miraculous Mandarin pantomime. orchestral pieces and piano works. Now 60 years after his death. He did that. beautiful and strong as ever. for instance. he wandered wider still. 1970 .Bartok Connections 6-6-07 6/6/07 5:08 pm Page 3 Born in 1881 in a provincial Hungarian town (now part of Romania). continually challenge performers. it seems. utterly distinctive yet still folkinspired style. As soon as he was dead. It is not by chance that so many of his works. Ginastera. His early symphonic poem Kossuth (1903). Bartók ranged very widely in his ethnographic thinking. In short. And for the chamber audience. for several decades. but also the littleknown three songs From Olden Times for male chorus and his challenging Violin Concerto No. ‘Red Apple’). While newly Communist Hungary suppressed his more ‘abstract’ works for some years. Among composers acknowledging a direct influence from Bartók are –awski. visiting the Berbers of North Africa and the Turks of Anatolia. So. Percussion and Celesta – perhaps his consummate work of the 1930s. From these pre-War years come so many of the Bartók chamber classics. Within a couple of years of starting to collect folk music he had discovered equally fertile fields among the Romanian and Slovak communities of Old Hungary. each generation needs to find its own answers to the essential qualities of his greatness. Although Bartók was not a film-music composer of the ilk of Saint-Saëns. while works like Romanian Folk Dances were happily positioned at the more popular end. the popularity of his music took off. the violinists Székely and Szigeti. Korngold or Shostakovich. include the word ‘dance’ in their titles. 3 “Here was an extraordinary personality” Aaron Copland. in any of the six string quartets or in the stunning Music for Strings. Stanley Kubrick’s horror movie The Shining (1980) three times returns to the eerie third movement of Bartók’s Music for Strings. folk Bartók begat art Bartók. Between the wars Bartók gradually became a citizen of the world. As with many post-War Hungarians György Ligeti showed strong Bartókian influence in his early works of the 1950s but also in his later works. Bartók soon dedicated himself to the national cause. the percussive and rhythmic qualities of his music adapt superbly to stage and screen. Bartók’s real Hungarian innovation was to take the tunes of the swineherd and the peasant girl into the concert hall in all forms of dress and combination. a fully integrated. and a prelude to the increasingly pan-national style of his ‘golden years’ as a composer: 1934-39. Bartók’s reputation as a musical genius is undiminished.2. We hear that powerful homogenized utterance. Such compositions as the Piano Suite. sometimes with the same glowing intensity heard in works of Arabic influence by the Pole Karol Szymanowski or the Briton Gustav Holst. in his longer and later pieces. through arrangements – some disarmingly simple (like his first setting. Radio. Unlike Kodály. some alarmingly complex and dissonant (like his Improvisations of 1920). Dance Suite and Mikrokosmos reflect these non-European inspirations. His years on a League of Nations’ committee in the 1930s also brought out a new purpose of artistic internationalism. Finno-ugric sounds of Bartók’s unaccompanied male choruses. lamented the abortive Hungarian War of Independence of 1848-49. history’s tendency to reduce the richness of diversity into a few sanctioned examples – the inner canon – needs to be resisted. written during heady days of influenza pandemic. for instance.
In similar ways. aunt and mother (1901) In the Beginning Truly great composers begin a long way from their destinations. set to work on his own Piano Concerto No. These themes are useful in connecting Bartók’s life and his works. but also of ideology. His music confidently defies easy ‘solutions’ to its forms or structures. The three Hungarians began in similar styles.1. the sound of Szymanowski’s war-time violin works broadened the palette of his own violin and orchestral writing in the early 1920s. Kodály his Psalmus Hungaricus and Bartók the trans-national Dance Suite that rapidly became his first big international success with orchestras. Beneath a logical and orderly exterior there lies strong and relentless passion. His activity as composer. or in the simple arrangement of a Transylvanian folk song. even if he was a little more coy than Stravinsky about borrowing from others. too. Bartók’s schoolboy and Academy exercises in composition are conservatively late-Romantic. the River Danube in Budapest (1930s) Bartók at Home Vienna had its Second Viennese School of Schoenberg. He was a keen supporter of the International Society for Contemporary Music because of the opportunities it offered to review the latest musical trends. had its trio of ‘greats’ in this same generation: Bartók. Budapest. The very titles reflect their different approaches and allegiances: Dohnányi produced his Festival Overture. classic internationalism. Photo: Mary Evans Picture Library Photo: courtesy Bartók Archive Budapest charismatic voice emerges – still utterly Romantic in its vocabulary. the Budapest Three were each commissioned to write a work and what a great investment this proved to be. Berg and Webern. To celebrate the fiftieth anniversary of the union of Buda and Pest in 1923. pedagogy and personal intent. performer.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 4 4 B ARTÓK Connected It is impossible to pigeonhole Bartók. and the revelation of . Excerpts from works marked in bold appear on the accompanying Bartók Connections CD. ‘Red Apple’. and beyond. but also in connecting Bartók with other composers of his day. whether it be in setting an expressionist poem for male chorus (Evening). penning his first Lisztian-styled work for piano and orchestra (the op. Dohnányi remained comfortably postBrahmsian. Kodály and Dohnányi. and immediately. but each then pursued a different course. teacher and ethnomusicologist resulted in a unique blend of features in his music. that set Bartók on his quest for a clean and clear source for new compositional directions. with its stringless sound in his ears. Bartók headed right through Hungarianism and modernism to achieve a stylistically blended. In 1926 he heard Stravinsky’s new Piano Concerto. Then. It is this startling journey of new inspirations and unexpected turns that distinguishes the genius from the everyday artist.1 Rhapsody). while Kodály explored more modern but strongly Hungarian directions. Below are ten themes that his music readily suggests. but pushing towards something new. This is not just a matter of style. Bartók and Contemporaries with his sister. although many have tried. from around 1902/3 a more individual and Bartók’s ears were always open.
is found on the accompanying CD. For a millennium the Hungarians have been trampled over by marauding hordes from east or west. in deepest mourning. Stravinsky and Schoenberg in Budapest (1921) Debussy’s soundworld around 1907 hugely influenced his works for the following five years. costume design for the premiere of The Wooden Prince (1917) Photo: courtesy Bartók Archive Budapest Bartók performs a programme of Debussy. His opera. depicted Hungarian heroism in the War of Independence of 1848-49 against the Austrians. with The Miraculous Mandarin becoming one of Bartók’s more performed works. his String Quartet No. So. A hopeless silence reigns. forged a new folk-influenced course for Hungarian opera. as the world slid to war in 1939. for γ eita (oboe) and darbuka (drum). understandably. Bartók’s early symphonic poem. and . Of course. where he studied the music of the Berbers. then all publicity for my orchestral works is just a waste of time.2. while the one he loved most (The Miraculous Mandarin pantomime) was never performed in Budapest during his lifetime. And its plot is not quite so shocking in an age of ubiquitous on-screen sex and violence. held a fatalistic attitude to war. He looked for new inspiration in a trip to North Africa (now Algeria). This ‘Arabic’ music was so different – to his ears. every now and then they tried a bit of trampling themselves. a ballet and a pantomime – all date from the turbulent decade of the 1910s and each was problematic to him. Duke Bluebeard’s Castle. demonstrating in its third movement. Bartók at War Sandwiched between Austria-Germany and Russia. finished in 1938. Photo: courtesy Bartók Archive Budapest ‘Arabic’ Bartók By 1913 Bartók felt his career had stalled. One of the earliest ‘Arabic’ examples was the third movement of his Suite for piano. As expressed in the concluding ‘Marcia funèbre’. even using twelve tones”. 5 Bartók on Stage Bartók’s three stage works – an opera. too. less starkly programmed responses to the two world wars. so deliciously ‘primitive’ – that it opened up new compositional vistas galore. But General Kossuth’s battle is ultimately lost. The stage work he liked least (The Wooden Prince ballet) gained performance most easily.” Time has now healed this insult. Rather than a fast finale. He took great care in recording many of their pieces on his phonograph. but languished for years. including the opera Duke Bluebeard’s Castle. faster and sharper sounds in his final movement.6. and instead allowed the melancholy of his opening theme to infect and ultimately to consume all brighter. Hungarians have. the first of the Two Portraits and two of the Four Orchestral Pieces. but such a work as this is not. Kossuth (1903). In a 1932 letter to his publisher he lashed out: “As long as all kinds of rubbish are performed.” Bartók’s music shows complex.2 (1914-17) ends with slow. Bartók rejected his drafted fast finale to the String Quartet No. Its story was too coarse and its music too riotous for it to have an easy birth in Bartók’s own time. provided a very elegant answer to the twelve-tone school. that “one can compose tonally. One of them. at least in its orchestral suite version. although it did achieve 1920s performances in Czechoslovakia and Germany – until Cologne’s Mayor Conrad Adenauer shut it down. grim and muted music – an unrelieved anticlimax to the work. “Hungary lies in deepest woe. His Violin Concerto No.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 5 sometimes squashed from both sides at the same time.
No. too. and embrace this beautiful music on its own terms. Violin Sonata No. both its unhappy and its happy sides. Photo: courtesy Bartók Archive Budapest on a field trip to Anatolia (1936) with its urgent rhythms and fragmentary tunes. farther. only roam the forest meadows and groves. explores the world of the peasant. for unaccompanied male chorus. His Village Scenes. Its interplay between soloists. and hence with the inflections of the music. There is no solution. courtesy of Bartók Archive Budapest . including his mother and his two wives. So. But each woman’s influence was different. choir and orchestra is nowhere better expressed than in the cantata’s finale. he included an Arabic tune. which in a few lines sums up just about everything central to Bartók the artist: Once there was an old man whose treasure was nine fair sons. as Kodály early realized. so it is not surprising that Bartók wrote hundreds of pieces for solo voices or choirs and transcribed many thousands more. And farther. when he came to write Forty-four Duos. seemed to be playing in the same time space but on entirely different planes. His affection for a forester’s teenage daughter during the First World War. but only wear the wind and sun. fair and sturdy. Half a dozen women. And so their antlers cannot pass through doorways. percussive reputation belies an intensely passionate man. including the snappy song ‘Loafer’. to a field trip photo of Slovakian peasants (1915) Romanian text that Bartók himself fashioned into Hungarian. only cooling mountain springs. while in the same year his From Olden Times. The opening of the First Sonata’s second movement dispenses with the piano-man entirely. high principled love for the violinist Stefi Geyer led to the twisted genius of the ‘ideal’ portrait of his Violin Concerto with his second wife. and differently reflected in his music. and a couple of his Mikrokosmos pieces.1 drew early critical comment that the two instruments. and then the grim ‘She is in New York (1940) Dead’ music of the thirteenth of his Fourteen Bagatelles. Now their mouths no longer drink from crystal glasses. nine huntsmen. but also that translations into English or German can conflict fundamentally with the stress of those languages. The Twentyseven Choruses are for children’s and women’s choirs. In his later career he wrote for all manner of choirs.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 6 6 Vocal Bartók The voice was the essential folk instrument. Bartók’s music for voices is not just from his earlier years. led to his little-known Five Songs (BB71). in Bartók’s most extreme style. exists in a finely rendered arrangement for female voices and chamber orchestra. hunting. Their slender bodies never can be clothed.1. nay. passages from his first two piano concertos. on and on they wandered. All were changed to stags. His confused. neither trade nor farming. But only to wander. Bartók in Love Bartók’s steely. The culminating work of Bartók’s writing for voices has to be the Cantata Profana: The Nine Enchanted Stags. allowing the violin-woman to speak without interruption – a precursor of Bartók’s complete essay for solo violin twenty years later. From clear and cooling mountain springs. Their dainty legs can never stand the hearthstone. ‘Night of Desire’. inspired or influenced a huge proportion of his output. with its curious centrepoint. as the dedications of his works make clear. there in the forest shadows. then. And his immediate affinity with violinist Jelly d’Arányi led rapidly in the early 1920s to two violin sonatas. Photo: courtesy Bartók Archive Budapest Photo: Béla Bartók. Other ‘Arabic’ moments include two movements of his Dance Suite. with its boisterous ‘Lads’ Dance’. For programmers today the challenge is not just that the originals are in East European languages little known by singers and choirs. Ditta Pásztory. other than to transcend the inherent linguistic barrier. only tread the leafy mold. like a man and a woman. a-hunting. for young violinists. Naught of work he taught them.
so his American works are just one further stage of development from the last European works. which Goodman had commissioned from Bartók. It is now an essential work for all serious players of the viola. At the end. nothing surpasses his Sonata for Solo Violin. Benny Goodman. Photo: Béla Bartók. Drawing the full circle between Bartók’s early and later years. Yet in 1940 they came together in New York to perform and record Contrasts. and have remained among his most performed works ever since. Its taxing fourpart Fuga pushes even the most ambidextrous violinist to the limit.2 or his Divertimento. Bartók had been returning to a more measured and tonal style for two decades. Bartók did not fit well into war-time America. but the influence is more than passing.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 7 Jazzy Bartók The ‘King of Swing’. And. and Bartók are curious musical bedfellows. courtesy of Bartók Archive Budapest recording Contrasts with József Szigeti and Benny Goodman (1940) At the End Was Bartók in some way corrupted by America. The composer had diligently studied recordings of Goodman’s trio.2 (1905-7). written to Yehudi Menuhin’s order in 1944. and then later revised under Peter Bartók’s supervision. such as the Violin Concerto No. she creatively interpreted sixteen of them on the CD. Personally. But. Many other jazzy turns are found in Bartók’s Mikrokosmos pieces. 7 Photo: Mary Evans Picture Library ship arriving in New York (1930s) written there certainly suited the emerging tastes of postWar America. He himself pointed out the Gershwin influence in No. actually. works like Concerto for Orchestra (1943) and Piano Concerto No. Jazz pianist Andrea Keller observed that Bartók’s Mikrokosmos pieces appear as if “arranged for jazz ensemble”.151. more marketable? Certainly. turning from his true. Bartók’s Viola Concerto remained unfinished but was sufficiently sketched out for it to be completed by Tibor Serly. in 1941 he also came up with an imaginative arrangement for two pianos of an early work that he much liked.3 (1945) have a glossier surface than many of their predecessors. for pure craft. of 2003. a kind of deliciously filtered Hungarian jazz. 1966 . Mikrokosmos. and came up with a work truly of ‘contrasts’. uncompromising self into something more ‘accessible’. the orchestral Suite No. With her ensemble. but his compositions “I am convinced that he is a part of immortality” Ernst Krenek. And a recent review of Chick Corea’s Trio Music could only comment that “the effect is often more like Bartók than anything else”. They started with popularity.
8) Marcia funèbre arranged for solo piano Boosey & Hawkes / Editio Musica Budapest 5´ Piano Quintet BB33 (1903-4) Four movements M 080 06338 5 Score and parts (Editio Musica Budapest) Boosey & Hawkes / Editio Musica Budapest 38´ * ‘The Red Apple’ Székely (Transylvanian) folksong BB34 (1904) for voice and piano 2´ Bartók’s very first folksong setting. when he was eight years old. but also because of choice of particular variant endings or revisions. British Commonwealth (excluding Australia and New Zealand) and Eire 29´ Evening BB29 (1903) for voice and piano.com www.boosey.picc. the Marcia funèbre at the end). to text by Kálmán Harsányi Editio Musica Budapest Represented by Boosey & Hawkes in the USA. Gott erhalte. UK. UK. Times vary not just according to interpretation.3.com). Ein Heldenleben – except that the Hungarians lose (hence. Kossuth is a ready alternative.10. They are adolescent photo portrait (1930s) musical curiosities.hu Works represented on the accompanying Bartók Connections CD are identified with an asterisk (*). British Commonwealth (excluding Australia and New Zealand) and Eire 4´ These two settings of Harsányi’s expressionist text are surprisingly different in effect: the vocal setting is more complex.dbn—8.E ·cl. British Commonwealth (excluding Australia and New Zealand) and Eire Sonata for Violin and Piano BB28 (1903) Three movements M 080 05366 9 Violin part and piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. If you are thinking of programming a familiar Strauss tone poem.universaledition.emb.3. British Commonwealth (excluding Australia and New Zealand) and Eire 4´ * Evening BB30 (1903) for male chorus. useful for quiz shows.16.3. to texts of Lajos Pósa Bard Brothers 5´ Four Piano Pieces BB27 (1903) 27´ Bartók’s opening Study for the Left Hand (9 minutes) is a serious sonata movement. Be warned that Bartók’s own timings provided within scores are often less than the true reality in live performances. inspired by the singing of a Transylvanian nursemaid. Its skilful parody of the Austrian national hymn.2ttuba—timp. Concepts and Autograph Sources (1996). UK. M 080 02335 8 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. Photo: P F Angelo / courtesy of Peter Bartók Four Songs BB24 (1902) for voice and piano.perc:cyms/ tam-t/tgl/BD/small dr—2harps—strings(16.1. while the choral is more solemn and grand. or as teasing encores after more mature Bartók works. and the Four Pieces for piano of the following year. caused some well-publicized dissension in the orchestra at its Budapest première in 1904. to fill out a few spare minutes of broadcast time. Work timings are taken from the 29-CD Hungaroton Bartók Complete Edition (2000). sometimes by as much as fifteen per cent. 3(I=picc). The composer modestly commented after an early Berlin performance that it sounds “as if played by three hands”. the works of individual distinctiveness emerge around 1902. he himself identified the Rhapsody of 1904 as his mature ‘Opus 1’. The chronological listing of Bartók’s significant works uses the BB numbers outlined by László Somfai in his Béla Bartók: Composition. Half a dozen works dating from 1897 to 1902 have been published (see Bartók work list in www. to text by Kálmán Harsányi Editio Musica Budapest Represented by Boosey & Hawkes in the USA. Documenta Bartókiana (published by Akadémiai Kiadó) . for large orchestra 22´ This is Bartók’s bold out-Straussing of its undisguised model. As well as the works listed below there are various arrangements by others that Bartók authorized.5.com www.2. with the Pósa Songs.12. In 1908. symphonic poem BB31 (1903) Ten sections. The best source of information on those arrangements is found on the websites of the main publishers of Bartók’s works: www. colorful and tense. rather than a freak piece.bcl.grovemusic.corA. * Kossuth.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 8 8 B ARTÓK Works with programming tips Although Bartók’s first compositions date from 1890. and a growing number of arrangements made since his death. UK.
1905).0. as the work sounded so romantic – yet they had heard that this Bartók was barbaric! A worthy and exotic contender for the Romantic concerto slot on concert programs.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 9 Scherzo op.0—timp. UK. UK.2. originally titled ‘Morceau de Concert’ 3. As the years went by audiences became more and more confused. by Kodály) M 080 05779 7 Vocal score (E) M 080 05766 7 Vocal score (G) M 080 01175 1 Vocal score (H) Editio Musica Budapest Represented by Boosey & Hawkes in the USA.1 op. British Commonwealth (excluding Australia and New Zealand) and Eire 3´ Rhapsody op. UK.3.4b.3. performed a twopiano version of this Suite (BB122). British Commonwealth (excluding Australia and New Zealand) and Eire 15´ 9 Awkwardly endebted both to Liszt and to Richard Strauss.3. Sz 33 (the remaining ten songs arr. British Commonwealth (excluding Australia and New Zealand) and Eire Four Slovak Folksongs BB46 (1907/16) for voice and piano. BB 122 Boosey & Hawkes 34´ Bartók saw the First Suite as ending his student apprenticeship. Bartók rapidly put this work aside.György Balassa) Editio Musica Budapest Represented by Boosey & Hawkes in the USA. rev. generally simple settings of tunes (BB42-47).Tibor Szeszler) M 080 01919 1 Clarinet part and piano score (arr.3—4. UK.3. UK.corA.perc:gong/ cyms/tgl/BD/tamb—2harps—strings see also 1941 reworking as Suite for Two Pianos.4 BB40 (1905. British Commonwealth (excluding Australia and New Zealand) and Eire Two Hungarian Folksongs BB44 (1907) for voice and piano 21´ Editio Musica Budapest Represented by Boosey & Hawkes in the USA. 1938) Ten songs.perc—2harp—strings Editio Musica Budapest Represented by Boosey & Hawkes in the USA. for orchestra picc.3 BB39 (1905) Five movements.2—4. originally ‘Burlesque’ 30´ Hungarian Folksongs BB43 (1906-7) Ten songs. for voice and piano. 1907) M 080 03744 7 Recorder and piano score M 080 01764 7 Piano score M 080 02142 2 Flute part and piano score (arr.1—timp. originally ‘Serenade’ 2(II=picc).2(I=E ·. UK. Described by Tibor Tallián as “undoubtedly the young Bartók’s strangest work”. 1955 . M 080 01971 9 Piano score M 080 40077 7 Study score (orchestral version) Editio Musica Budapest Represented by Boosey & Hawkes in the USA.2. for (small) orchestra.perc:SD/BD/tgl/cyms/glsp— 2harps—strings M 080 40033 3 Study score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. Alternatively.1 BB36a (1904) Two movements.2(II=corA). with its last movement unveiling the simplicity of his new folk-derived style. UK.” Darius Milhaud.2.3.János Szebenyi) M 080 02467 6 Oboe part and piano score (arr. Hungarian Folksongs BB42 (1906. for piano * Version for piano and orchestra. No.dbn—4.2. they can substitute for that work.bcl. Bartók (and Kodály) wanted to expose the beauty of the original tunes. BB 42. it only gained its première in 1961. with his wife.2(II=dbn)—3. In his final American years he arranged and. British Commonwealth (excluding Australia and New Zealand) and Eire 2´ Bartók’s Opus 1 served as his main orchestral solo piece until the First Piano Concerto of 1926.2. 3.2 BB35 (1904) for orchestra and piano. UK. These songs do not need to be performed as Bartók grouped them together.3. as he did in his own programs. at about the same length as the Concerto for Orchestra. but can be mixed and matched. With these many.perc:tgl/cym/BD—strings 23´ From Gyergyó BB 45a (1907) for recorder and piano arranged for piano as Three Hungarian Folksongs from Csík (BB 45b. for voice and piano see also two pieces arranged for piano solo in For Children (BB53) M 080 14377 3 Vocal score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.3. with added introduction (BB 36b. As Bartók did not ever get around to writing a full symphony.II=bcl).2 op. these works can well fill the after-interval symphonic slot. 1907) Four movements. op.2 lost 36´ Editio Musica Budapest Represented by Boosey & Hawkes in the USA.2. British Commonwealth (excluding Australia and New Zealand) and Eire Eight Hungarian Folksongs BB47 (1907/17) for voice and piano M 060 01152 8 Vocal score (E/G/H) Boosey & Hawkes 8´ Suite No.1928.3.1—timp. British Commonwealth (excluding Australia and New Zealand) and Eire 13´ “One could say that glory was waiting for the demise of dear Bartók in order brilliantly to assert itself. rather than (as later) extract more radical compositional ideas from them. British Commonwealth (excluding Australia and New Zealand) and Eire 8´ Suite No.3.1—timp. and the Second as a more mature and expressive work.
two) volumes.2. This work is truly “written from the heart”. China and the former territories of the USSR and Yugoslavia) / Editio Musica Budapest * Fourteen Bagatelles op.1 Piano score M 060 11231 7 Vol. the second. UK.2—4. Mozart) that he edited at around this time. UK.1 op. Because of the disparate nature and huge range in performing demands of the individual pieces.1—timp. for instance. The Bagatelles are the distilled essence of the young Bartók’s new techniques. as also in many instructive editions of standard piano classics (Bach. as is Mikrokosmos thirty years later for the older Bartók.6 BB50 (1908) for piano 22´ Seven Sketches op. seventy-nine) pieces in four (later. the Czech Republic. is evident here.2 Piano score Boosey & Hawkes (excluding Hungary. student-oriented piano pieces of these years. for violin and orchestra (withdrawn as op. Germany. for piano 75´ Two Elegies op.8b BB49 (1908-9) for piano M 080 02128 6 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.9b BB54 (1908/10) for piano M 080 01762 3 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.7 BB52 (1908-9) Three movements 30´ 2(II=picc).5) 20´ Ten Easy Piano Pieces BB51 (1908) Includes Bartók favourites such as.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 10 10 * Violin Concerto No. The first Quartet shows influences of Reger and Beethoven and some early folk ideas. British Commonwealth (excluding Australia and New Zealand) and Eire 20´ violinist Stefi Geyer (1905) A ‘lost’ work. only first performed in 1958. the piano teacher. it is (unlike his Violin Concerto No.2. That pairing is perhaps more dramatically effective for the audience. M 080 00934 5 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.1—timp. and is worthy of inclusion in today’s recital programs. British Commonwealth (excluding Australia and New Zealand) and Eire . Bartók performed thirteen of the pieces (omitting No. the ‘ideal’ portrait is the first movement of the Violin Concerto (above). Bulgaria. British Commonwealth (excluding Australia and New Zealand) and Eire Three Burlesques op. the violinist Stefi Geyer. 2(II=picc). At its concert première in 1910.1943) Eighty-five (later. UK. This tends to work better than performance of the cycle in strict chronological order. both as a cycle and separately.1 op.8c BB55 (1908-11) for piano 7´ This is a more virtuosic and integrated set of recital pieces than many of the shorter. rev. and this work can be showcased in any company. and for orchestra (BB103).2.5 BB48b (1907-10) 13´ for violin soloist and orchestra. British Commonwealth (excluding Australia and New Zealand) and Eire 16´ Some of these pieces were transcribed for violin and piano (BB109).2(II=corA).2. M 080 00300 8 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.2) a lateRomantic concerto. The set ranges from folksong settings through contrapuntal exercises to lament and parody. Romania. but leaves the solo violinist wondering what to do in the second Portrait. ‘Bear Dance’ and ‘Evening in the Country’ (also known as ‘Evening in Transylvania’). M 080 01763 0 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. Photo: courtesy Bartók Archive Budapest String Quartet No.8). M 060 11230 0 Vol. Bartók salvaged the music of the first movement in his Two Portraits (see below). Beethoven.posth BB48a (1907-8) Two movements. which does not have a separate solo violin part. British Commonwealth (excluding Australia and New Zealand) and Eire For Children BB53 (1908-9.perc:tgl/BD—2harps—strings M 060 01136 8 Study score M 060 01137 5 Reduction for violin and piano Boosey & Hawkes / Editio Musica Budapest The six Bartók quartets hold the highest position in twentiethcentury chamber music. In essence.2—4. the ‘grotesque’ portrait is the orchestration of the last of his Fourteen Bagatelles (BB50). M 080 40034 0 Study score M 080 01937 5 Parts Two Portraits op. Bartók. As with the Fourteen Bagatelles. there is no need to perform these pieces as a set. Fourteen Bagatelles does not work so well in performance as a complete set. 3 and 5 in two-recital performances of the complete cycle. Austria. The first movement is a radiant idealization of Bartók’s true love.perc:cyms/tam-t/tgl/BD/ tamb—2harps—strings M 080 40053 1 Study score (Editio Musica Budapest) Boosey & Hawkes (UK and Commonwealth) / Editio Musica Budapest Editio Musica Budapest Represented by Boosey & Hawkes in the USA.2(II=bcl). after its dedicatee. but Bartók is already utterly his own man. Poland.corA. UK. It is sometimes paired with Quartets Nos. UK. British Commonwealth (excluding Australia and New Zealand) and Eire 14´ “At last something truly new”.2.2(II=bcl). had died. Slovakia. Albania. UK. commented Busoni. a more boisterous picture of Geyer.
2. involves only two singing voices. rev.perc(2):BD/ small dr/tam-t/cyms/susp. British Commonwealth (excluding Australia and New Zealand) and Eire 11´ Two Pictures op.4.4trbn M 008 01632 5 Vocal score M 008 01951 7 Study score M 008 06916 1 Libretto Boosey & Hawkes (USA only) / Universal Edition Four Dirges op. especially in the first and third movements. by Holbrooke’s Imperial March!) and was probably Bartók’s first orchestral work played in the United States. It is worth considering on programmes where Debussy or Ravel might first have come to mind.perc:cyms/BD/t. when war broke out.3. British Commonwealth (excluding Australia and New Zealand) and Eire The quintessential Bartók to the ears of the broader public.4.2.1 of Two Romanian Dances.8a BB56 (1909-10) for piano see also Romanian Dance for orchestra (BB61.2. c1926) for male chorus M 008 03068 0 Choral score (TTBB) Boosey & Hawkes (USA only) / Universal Edition 4´ Piano Method BB66 (1913) Co-authored with Sándor Reschofsky.3(III=bcl). M 080 00060 1 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. than in their balletic collaboration a few years later. which he soon set aside. dramatically and musically.B.1—timp.3(III=bcl). Halsey Stevens claimed that “the panels of the diptych lack congruence”.0—timp. Colinde) BB67 (1915) Two series of ten pieces each.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 11 Two Romanian Dances op.3(III=dbn)—4. for piano M 008 00030 0 Piano score (rev. wanted “to depict a modern soul in the primary colours of folksong”.1—timp.3(III=corA).1921) 24´ These orchestral pieces are transitional works. orch. As well as heading a clutch of earlier Bartók piano works. The Wooden Prince. and is a psychological drama. UK.3. 3mimes. Bartók’s opera was originally performed as a companion work to his ballet. Béla Balázs. 3(III=picc). It was scheduled for the 1914 London Proms (but replaced. Allegro Barbaro is an effective ear-cleanser after a set of Romantic piano music. concert performances are also highly effective. British Commonwealth (excluding Australia and New Zealand) and Eire Good for the briefest of encores! M 080 05220 4 Piano score (E) M 080 04636 4 Piano score (H) M 080 06179 4 Piano score (F) Editio Musica Budapest Romanian Christmas Songs (Carols. Leó Weiner.Peter Bartók) M 008 00763 7 Score and parts (arr. UK.cym/xyl/tgl—2harp—cel—org—strings On-stage: 4tpt.for recorder choir by Christa Sokoll) Boosey & Hawkes (USA only) / Universal Edition 11´ .1909-10) for piano M 080 01765 4 Piano score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.4. to libretto of Béla Balázs 54´ 11 As well as the orchestral arrangement by Bartók of No. His librettist. and only returned to orchestrate nearly a decade later when a performance was offered.2—4. In its eighteen minutes of performance the Two Pictures beautifully summarize the art and folk influences upon Bartók in his pre-War years.3.4. 1911) 10´ * Duke Bluebeard’s Castle op.Peter Bartók) Boosey & Hawkes (USA only) / Universal Edition * Four Orchestral Pieces op. we witness the last gasp of Bartók’s indebtedness to the French impressionists.Zoltán Kocsis) Editio Musica Budapest Represented by Boosey & Hawkes in the USA. BB56 2(II=picc).4.corA. 4(IV=picc).bells— 2harps—cel—strings also arranged for piano (1910-11) M 080 01765 4 Study score M 080 00867 6 Piano score M 080 08534 9 Two piano score (arr. UK. under Varèse. The partnership worked better here. M 008 00028 7 Piano score (rev. speaker (optional) 4(III.perc:glsp/cyms/tgl/ tam-t/BD/SD—2harps—cel—pft(4 hands)—strings M 060 06577 4 Study score Boosey & Hawkes Four Old Hungarian Folksongs BB60 (1910-12.11 BB62 (1911) One-act opera.2.IV=picc).12 BB64 (1912. As the opera lasts for under one hour. UK.1—timp. British Commonwealth (excluding Australia and New Zealand) and Eire Often now well paired with Schoenberg’s Erwartung or Stravinsky’s Oedipus Rex.10 BB59 (1910) for orchestra 18´ Allegro Barbaro BB63 (1911) for piano 3´ Here French impressionism (‘In Full Flower’) meets with peasant rough and tumble (‘Village Dance’). Here. in 1919. but this work above all furthered Bartók’s career abroad.4(IV=dbn)—4.1 – one of the composer’s best known tunes – both dances were also arranged for orchestra by Bartók’s compatriot.4(IV=dbn)—4.2.9a BB58 (c. including forty-eight pieces Eighteen of Bartók’s pieces were presented as The First Term at the Piano 9´ 6´ Romanian Dance BB61 (1911) for orchestra arrangement of No.bcl. Its ‘barbaric’ title arose as the composer’s reaction to being called a ‘barbarian’ in the French press. S.perc:cyms/BD/tgl/2SD/tam-t—harp—strings M 080 40032 6 Study score Editio Musica Budapest Represented by Boosey & Hawkes in the USA.corA.
ed.10.8. however.1—timp.IV=picc).1—timp.Zoltán Tokos) M 008 00345 5 Flute and Guitar parts (arr. op. Its energy grows inexorably towards the third movement.IV=bcl).15 was neither performed nor published in his lifetime.2crt. 1933) M 008 00239 7 Piano score Boosey & Hawkes (for the USA) / Universal Edition 13´ Three Hungarian Folk Tunes BB80b (1914/18) for piano M 060 01244 0 Piano score Boosey & Hawkes 4´ . about which more still remains to be told.IV=picc).perc(4)—2hp—cel—strings(16.12. for male chorus All five songs are about war and the lot of being a soldier. UK. by Kodály): 2. five) movements. in fierce Arabic style. but was recently published under the title.0.17 BB75 (1914-17) Three movements M 008 01800 8 Study score M 008 01864 0 Parts Boosey & Hawkes (for the USA) / Universal Edition 26´ Slovak Folksongs BB77 (1917) Five songs.4(III.IV=dbn)— 9´ 4. Although the only acknowledged ballet of Bartók’s output.IV=corA). largely because of the provenance of the poetry.4(III=E ·cl.4. Bartók’s op. largely of despair.8) M 008 01950 0 Study score M 008 01631 8 Piano score (reduction) Boosey & Hawkes (for the USA) / Universal Edition 30´ * Suite op. for piano At around ten minutes. by iconoclastic Hungarian poet Endre Ady. Dille): 4(III.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 12 12 Romanian Folk Dances BB68 (1915) Six pieces.2. It originally appeared as the second movement of the five movements.16.IV=bcl). It is one of Bartók’s most peculiar opuses. are similar to those of its companion set of songs.2.IV=bcl). who saw it as a snub to his more challenging works.3. for those interested in restoring Bartók’s original plan.16.0. to poems by Endre Ady 17´ Bartók’s cute settings of folksongs. but still felt it was the least successful of his three works for stage.6. British Commonwealth (excluding Australia and New Zealand) and Eire 4´ “A kind of elaborate symphonic poem to be danced to”.asax.Peter Bartók) M 008 00910 5 Violin part and piano score (arr.Endre Gertler) M 080 01920 7 Clarinet part and piano score (arr. of which the third.1—timp. but says everything.Peter Bartók) M 008 06177 6 Piano score (additional Andante) Boosey & Hawkes (USA only) / Universal Edition * String Quartet No. 1931) M 080 00117 2 Piano score M 080 00117 2 Violin part and piano score (arr. Zoltán Kodály recognized this by orchestrating the entire set in 1961.IV=corA).3.4) M 008 00027 0 Piano score (rev.10. Bartók’s Suite makes an excellent recital opener.tsax. he came to realize that there was much musical padding in the work (for which he blamed the librettist.13 BB74 (1914-17) One-act ballet.4(III=E ·cl. ed.14 BB70 (1916) Four (originally.Arthur Levering) M 008 01961 6 Study score Boosey & Hawkes (USA only) / Universal Edition Written to words.perc(5)—2hp—cel—strings(16. additional fifth movement published as Andante M 008 00029 4 Piano score (ed.8) 13´ Large orchestral suite (c1932.10.4(III. Special print Vocal score (Boosey & Hawkes) 6´ Boosey & Hawkes * The Wooden Prince op.0.IV=dbn)— 4. is a truly masterful example of music which goes nowhere. 4(III. 15´ M 051 30280 2 Choral score Boosey & Hawkes 5´ * Five Songs op. ‘In One Spot’.16.4(III.asax.IV=picc). to poems by Klára Gombossy and Wanda Gleiman This is another of Bartók’s ‘lost’ works.4. “Andante”.Luigi Silva) M 008 01128 3 Clarinet part and piano score (arr.asax. Its musical qualities.Zoltán Székely/Kálmán Berkes) M 008 00687 6 Two guitar score (arr. Despite the success of its premiere in 1917. The set’s very popularity annoyed Bartók. Since then.0. Over the following fifteen years he made many cuts in the stage version.4(III=E ·cl.tsax.2crt.16.2crt.8) Small orchestral suite (c1925. A further movement was withdrawn by Bartók before first performance.4(IV=corA). for piano 4´ Five Songs op. to libretto of Béla Balázs 42´ Sonatina BB69 (1915) Three movements.12. Available now in many transcriptions. Version for (small) orchestra (1917) 2. for piano for orchestral version see Transylvanian Dances (BB 102b.perc(4)—2hp—cel—strings(16.4.tsax. The songs are suited to a soprano and a pianist of virtuoso temperament.IV=dbn)— 4. Béla Balázs). arranged for medium voice and orchestra (orch.2—2.15 BB71 (1916) for voice and piano.12.0—strings(8. after which there is a lilting denouement.16 BB72 (1916) for voice and piano. as shown below.György Balassa) Editio Musica Budapest Represented by Boosey & Hawkes in the USA.Zoltán Székely) M 008 01005 7 Cello part and piano score (arr. the dance impulse in many of his other works lends itself naturally to balletic presentation.2 op.2. it has gained a questionable reputation. Dille): 4(III.4(III.3.4.2—3. explained Bartók.4(III. this set unveils some of Bartók’s most unrelievedly dark and melancholy writing.0. and produced two leaner orchestra suites. Written to erotic poems by two teenage girls and based around the cycle of seasons.0—pft—strings M 008 01394 2 Vocal score Universal Edition Four Slovak Folksongs BB78 (1916) for mixed chorus and piano M 060 01176 4 Choral score Boosey & Hawkes 5´ Fifteen Hungarian Peasant Songs BB79 (1914/18) for piano for orchestral versions of nine songs see Hungarian Peasant Songs (BB107.
III=picc). and written as pieces for immediate performance by Bartók and their dedicatee. On the stage.1— timp. M 060 01182 5 Piano score Boosey & Hawkes Photo: courtesy Bartók Archive Budapest title page of first edition Universal Edition score of Dance Suite (1923) . being performed in sixty cities in 1925-26 alone.2.3(III=dbn)—4. for orchestra 18´ Photo: Bartók Estate © 2005. The Three Studies make excellent competition pieces for the young pianist wanting to demonstrate astounding technical prowess along with interpretative skills of the highest order. Mandarin is equally effective as an orchestral suite.3(III=corA). or in association with Stravinsky’s Rite of Spring or Petrushka ballets. making the listener wonder sometimes if the two parts are tethered at all. Its potential as a ballet score was also early realized.perc(3)—harp—cel—pft—str also arranged for piano solo (BB86b.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 13 Three Studies op. Unlike his many folksong settings. provided some recovery time is left afterwards. Homolya described it as “folk music… now dissolved in an even more complex idiom of art music”.3(II=E ·cl. They are only for the pianist with big hands (tenths required). the full pantomime or the full pantomime music presented in concert setting. orch.2—4. In early programs with d’Arányi featuring the First Sonata. indeed forming an original composition in its own right.2.III=picc). for violin and piano M 008 00862 7 Violin part and piano score (rev.3. good memory and (Bartók himself suggested) a “non-provincial” audience. Mozart (D major) or Beethoven (‘Kreutzer’) sonatas.20 can well be paired. as well).19 BB82 (1918-19. and now.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 17´ 3(II.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 32´ 13 Although Bartók was no slouch at the keyboard. his recurring interlude theme provides an easy continuity that listeners rarely find in his other works of this period. with which Bartók’s op. Although the various movements have different national folk types (and Bartók did originally intend an extra.2. 1925) M 008 07410 3 Manuscript score (facsimile) M 008 07412 7 Full score M 008 01946 3 Study score M 008 00215 1 Piano score (reduction) (ed. for piano 13´ Perhaps Bartók’s most radical setting of folksongs.1924) 32´ One-act pantomime. it demonstrates his most effective use of orchestral resource.3(III=dbn)—4.20 BB83 (1920) Eight pieces. to libretto of Menyhért (Melchior) Lengyel programme for premiere of The Miraculous Mandarin (1926) Bartók’s dramatic tour-deforce! Along with Concerto for Orchestra and the setting of Village Scenes. Slovak movement. * Dance Suite BB86a (1923) Six movements.perc(6):xyl/tgl/cym/tam-t/SD/TD/BD—harp—cel—pft—org— strings—choir(TB) Concert suite for orchestra: 3(II. comment on the utterly idiomatic use of piano (vertical) and violin (horizontal) sonorities. and also his Sonata for piano of 1926. Gábor Vásárhelyi Bartók’s runaway success of the mid-1920s. for violin and piano 20´ These two sonatas are very much for an equal pairing of violin and piano. Its virtuosic nature almost rivals the Three Studies.2.1 (withdrawn as op. Mandarin is ideal as the culmination of a Bartók triple bill.3.1—timp.21) BB84 (1921) Three movements.3(III=corA).3.3.perc(6):xyl/tgl/cym/tam-t/SD/TD/BD—harp—cel—pft—org—strings M 008 06200 1 Study score M 008 06201 8 Piano score (reduction) M 008 06202 5 Two piano score M 008 06249 0 Revisions to two piano score UE7707 Choral score TB Boosey & Hawkes (for the USA) / Universal Edition 19´ Improvisations on Hungarian Peasant Songs op. M 060 01232 7 Piano score Boosey & Hawkes Violin Sonata No. Jelly d’Arányi.III=bcl).1— timp.3(II=E ·cl. 2.18 BB81 (1918) for piano 8´ * Violin Sonata No.2 BB85 (1922) Two movements. they provided sonata ‘foils’ in the form of Bach (E major).Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition * The Miraculous Mandarin op. Critics then. he confessed in later life that he could not play these fiendish Three Studies. the Dance Suite is sufficiently long and structured to be a substantial feature on a concert program. The Studies find good avant-garde program companions in the two violin sonatas. M 008 00861 0 Violin part and piano score (ed.III=bcl).
6) M 008 05655 0 Full score M 008 05797 7 Study score M 008 00209 0 Reduction for two pianos Boosey & Hawkes (for the USA) / Universal Edition Twenty Hungarian Folksongs BB98 (1929) for voice and piano 37´ A beautifully crafted set of mature folksong settings. 1933) Three Rondos on Folk Tunes BB92 (1916/27) for piano. to more mild-mooded. the First Rhapsody. 1928-9) M 060 01210 5 Study score M 060 11650 6 Violin part and piano score M 060 01212 9 Cello part and piano score Boosey & Hawkes 10´ Sonata BB88 (1926) Three movements. folksy (and easier) sets of pieces.1: 1-3) (rev. all-pizzicato movement arose as an after-thought.3 BB93 (1927) M 008 01801 5 Study score M 008 01865 7 Parts (rev. two decades later.perc(3)—strings(10. for violin and piano 10´ During the years 1923-26 Bartók composed little. and its Second companion.2: 4-5) (rev. 1929. see Hungarian Folksongs (BB108. These Rhapsodies’ orchestral versions can interchange on programs with the somewhat more extensive Two Portraits or Two Pictures. rev. ranging from difficult.1 Vocal score M 060 08308 2 Vol.1. for piano M 008 00204 5 Piano score (vol.4 BB95 (1928) Five movements 22´ Out of Doors BB89 (1926) Five pieces.Peter Bartók) M 008 01713 1 Vocal score (Three Village Scenes) M 008 03043 7 Choral score (Three Village Scenes) Boosey & Hawkes (for the USA) / Universal Edition Available in a variety of authorized versions.2 BB96a (1928. in which he kitted himself out with a new repertory. 1926): 1.2—4.) 2.3. being more fully formed than the Third. 1928-9): 9´ 2(II=picc).Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 15´ Hungarian Folksongs BB99 (1930) Four songs.0—perc—harp—pft—strings M 008 01395 9 Vocal score (ed. M 008 00344 8 Study score M 008 01867 1 Parts Boosey & Hawkes (for the USA) / Universal Edition Nine Little Piano Pieces BB90 (1926) M 008 00191 8 Piano score (rev.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 8´ M 060 08307 5 Vol. They mark the beginning of a renewed interest in the setting and rearranging of folksongs.1 BB91 (1926) Three movements.4 Vocal score Boosey & Hawkes One movement. and founded a sub-style of Bartók’s slower movements in later years.2.2. four sections String Quartet No. to connect Bartók’s slow movement to his finale.184.108.40.206. * Nos 3-5 arranged for female voices and chamber orchestra as Three Village Scenes (BB 87b.1—timp. This is Bartók’s answer to Stravinsky’s Les Noces. and shows some of his most imaginative writing for orchestra. originally titled Three Little Rhapsodies M 008 00199 4 Piano score (rev.Peter Bartók) M 008 00205 2 Piano score (vol. arranged for violin and orchestra (BB94b. Many quartet players see this as the most gratifying of the six quartets to play.2(II=corA).6.2. the fourth. indeed he confessed to having become an ‘ex-composer’.2. In the middle of this fallow period. rev. provide further examples of the slow-fast movement pairings very popular in Bartók’s earlier years. for five pieces arranged for medium voice and orchestra.0—timp.3 Vocal score M 060 08310 5 Vol.1929) Two movements.10. percussive essays in the Concerto and Sonata. (Its resonances can still be heard in the slow movement of the Piano Concerto No.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 16´ Bartók’s most concentrated Quartet.perc:tgl— cimbalom(harp and pft)—strings 12´ arranged for cello and piano (BB 94c.2(II=dbn)—2.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 15´ Rhapsody No. for piano and orchestra 1926 was Bartók’s ‘Piano Year’.2—2. he produced these settings of Slovak songs about every-day village life.1935) Two movements. for mixed chorus M 051 45488 4 Choral score Boosey & Hawkes 12´ . rev.1 BB94a (1928.1—1.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 14 14 Five Village Scenes BB87a (1924) for female voice and piano 12´ Rhapsody No. yet less stylized than the Fifth.1. five of which Bartók later orchestrated as an eleven-minute-long collection. For some audiences it may be a harder nut to crack.2 Vocal score M 060 08309 9 Vol. for piano M 008 07148 5 Piano score M 008 00210 6 Piano score (rev. Outstanding among these pieces is the exquisite ‘The Night’s Music’ (Out of Doors) which was inspired by sounds of the Hungarian plain.2(II=bcl).1—timp.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition 15´ String Quartet No. Despite the work’s miraculous symmetry.2(II=bcl).Peter Bartók) M 008 07147 8 Facsimile piano score (ed.2. and a leading chamber-music exemplar of the century. for violin and piano arranged for violin and orchestra (BB 96b.1935): 22´ 2(II=picc). particularly marriage.1.1.2.perc:cyms/tgl/BD/SD— harp—cel(=pft)—strings M060012136 Full score M060012143 Study score M060012150 Violin part and piano score Boosey & Hawkes 11´ 10´ * Piano Concerto No.
3. for orchestra arrangement of Sonatina for piano (BB69. It is his only work for this most extensive outlay of performers.1—timp. rev.3—4 2 3 1—timp.2—2. A range of transcriptions of selections from the Duos are also available.1 Two violin score M 008 00933 4 Vol. Most use original folk themes.3. for tenor. and was well pleased with the result. At its earliest London performance it shared the allBartók program with Cantata profana and Two Portraits. Bartók liked the idea of a graded collection so much that it pushed him toward his larger Mikrokosmos series for young pianists. and culminates in an ethereal short finale of exquisite manners. He characterized this concerto’s themes as ‘“light and popular”. Four Dirges. as are audiences today. UK.2(II=bcl).2. British Commonwealth (excluding Australia and New Zealand) and Eire 5´ 13´ Five pieces.2. which.2. 1936.1943) M 008 00883 2 Vol. UK.2.perc—strings Editio Musica Budapest Represented by Boosey & Hawkes in the USA.2. for piano arrangements of five (later. for orchestra arrangements of pieces selected from Ten Easy Pieces. by Bartók 20´ Piano Concerto No.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 15 * Cantata Profana BB100 (1930) Three movements. baritone. along with chorus and large orchestra. 1943 .2.3—4 3 3 1—timp. but longer. for piano and orchestra 29´ 15 Bartók laboured over the text as well as the music of this beautiful three-movement cantata. who find its style surprisingly mellow.2. 3.1—timp.2 Two violin score M-008-05924-7 Arranged for viola and cello (selections) M-008-00649-4 Arranged for two guitars (selections) Bartók’s English rendering of the text of Cantata Profana Boosey & Hawkes (for the USA) / Universal Edition “I would prefer to try new ways and means instead of deducing theories” Béla Bartók. Peter Bartók Bartók wrote these duos for a German compendium of graded violin repertory. The duos are not intended as an hour-long performance set.3.2 BB101 (1930-31) Three movements. given Bartók’s recent history. however.2. of half a dozen national types.perc(2)—strings M 008 01945 6 Study score M 008 00154 3 Reduction for two pianos Boosey & Hawkes (for the USA) / Universal Edition Transylvanian Dances BB102b (1931) Three movements. double mixed chorus and orchestra. Three Burlesques and For Children 2. six) pieces see Petite Suite (BB113.perc:tgl—harp(pft)—strings M 080 40071 5 Study score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. cohere well together. 1915) 2(II=picc). producing a very satisfying (if lavish) evening of instrumental and vocal soloists. This concerto is quite often paired now with a Prokofieff or Shostakovich symphony after the interval. companion to the 1926 concerto. He imaginatively reworked half a dozen of the duos for piano as Petite Suite). to Romanian folksong texts in Hungarian translation arr.2.2—2.perc(3)—harp—strings M 008 01948 7 Study score M 008 01707 0 Vocal score M 008 06955 0 Choral score Boosey & Hawkes (for the USA) / Universal Edition Bartók’s less hair-raising. Some of the later Duos do. He said he wanted a work “less bristling with difficulties for the orchestra and whose thematic material would be more pleasing”. they are – comparatively. British Commonwealth (excluding Australia and New Zealand) and Eire Hungarian Sketches BB103 (1931) * Forty-four Duos BB104 (1931-32) for two violins 49´ Photo: Bartók Estate © 2005. Individual pieces are useful as encores at two-violin or even quartet concerts. to form 5-6 minute performing brackets of pieces.
5 BB110 (1934) Five movements M 008 01803 9 Study score M 008 01866 4 Parts Boosey & Hawkes (for the USA) / Universal Edition 30´ Bartók’s analysis of String Quartet No.5 (1935) 17´ 3(III=picc).2. in 6 books. As well as Mikrokosmos Bartók’s two-piano transcriptions. Poland. for medium voice and orchestra arrangements of five of Twenty Hungarian Folksongs for voice and piano (BB98. UK. 1914/18) 10´ During the Depression years Bartók was encouraged by his publishers to deliver extra value from popular early piano pieces in their lists. The orchestrations are effective if somewhat restrained by the simpler type and the increasingly distant era of their originals.2(II=bcl).2. British Commonwealth (excluding Australia and New Zealand) and Eire 11´ Hungarian Peasant Songs BB107 (1933) Nine pieces.perc:t. 2.3. Bartók stressed that this collection was not a complete “progressive method”. Germany. with Bartók M 080 01527 8 Violin part and piano score (Editio Musica Budapest) Boosey & Hawkes (excluding Hungary. although only one definite set is found.3.2—220.127.116.11 Urtext piano score (E/F/G/H) M 060 09735 5 Vol. 33 exercises. ‘From the Diary of a Fly’ makes cover of first edition of an excellent two-minute encore.1—timp. for violin and piano arrangements of nine For Children piano pieces (BB53. Bulgaria. 103.3 Urtext piano score (E/F/G/H) M 060 09733 1 Vol.6 Urtext piano score (E/J/Sp/P) M 060 01193 1 Harp Score Boosey & Hawkes Székely Folksongs BB106 (1932) Six songs.1—timp—harp—strings M 008 01971 5 Full score Boosey & Hawkes (for the USA) / Universal Edition Photo: courtesy Bartók Archive Budapest .1—timp.2. Slovakia. Romania. Selections from Books V and VI work well in concert performance.2 Urtext piano score (E/F/G/H) M 060 09732 4 Vol. hence the arrangements of BB102b. there is Tibor Serly’s arrangement of five Mikrokosmos pieces for String Quartet and also his Mikrokosmos Suite for full orchestra. also including vocal parts to four pieces (3´) and optional second piano parts to four pieces. by Tivadar Országh.6 Urtext piano score (E/F/G/H) M 060 09736 2 Vol. for piano.2(II=corA). 1932-39) 152´ 153 pieces.4 Urtext piano score (E/F/G/H) M 060 09734 8 Vol.4 Urtext piano score (E/J/Sp/P) M 060 08005 0 Vol. the ‘Six Dances in Bulgarian Rhythm’ (Nos 148-153). 1929) 1.2(II=dbn)—4.2. for orchestra arrangements of Nos 6-12.perc:cyms/tam-t/tgl/BD/SD—harp— pft—strings Boosey & Hawkes 11´ Photo: Boosey & Hawkes Hungarian Folksongs BB109 (1931-34) 10´ Nine pieces.3 Urtext piano score (E/J/Sp/P) M 060 08004 3 Vol. for male chorus M 080 04675 3 Choral score TTBB Editio Musica Budapest Represented by Boosey & Hawkes in the USA.2. but rather a twentieth-century base to which works from earlier centuries should be added.2 Urtext piano score (E/J/Sp/P) M 060 08003 6 Vol. 1908-9). 107 (above). Seven pieces arranged for two pianos. of Fifteen Hungarian Peasant Songs (BB79.2. as Seven Pieces from Mikrokosmos (BB120.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 16 16 * Mikrokosmos BB105 (1926. 1939-40) Five Pieces from Mikrokosmos arranged for string quartet by Tibor Serly 23 progressive clarinet duos from Mikrokosmos arranged by Suchoff Eight Pieces from Mikrokosmos arranged for orchestra by Tibor Serly: 9´ Hungarian Folksongs BB108 (1933) Five pieces.1 Urtext piano score (E/J/Sp/P) M 060 08002 9 Vol. the Czech Republic. and even recommended ten of the Mikrokosmos pieces as especially suitable for playing on the harpsichord.2(II=dbn)—2.bells/xyl/ tom-t/ cyms/sleigh bells/tam-t/tgl/wdbl/BD/SD/tamb/rattle—harp—cel—strings M 060 08001 2 Vol. China and the former territories of the USSR and Yugoslavia) / Editio Musica Budapest String Quartet No. 14-15.5 Urtext piano score (E/J/Sp/P) M 060 08006 7 Vol. Albania.picc. Austria. He mentioned Bach and Czerny in this regard.1 Urtext piano score (E/F/G/H) M 060 09731 7 Vol.
and – looking forward – matches well with chamber works of Ligeti or –awski. On chamber-orchestra or sinfonietta programs it makes a contrasting companion to Grieg’s Holberg Suite or even a Mozart symphony.1943) Five (1943 revision. The use of percussion here. for piano arrangements of five. and his wife.Peter Bartók) Boosey & Hawkes (for the USA) / Universal Edition thematic transformation in Felix Meyer’s preface to a facsimile edition of the manuscript of Music for Strings. as well as the two-piano arrangement of his Suite op. for male chorus 16´ Of the five works for a cappella male chorus this is the longest and the most polished.2. is as creative and exposed as it would ever be in Bartók’s hands. to accompany this Sonata on his programs. later six.1937/41?) for children’s or women’s chorus and chamber orchestra 2(II=picc).2 (1905-7) or the Violin Concerto No. gems. M 080 01103 4 Choral score Editio Musica Budapest Represented by Boosey & Hawkes in the USA. took part in its Swiss première in 1938. it has every ingredient of Bartókian success. Encouraged by Kodály and by recent study of Palestrina’s works.2. From Olden Times finds its counterpart for upper voices in the Twenty-seven Choruses (see above). British Commonwealth (excluding Australia and New Zealand) and Eire Six Songs BB111 (1935-36. UK. both of whom were influenced by this work. Lutosl timp. 6´ arranged as Concerto for Two Pianos. rev. UK. Bartók wrote an elegant triptych which. The frozen symmetry of the first and third movements is counterpoised with the sonata-form second movement and a fast-paced medley of tunes in the finale. for chamber orchestra 30´ 17 Most striking in their original forms for unaccompanied upper voices. some early performances seem to have required a battery of approaching half a dozen players! Bartók included two-piano works by Mozart. and in the following Sonata (1937). Only some are readily available in English translations. Percussion and Celesta BB114 (1936) Four movements. such as ‘Hussar’.2. increasingly idealizes peasant life.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 17 * Twenty-seven Two-and Three-Part Choruses BB111 (1935-36) for children’s and women’s choruses 45´ Music for Strings.0. or. six) pieces. and Orchestra (BB121. Although intended for two very nifty percussionists. In programs. 1931) M 008 00155 0 Piano score (rev. in particular. preceding Bartók’s grand apotheosis. orch. A concert companion of similar duration is Schoenberg’s Six Pieces for Male Chorus. British Commonwealth (excluding Australia and New Zealand) and Eire Sonata for Two Pianos and Percussion BB115 (1937) Three movements 25´ Bartók was personally very attached to this work.perc(2)—xyl—harp—cel—pft—strings M 008 01947 0 Study score Boosey & Hawkes (for the USA) / Universal Edition * From Olden Times BB112 (1935) Three songs. Percussion. The first of three commissions of Paul Sacher. ballet music.0—timp. the Music contrasts well with such works as the Suite No. Debussy and Stravinsky. in excerpts with film.4b. Percussion and Celesta (2000) Photo: courtesy Bartók Archive Budapest . 1940) M 060 01222 8 Study score M 060 01223 5 Two piano score M 060 01224 2 Percussion part Boosey & Hawkes Petite Suite BB113 (1936. ‘Loafer’ and ‘Bread Baking’”. over its course. He. these choruses are not just educational. of Forty-four Duos for violins (BB 104. It is now a mainstay of the percussion and two-piano literature.perc:tgl/cym/SD/BD—2pft—strings Boosey & Hawkes 30´ Bartók’s ultimate masterwork is equally effective as a concert piece. and also gave its earliest performances in several European countries and the United States. M 080 06079 7 Choral score TBB Editio Musica Budapest Represented by Boosey & Hawkes in the USA.1. written just a few years before Bartók’s. but also concert.2—4.
and remains a priceless document of performance practice.0—perc(3or2):xyl/cyms/susp.cyms/ tam-t/tgl/BD/SD—cel—strings 27´ * Violin Concerto No. M 060 11501 1 Study score M 060 11500 4 Parts and piano score Boosey & Hawkes Divertimento BB118 (1939) Three movements. Weill and Szymanowski.2.4b BB122 (1941) Four movements. entitled ‘Relaxation’. for a lighter touch. not shared by the twists and turns of his brooding middle movement. The middle movements.2(II=corA). then Two Dances. other Hungarian works for string orchestra by Weiner (for instance. hark back to some of the lighter moments of Contrasts.2. M 060 01231 0 Parts M 060 01230 3 Study score Boosey & Hawkes Seven Pieces from Mikrokosmos BB120 (1939-40) for two pianos. for violin.2 BB117 (1937-38) Three movements. 122) were undertaken to create greater variety in the two-piano presentations of Bartók and his wife. which Goodman also recorded. or. written in the Swiss Alps on the verge of war. where Bartók further explores the notions of static music that he had already been developing for over a decade.2(II=corA). string orchestra M 060 01149 8 Study score Boosey & Hawkes * String Quartet No.2(II=dbn)—4. prepared with Zoltán Székely as soloist. Its outer movements bustle with a sunny optimism. they did little to boost the Bartóks’ modest fortunes on the American platform. It is.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 18 18 * Contrasts BB116 (1938) 17´ Three (original two) movements. earlier titled Rhapsody. then Three Dances Contrasts grew from a six-minute. clarinet. although he did sketch a few ideas for a seventh quartet in his final year. M 060 01236 5 Two piano score Boosey & Hawkes . two-movement commission by Goodman to become a seventeen-minute masterpiece that can be described as “a kind of deliciously filtered Hungarian jazz”.0—timp. Its sombre ritornello theme reflects his growing pessimism as the world again turned to war.2.24) or Dohnányi. for orchestra (BB40. with Bartók’s own Romanian Folk Dances. Stravinsky gave his answer to Contrasts seven years later in the Ebony Concerto. op. for violin and orchestra 35´ This is the only violin concerto that Bartók himself officially recognized.6 BB119 (1939) Four movements 28´ This was Bartók’s last string quartet. four hands M 060 01246 4 Two piano score Photo: courtesy Peter Bartók 9´ Boosey & Hawkes Concerto for Two Pianos. his 1938 Divertimento. Percussion. Divertimento programs well with. This concerto’s natural siblings include the inter-war violin concertos of Berg. Particularly intriguing is the middle movement.2(II=bcl).perc(2):cyms/ tam-t/tgl/BD/SD—harp—cel—strings M 060 01138 2 Full score M 060 01139 9 Study score M 060 01140 5 Reduction for violin and piano Boosey & Hawkes M 060 01133 7 Full score M 060 01134 4 Study score M 060 01223 5 Two piano score M 060 01224 2 Percussion part Boosey & Hawkes * Suite op. is less intense or complex than the preceding works. or stands in for. and piano.4. was recorded. and – as with the Sonata for Solo Violin a few years later — shows his consummate understanding of writing for strings. for two pianos arrangement of Suite No. however. with Stravinsky conducting.3.3. the most polished of all his concertos. perhaps. op.2. 2(II=picc). By good fortune its 1939 première. reworked) 30´ Both of these transcriptions (BB121.2(II=dbn)—4. Unfortunately. for string orchestra 26´ Bartók’s last commission for Paul Sacher. and Orchestra BB121 (1940) Three movements arrangement of Sonata for Two Pianos and Percussion BB115 recording Contrasts with József Szigeti and Benny Goodman (1940) 2(II=picc).
stepped in to assert its primary form. Despite a “lugubrious death-song” as the third movement (Elegia).1—timp.Tibor Serly) M 060 01143 6 Study score ed.perc:cyms/ tam-t/tgl/BD/SD—2harps—strings On his death-bed Bartók left a draft of what appears to be almost all of the solo viola part.Tibor Serly) Boosey & Hawkes Inspired by Menuhin’s playing of Bach’s solo violin sonatas.2.2(II=dbn)—4. Serge Koussevitzky.Peter Bartók and Nelson Dellamaggiore) M 060 10370 4 Full score (facsimile edition) M 060 01144 3 Cello score (arr.2. It was almost painfully beautiful. humour and systematic exposure of all parts of the orchestra made it an immediate success when it was performed in late 1944 by the Boston Symphony Orchestra. it is among the most popular viola works of all time.” Otto Klemperer. Bartók’s quarter-tone and third-tone variants to the final movement were excluded from the original edition. The revised edition. in addition to Bach’s masterpieces.3 BB127 (1945) Three movements. which was undertaken by Tibor Serly.Tibor Serly) M 060 01141 2 Reduction for viola and piano (ed.Peter Bartók) M 060 01131 3 Study score M 060 01132 0 Reduction for two pianos Boosey & Hawkes “He was a wonderful pianist and musician.2(II=corA).perc:cym/BD/SD—strings arranged for piano.Peter Bartók 1993) M 060 10535 7 Full score (Masterworks) M 060 11242 3 Piano score Boosey & Hawkes Revised Edition by Peter Bartók and Nelson Dellamaggiore (1995) 2. for cello and orchestra scoring as Serly version of Viola Concerto above M 060 01142 9 Full score (ed.picc. Completed and orchestrated by Tibor Serly (1947-8) 2. the Concerto’s general lightness.3. M 060 01220 4 Violin score Original version edited by Yehudi Menuhin M 060 09183 4 Violin score Revised ‘Urtext’ edition Boosey & Hawkes Piano Concerto No. until the work’s commissioner. for piano and orchestra ed. There was some debate in the late 1940s over whether it might be better issued as a Cello Concerto. and that of 1935 by his pupil Sándor Veress.2—3. 2(II=picc). are the solo violin sonata of 1919/20 by Bartók’s colleague.perc(2):xyl/cyms/ tam-t/tgl/BD/SD—strings M 060 01130 6 Full score (ed. by Peter Bartók and Nelson Dellamaggiore.Peter Bartók and Nelson Dellamaggiore) M 060 09854 3 Reduction for viola and piano (ed.2(II=bcl).3. but has not fundamentally challenged the orchestration.2. Along with the Walton Viola Concerto. 1955 . An adaptation for cello is also available. has restored many original Bartók features.2.2. Bartók lived to complete all but the orchestration of its last few bars.3(III=corA). the energy and lightness of his playing were unforgettable.3(III=bcl). Bartók’s blend of baroque and folk influences is most evident in the firstmovement Tempo di ciaccona and the second-movement Fuga. but debate still persists on whether he really intended a four or a three-movement work.1—timp. and Lutoslawski’s Concerto for Orchestra (1950-54). technically easiest and most popular of the three piano concertos was written as a birthday gift for Bartók’s wife.cym—strings Sonata for Solo Violin BB124 (1944) Four movements 23´ arranged by Tibor Serly (1947). Interesting companion or contrast pieces.3. Interesting comparative works of the period are the Concerto for Orchestra that the Chicago Symphony Orchestra commissioned from Kodály and premièred in – 1941.picc.2(II=corA).3(III=dbn)—4. Tibor Serly and others (1945-6) 23´ This most lucid. the legendary William Primrose.2.Tibor Serly) M 060 09649 5 Full score (ed. The beauty of his tone.Bartok Connections 6-6-07 6/6/07 5:08 pm Page 19 * Concerto for Orchestra BB123 (1943) Five movements 37´ * Viola Concerto BB128 (1945.3.2—4. The orchestration is largely Serly’s although Bartók left fairly frequent short-hand prompts to what he had in mind.1—timp.perc(3):SD/BD/tgl/large cyms/ susp. but are included in the latest ‘Urtext’ edition.1—timp. incomplete) 20´ 19 Bartók’s most popular piece for full orchestra. by the composer M 060 01128 3 Full score (rev. under the work’s commissioner. 3(III=picc). Ditta.3. Zoltán Székely. the Concerto began as a work of gratitude on recovering sufficiently from serious illness.
Bartok Connections 6-6-07 6/6/07 5:09 pm Page 20 20 BARTÓK Timelines Events in Bartók’s life Born on 25 March in Nagyszentmiklós. Grainger born. Tsar Alexander II (Russia) assassinated Stravinsky. Berlin Philharmonic Orchestra founded Casella. Bruckner Te Deum. Wagner dies. Nietzsche Also sprach Zarathustra Kokoschka born. both amateur musicians and world Events in the wider world 1881 Picasso. Klemperer.H. son of an agricultural school headmaster and a teacher. Delibes Lakmé. Brahms Tragic Overture. Romania). Opening of the Budapest Opera House. Austria-Hungary and Italy. Liszt dies. Triple Alliance formed between Germany. Atatürk born. Borodin dies. Verdi Otello. Lawrence born. Hertz produces radio waves. D. Secret alliance formed between AustriaHungary and Romania. Sardou. Saint-Saëns Carnival of the Animals. a drum 1884 1885 Begins piano lessons with his mother Photo: courtesy Bartók Archive Budapest 1886 1887 Portrait as a young boy (1886) . Greenwich meridian established as prime international meridian Berg.6. Chagall. Hungary (now Sînnicolau Mare. Manufacture of first motor car by Daimler. Bruckner Symphony No. Brahms SymphonyNo. Vieuxtemps die.3. Franck Symphonic Variations. Serbian invasion of Bulgaria leading to Peace of Bucharest. Kodály. Sullivan The Mikado. Szymanowski. La Tosca 1882 1883 Receives his first musical instrument. Chiang Kai-schek born. Pope John XXIII. First run of the Orient Express Smetana dies. Mussorgsky. Webern born. Premiere of Wagner’s Parsifal in Bayreuth. Krafft-Ebing Psychopathia Sexualis Nadia Boulanger.
Paris International Exhibition. Judson invents zip fastener. Röntgen discovers X-rays. Wilde. Prokofieff born. Nijinsky born.” Georg Solti.E. Toulouse-Lautrec At the Moulin Rouge Mao Tse-tung born. Debussy Prélude à l’après-midi d’un faune. Tennyson. Strauss Don Juan. Slovakia). Start of rapid industrial expansion in Hungary (to 1906) Bliss. Franck. Hungary (now Bratislava. Pope Leo XIII’s encyclical Rerum novarum on working conditions Honegger. Cocteau born. Verlaine die. Satie Trois Gnossiènnes. allowing for his more orderly musical and general education 1894 - Succeeds Erno (Ernst) Dohnányi as his school’s organist 1895 1896 . Brahms Clarinet Quintet. Mahler ‘Resurrection’ Symphony. Pan-German League founded. Dvo® ák Cello Concerto in B minor. Verdi Falstaff. Tchaikovsky. Mascagni Cavalleria Rusticana.S. Bismarck dismissed as German Chancellor. Alkan dies. Milhaud. Van Gogh die. the family moves frequently in the following six years as Bartók’s mother seeks teaching work in provincial Hungarian schools 1888 T. first moving pictures Bruckner. de Gaulle born. Eliot. Tchaikovsky ‘Pathétique’ Symphony. Strauss Also sprach Zarathustra. R. starting with a waltz 1890 “We knew that one of the living geniuses of the twentieth century was in that [Budapest] classroom. Salome Khrushchev born. Whitman die. in Nagyszentmiklós. Puccini La Bohème. Eisenhower. Gounod. Pasteur dies. Tchaikovsky Symphony No. R. Crown Prince Rudolf (Austria-Hungary) commits suicide. Strauss Tod und Verklärung. Lajos Kossuth dies. Puccini Manon Lescaut. Eiffel Tower completed Ho Chi Minh. including his work The Course of the Danube 1892 1893 The Bartók family settles in Pozsony.1. Marconi transmits message by wireless.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 21 His father dies. Delibes dies. 1988 1891 First public performance as a pianist. Major earthquake in California. R. Mahler Symphony No. Van Gogh Sunflowers Hitler.5. Wilhelm II becomes German Kaiser. Ferenc Erkel die. Dreyfus trial in Paris Hindemith born. Leoncavallo I Pagliacci. First modern Olympic Games held in Athens. Lawrence born. Celebrations of the Hungarian millennium 21 1889 First compositions. T.
Nietzsche. Chekhov. Aspirin is invented. Khomeini born. Dukas The Sorcerer’s Apprentice. Queen Victoria die. Gauguin die.2. First controlled aeroplane flight by Wright brothers. serious lung problems emerge 1899 Portrait aged 18 (1899) 1900 Photo: courtesy Bartók Archive Budapest Photo: courtesy Bartók Archive Budapest “to the memory of my first concert” (1903) card sent from Budapest (1901) Gains first major success as a pianist in Budapest playing Liszt’s Piano Sonata. Dohnányi Piano Concerto No. Krenek. Sibelius Finlandia. Start of defence appropriation crisis in Hungarian parliament.1. in Nagyszentmiklós. Delius Appalachia. Schoenberg Verklärte Nacht. Elgar Enigma Variations. Austria-Hungary and Italy. Schoenberg Pelleas und Melisande. Copland born. Pissarro. presents his first public solo recital. Renewal of Triple Alliance between Germany. 1903 . R. Verdi. Bayliss and Starling discover hormones Wolf. Dohnányi Symphony No.4. Uncle Vanya Performs his own piano sonata and parts of a piano quartet. Monet starts Water Lilies paintings (to 1926) Weill. Hofmannsthal Elektra Hears Strauss’s Also sprach Zarathustra. visits Vienna. Empress Elizabeth (Austria-Hungary) murdered in Geneva. Puccini Tosca. Mallarmé. where he is offered a scholarship at the Conservatory Photo: courtesy Bartók Archive Budapest 1898 Commences studies in piano and composition at the Academy of Music in Budapest. Strauss Ein Heldenleben. Rachmaninoff Piano Concerto No. Ravel Jeux d’eau. his interest in the works of Liszt and Wagner grows 1901 Disney born. which renews compositional inspiration 1902 Performs Strauss’s Ein Heldenleben in his own piano transcription in Vienna. Mahler Symphony No. Zeppelin invents airship Poulenc born.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 22 22 1897 Brahms dies. Mann Buddenbrooks Walton. Sibelius Violin Concerto. Debussy Pelléas et Mélisande. Pissarro Boulevard des Italiens Hemingway born. and performs in Berlin. Wilde die. Sullivan. Second Colonial Conference. Bismarck die. Planck details quantum theory. Zola. Rhodes die. London.1.
with Kodály publishes first Hungarian folksong settings. Puccini Madama Butterfly. in the Rubinstein Competition in Paris. Ibsen die.2. San Francisco earthquake 23 Competes unsuccessfully. as pianist and as composer. composes op. Strauss Salome. Cézanne. Einstein enunciates his first theory of relativity Shostakovich born. C. starts annual expeditions collecting folk music using an Edison phonograph 1905 1906 Photo: Mary Evans Picture Library Budapest in the early 1900s . Chekhov. Peter Pan Tippett.2 Scherzo. Barrie. Tours Spain and Portugal as an accompanist.1 and the first three movements of Suite No. his interest in folk music is first aroused 1904 Dvo® ák. Stolypin introduces agrarian reforms in Russia. Schoenberg Chamber Symphony No.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 23 His symphonic poem Kossuth (1903) is performed in Budapest and Manchester. starts folk-music collaboration with Zoltán Kodály. R. Establishment of Entente cordiale between France and Britain. Debussy La Mer.1 Rhapsody and op. Janá™ek Jenu ˚fa. composes his orchestral Suite No.1. Kodály Summer Evening. Lehár The Merry Widow. Mór Jókai die. Lambert born. Abortive revolution in Russia.
Ravel Rapsodie espagnole.2 million. is born 1910 Balakirev. Rimsky-Korsakov die.1. Elgar Violin Concerto.posth. France and Russia. Stravinsky Firebird. Austria annexes Bosnia and Herzegovina. Kodály String Quartet No. completes his Violin Concerto No. of which 55 per cent are native Hungarian speakers. Twain die. MacDowell.3. completes his Suite No.1 and a variety of short piano pieces 1909 Photo: courtesy Bartók Archive Budapest with peasant style furniture in his Budapest home (1908) Photo: courtesy Bartók Archive Budapest with Kodály and the Waldbauer-Kerpely Quartet (1910) A Hungarian festival in Paris features his works. Symphony No. his elder son.000 emigrate from Hungary to the United States in this year . Endre Ady Blood and Gold poems Rachmaninoff Piano Concerto No. Kokoschka Murderer.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 24 24 Appointed to the piano staff of the Budapest Academy of Music (to 1934). Stravinsky Fireworks. Béla. Schoenberg Erwartung. including Fourteen Bagatelles 1908 Marries Márta Ziegler (1893-1967). Grieg. Berg String Quartet. 11 per cent Slovak. 10 per cent German. Diaghilev’s Russian Ballet starts its Parisian seasons First folk-music article and first of many instructive editions of piano classics are published in Budapest.2 1907 Auden born.9. Joachim die. Strauss Elektra. 120.1 (op. Schoenberg first atonal works. Tolstoy. Triple Entente formed between Britain. R. Ives The Unanswered Question. Picasso and Braque pioneer Cubism. Karajan born.) and composes many piano pieces. Peary reaches the North Pole. Population of Hungary 18. Hope of Women Messiaen. completes his String Quartet No. 16 per cent Romanian. Mahler. starts to investigate Romanian folk music. composes Two Pictures. his interest in the works of Debussy and Reger is aroused. Lumière invents colour photography. 8 per cent other.
2 1917 Photo: courtesy Bartók Archive Budapest Budapest première of Duke Bluebeard’s Castle. Proust. composes his Four Orchestral Pieces (orchestrated in 1921) 1912 Photo: courtesy Bartók Archive Budapest Collects folk music in French north Africa (Algeria). Franz Joseph I (Austria-Hungary) dies. Britten. 72). Ravel Daphnis et Chloé. Debussy En blanc et noir. his first ethnomusicological book. starts to compose his ballet The Wooden Prince portrait (mid-1910s) 1914 Collects folk music during several visits to Slovak regions. The Unconscious Bernstein. Du côté de chez Swann Reger Variations and Fugue on a Theme of Mozart. Massenet. Chinese Revolution. Debussy Jeux. Jung. Debussy dies. Pfitzner Palestrina. Lutosl R. Reger. Second Balkan War. János Kádár born. Billy Graham. completes String Quartet No. Amundsen reaches South Pole Cage. Schoenberg Pierrot Lunaire.F. composes the opera Duke Bluebeard’s Castle and Allegro Barbaro 1911 Menotti. although continues to teach at the Academy. Russian Revolution. completes Fifteen Hungarian Peasant Songs and composes Three Studies. Miller born. Stravinsky L’histoire du soldat. contracts Spanish influenza. makes final folk-music collection in Hungary. Skryabin dies. Skryabin Prometheus. Strauss An Alpine Symphony. Stravinsky Renard. Satie Parade. leading to republic under Sun Yat-sen. Outbreak of First World War. Romanian Folk Dances and Romanian Christmas Songs Photo: courtesy Bartók Archive Budapest 1915 Composes his Suite for piano and two sets of songs (BB71. Dadaist anti-art movement in Zürich J. to publish his compositions. Armistice declared on Eastern Front. Einstein’s general theory of relativity enunciated. Global influenza epidemics (into 1919) 25 Starts to withdraw from Hungarian musical life. R. he is rejected for military service. Mahler dies. Picasso Harlequin Menuhin. Reagan born. Mandela born. Rodin dies. Vienna. Dubliners A. Camus.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 25 With friends founds the New Hungarian Musical Society (which soon fails). Nixon born. Granados die. Russian attempted invasion of Hungary Joyce. R. as well as several Slovak folksong settings 1916 portrait aged 31 (1912) Completion and well-received Budapest première of The Wooden Prince. concludes negotiations with Universal Edition. Holst The Planets. appears in Bucharest 1913 War breaks out. Allies sign separate armistices with Germany and Austria-Hungary. Szymanowski ‘Song of the Night’ Symphony. Stravinsky The Rite of Spring. R. including Sonatina. Stravinsky Petrushka. composes many piano works. Mitterand born. Kennedy born. Bernhardt stars in the silent film Queen Elizabeth –awski. Dohnányi Variations on a Nursery Song. Elgar Symphony No. United States joins war. both for solo piano with singers and director at premiere of Duke Bluebeard’s Castle (1918) 1918 . Sinking of the Titanic. Scott die.2. Prokofieff ‘Classical’ Symphony. about Romanian folk music from Bihar county. Opening of the Panama Canal.
tours further as composer-pianist in Western Europe. Communist revolts in Berlin. with great success. writes of approaching an atonal goal in recent compositions. participates in founding the International Society for Contemporary Music (ISCM) in Salzburg. native Hungarian speakers now 89 per cent of national population Caruso. initial completion of his pantomime The Miraculous Mandarin (orchestrated in 1924) 1919 Renoir. Hungarian regency of Miklós Horthy commences (to 1944). Discovery of the tomb of Tutankhamun in Egypt. of Transylvanian folksongs. and Germany. Honegger Pacific 231. composes his Violin Sonata No. with Kodály. Stravinsky Les noces. Humperdinck. Hába String Quartet No. Zemlinsky Lyric Symphony. composes his Violin Sonata No. accepts a position with the short-lived Communist Republic of Councils. Kodály Psalmus Hungaricus. Ligeti born. Dezso ´´ Kosztolányi The Bloody Poet Callas. Walton Façade. Versailles Peace Conference. Prokofieff The Love for Three Oranges. Britain. Webern Trakl Songs. Honegger King David. Ady die. Treaty of Trianon reduces Hungarian land area by two-thirds. Union of Soviet Socialist Republics established Starts to re-establish Western European contacts and seriously thinks of emigrating. and contracts to publish his Slovak collection. Falla The Three-Cornered Hat. Formation of the ‘Group of Six’ composers in France. Schoenberg develops serial techniques.1. France. Munch The Kiss Xenakis born. composes his Improvisations for piano 1920 Writes many articles for foreign journals. A. Saint-Saëns die. Proust. Nazi Party (Germany) and Fascist Party (Italy) formed Stravinsky Pulcinella. inspired by violinist Jelly d’Arányi Tours Romania. using quarter tones. Bavaria.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 26 26 Re-emerges into Budapest’s concert life. in a more accessible style 1921 1922 1923 Photo: Sidney J Loeb / courtesy Bartók Archive Budapest with violinists Jelly and Adila d’Arányi in London (1923) . composes orchestral Dance Suite. completes his study.2. Hungary. Bell die.2 Divorces. and marries Ditta Pásztory (1903-82).
Sun Yat-sen die. sister Elza and younger son Peter (1926) . Janá™ek. Kodály Háry János Suite. which reflect Baroque interests. Shostakovich Symphony No. attends controversial première of The Miraculous Mandarin in Cologne. and Piano Concerto No. Premiere of Berg’s Wozzeck (Berlin) and Busoni’s Doctor Faust (Dresden).4 with violinist Zoltán Székely at his home in Nijmegen (1925) 1926 1927 Photo: courtesy Bartók Archive Budapest 1928 Photo: courtesy Dohnányi Archive Budapest on a train journey with Dohnányi (1929) Photo: courtesy Bartók Archive Budapest with second wife Ditta Pásztory. Mein Kampf. Ravel Tzigane. Satie. Kubrick born. Puccini. Elizabeth II (Britain) born. later comments that around this year he moved from a Beethovenian to a more Bachian creative aesthetic Undertakes his first tour of the United States (into 1928). composes two Violin Rhapsodies and String Quartet No. League of Nations reorganizes central European finances Berio. is born 1924 Nono. to mixed reception. Hirohito becomes Emperor of Japan (to 1989). his younger son. Varèse Arcana. Lenin die. Dohnányi Ruralia Hungarica. completes his String Quartet No.3. Nielsen Symphony No. Volume I Henze. his Dance Suite gains international popularity 1925 Makes first radio appearances as a pianist. T. Busoni. composes the Piano Sonata. Krenek Jonny spielt auf. Stravinsky Oedipus rex. Fauré. Peter. Hitler. Out of Doors. Monet dies. Lambert The Rio Grande. Nine Little Piano Pieces. Chomsky. Thatcher born. Hardy die.6.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 27 His study of Hungarian folk music appears in Budapest. Kingsford-Smith flies across the Pacific. Berg Lyric Suite. Boulez. gaining equal first prize (with Casella) in a Philadelphia competition Makes first commercial gramophone recordings of his works. Weill Threepenny Opera. Winnie the Pooh Benedict XVI born. George Bush Snr born. Milne. Gershwin Rhapsody in Blue. Webern Symphony for small orchestra. Kurtág. Zsigmond Móricz The Gentleman’s Way of Having Fun 27 Continues with European concert tours. First talking films released Stockhausen.1. Allies relinquish military control of Hungary. German airship crosses the Atlantic. Respighi The Pines of Rome. composes Village Scenes.1.
Stravinsky Symphony of Psalms.H. Second Surrealist Manifesto Takemitsu.2 1930 1931 Attends a conference on Arabic music in Cairo. Neutrons and Vitamin D discovered Decides no longer to perform his own works in Budapest (to 1936). Japanese invasion of Manchuria. Shostakovich Lady Macbeth of Mtsensk. Edison die. and Hungarian Folksongs for mixed chorus Joins the literature and arts committee of the League of Nations’ Commission for Intellectual Cooperation. Lawrence dies. Buffett born. Empire State Building completed Malipiero Violin Concerto No. appears in Halle. D. composes Twenty Hungarian Folksongs. Schoenberg Moses und Aron. Melba. composes Székely Folksongs for male chorus. by Edwin von der Nüll. Last Allied troops leave Germany. completes his Piano Concerto No. and starts to write for his Mikrokosmos collection of graded piano pieces 1932 . Previn born. the first full-length study of his works. leading to Depression. Pousseur. Stock market crash in New York. Walton Viola Concerto. Nielsen. Hofmannsthal die. Diaghilev. Ravel two piano concertos. for voice and piano 1929 Crumb. Population of Budapest reaches one million Gorbachev born. Revolution in Spain.1. completes a set of violin duos for students. W.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 28 28 Photo: courtesy Dohnányi Archive Budapest with Hindemith in Egypt where they attended an Arab music conference in Cairo (1932) Tours the Soviet Union. composes Cantata Profana. Schoenberg Von heute auf morgen.
Rachmaninoff Rhapsody on a Theme of Paganini. Hitler becomes German Chancellor (to 1945). T. Roosevelt becomes US President (to 1945). Kodály Dances of Galánta. to a commission from the Library of Congress in Washington 1934 Refuses award of the Hungarian Greguss Prize for his orchestral Suite No. Lawrence die. Germany repudiates aspects of Versailles Treaty. Berg Violin Concerto. composes his String Quartet No.E. Presley born. Hitler becomes German Führer. Dukas. Holst. Italy invades Abyssinia Is released from teaching at the Budapest Academy of Music and joins the folk-music section of the Hungarian Academy of Sciences (to 1940). Hindenburg. S. Varèse Ionisation. Stravinsky Perséphone. Gershwin Porgy and Bess. Gagarin born. Dollfuss die.5. Hindemith Mathis der Maler. Delius.2 in Frankfurt am Main (last appearance in Germany) 1933 Penderecki born. Beginning of the ‘swing’ period. start of Russian Communist Party purges E. Orwell Down and Out in Paris and London Birtwistle.1 (1905).Bartok Connections 6-6-07 6/6/07 5:09 pm Page 29 29 Photo: courtesy Peter Bartók at Paul Sacher’s house in Basel (1937) Photo: courtesy Dohnányi Archive Budapest Radio Times material relating to premiere of Cantata Profana in London (1934) Premières his Piano Concerto No. George dies. composes From Olden Times for male chorus and most of Twenty-seven Choruses for children’s and women’s choruses 1935 . publishes his study of Romanian Christmas Songs. Berg. Prokofieff Lieutenant Kijé. Elgar.
composes the Music for Strings. although affiliated with Axis powers. his mother dies. Szymanowski. and he starts serious planning to leave Hungary. Reich born. Glazunov.2 1938 Chaliapin.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 30 30 Presents his inaugural address. Glass.6 1939 Photo: courtesy Peter Bartók on USS Excalibur emigrating to the USA (1940) Tours the United States and later in the year settles in New York. Capek die. and Italy. First Jewish Law in Hungary. First Vienna Award increases Hungary’s land area. visits Turkey to perform. Hungary declares itself non-belligerent. Vienna. Austria annexed by Germany. Exhibition of ‘degenerate art’ in Munich. completes his six-volume Mikrokosmos collection. receives an honorary doctorate from Columbia University. Huizinga Homo Ludens Freud. Orff Carmina Burana. Yeats die. composes Divertimento and String Quartet No. Gone with the Wind (film) Makes final concert tours of France. Picasso Guernica > Forbids relay broadcasts of his concerts over German or Italian radio. starts to send his most valuable manuscripts out of Hungary. Webern Variations for orchestra. to a commission from Benny Goodman. Gershwin. Ginastera Danzas Argentinas. German and Russian invasions of Poland. Italy. composes Contrasts. Kodály ‘Peacock’ Variations. performs for the last time in Britain. to a commission from Paul Sacher 1936 S.5. before the Hungarian Academy of Sciences. and completes the Violin Concerto No. Copland Billy the Kid. First commercial television broadcasts. Second Vienna Award increases Hungary’s land area by a further 52 per cent. S. in Britain. Trotsky die. collect folk music and advise on music education. Bliss Checkmate. Kipling die. and Celesta. Stravinsky Symphony in C. Atatürk. formally contracts with Boosey & Hawkes. Austria and Hungary form Power Pact. N. about Liszt’s music. Percussion. Marconi die. Barber Violin Concerto. Lennon born. Chamberlain. Ravel. German-Japanese agreement P. Stravinsky ‘Dumbarton Oaks’ Concerto. Outbreak of Second World War. Disney Fantasia . composes the Sonata for Two Pianos and Percussion 1937 Starts negotiations with Boosey & Hawkes to take over publication of his works from Universal Edition. arranges his Sonata for Two Pianos and Percussion as a concerto 1940 J. Switzerland. Shostakovich Symphony No.6. Shostakovich Symphony No. Hussein born.
Webern. moves to his final New York apartment after many months of recuperation at health resorts. often with his wife. Messiaen Vingt regards sur l’enfant Jésus. penetrating. foundation of the United Nations. D-Day initiates Allied invasion of Europe. sketches the Viola Concerto (commissioned by William Primrose) and some ideas for his next string quartet. knowing. under Koussevitzky Completes his monumental study of Romanian folkmusic (published in 1967-75). Strauss Capriccio. composes and hears Menuhin première his Sonata for Solo Violin in New York. Strauss Metamorphosen. Fokine die. Baden-Powell die. Keynes. Rodgers and Hammerstein Oklahoma!. transfixing – the eyes of a prophet. performing the Concerto for Two Pianos.” Antal Doráti. lecturing. Kim Jong-Il born. to a commission from the Koussevitzky Music Foundation Completes his study of Serbo-Croatian folksongs(published in 1951). attends première in Boston of Concerto for Orchestra. New Jersey (1943) Kandinsky. Percussion and Orchestra in New York. gives occasional concerts. Kodály Missa Brevis. completes his study of Turkish folk music (published in1976). Hindemith Ludus tonalis. my God.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 31 Takes up a research fellowship in ethnomusicology at Columbia University. Prokofieff War and Peace. Copland Appalachian Spring. Stravinsky Babel. composes the Piano Concerto No. and publishing opportunities. and onset of illness. Rachmaninoff dies. composes Concerto for Orchestra. Britten Hymn to Saint Cecilia. Orwell Animal Farm Photo: C Leirens / courtesy Peter Bartók “His eyes. Paderewski. puts most of his energies into his ethnomusicological work 1942 Photo: courtesy Peter Bartók Makes final concert appearances. Tippett A Child of Our Time. just stepping out from the Bible. Mussolini die. Camus L’Étranger Ferneyhough. V. Rommel die. Roosevelt. dies of leukaemia in New York on 26 September 1943 1944 with Ditta at Saranac Lake. aged 64 . Magnetic tape is invented.3.2 for two pianos 1941 Dylan. Wolff. R. takes up visiting professorship at Harvard University but soon has to relinquish his responsibilities because of ill health. then in Pacific. R. Hitler. arranges his Suite No. his eyes – large. Italy surrenders. US joins the war. Messiaen Quatuor pour le fin du temps. 1981 one of his last photos. Munch. siege of Budapest by Russians commences 1945 Mascagni. Britten Peter Grimes. with his wife. Hungary actively joins war on Axis side M. Zemlinsky. War ends in Europe. Penicillin first successfully used to treat disease 31 Experiences depression at dwindling concert. Mussolini overthrown. Ali born. Jagger born.
piano) 9 Piano Quintet 8 Rhapsody No. 14.) 10 Violin Concerto No. piano) 18 Forty-four Duos (violins) 15 From Gyergyó (recorder. clarinet.43. piano) 13 Violin Sonata No.1 (op. piano) 14 Rhapsody No.Bartok Connections 6-6-07 6/6/07 5:09 pm Page 32 32 Works Index by genre Stage Photo: courtesy Peter Bartók Photo: courtesy Peter Bartók BARTÓK Duke Bluebeard’s Castle (opera) 11 The Miraculous Mandarin (pantomime) 13 The Wooden Prince (ballet) 12 on a field trip in Turkey with László Rásonyi with Ditta and Peter in Switzerland (early 1930s) Choral Evening (male) (BB30) 8 Four Hungarian Folksongs (mixed) 14 Four Old Hungarian Folksongs (male) 11 Four Slovak Folksongs (mixed.1 9 Suite No.2 (violin. piano. piano) 14 Rhapsody (No.2) 18 Violin Sonata No.1 (violin) 14 Rhapsody No.3 14 String Quartet No. BB24) 8 Hungarian folksongs (BB42.posth. BB72) 12 Five Village Scenes (BB87a) 14 Four Songs (Pósa.2 9 Transylvanian Dances 15 Two Pictures 11 The Wooden Prince (suites) 12 Chamber Contrasts (violin.1 10 String Quartet No. 16 Slovak folksongs (BB46) 9 Székely folksong (BB34) 8 Vocal-Orchestral Cantata Profana (tenor. 1945 . of Suite No.1) (cello.2 (violin) 14 Scherzo (piano.109) 9.2 15 Piano Concerto No.1 (violin.6 18 Suite (two pianos. arr. on hearing of Bartók’s death. 98. baritone. BB36b) 9 Rhapsody No.2 12 String Quartet No.5 16 String Quartet No.47. piano) 14 Seven Pieces from Mikrokosmos (two pianos) 18 Sonata for Solo Violin 19 Sonata for Two Pianos and Percussion 17 Sonata (violin. BB35) 9 Two Portraits (violin) 10 Viola Concerto 19 Viola Concerto (arr. piano) 12 From Olden Times (male) 17 Slovak Folksongs (male) 12 Székely Folksongs (male) 16 Twenty-seven Choruses (children. 1903) 8 String Quartet No. female) 17 Solo Piano Allegro Barbaro 11 Dance Suite 13 Fifteen Hungarian Peasant Songs 12 First Term at the Piano 11 For Children 10 Four Dirges 11 Four Pieces 8 Fourteen Bagatelles 10 Improvisations on Hungarian Peasant Songs 13 Marcia funèbre 8 Mikrokosmos 16 Nine Little Piano Pieces 14 Out of Doors 14 Petite Suite 17 Rhapsody (BB36a) 9 Romanian Christmas Songs 11 Romanian Folk Dances 12 Seven Sketches 10 Sonata 14 Sonatina 12 Suite 12 Ten Easy Pieces 10 Three Burlesques 10 Three Hungarian Folksongs from Csík 9 Three Hungarian Folk Tunes 12 Three Rondos on (Slovak) Folk Tunes 14 Three Studies 13 Two Elegies 10 Two Romanian Dances 11 Orchestral Concerto for Orchestra 19 Dance Suite 13 Divertimento 18 Four Orchestral Pieces 11 Hungarian Peasant Songs 16 Hungarian Sketches 15 Kossuth (symphonic poem) 8 The Miraculous Mandarin (suite) 13 Music for Strings.3 19 Rhapsody (piano.1 14 Piano Concerto No.2 18 Voice. with piano accompaniment Evening (BB29) 8 Five Songs (BB71) 12 Five Songs (Ady.1 (violin. piano) 13 Soloist (s) with Orchestra Concerto for Two Pianos and Percussion 18 Piano Concerto No.2 (violin.4 14 String Quartet No. for cello) 19 Violin Concerto No. Percussion and Celesta 17 Romanian Dance 11 Romanian Folk Dances 12 Suite No.44. chorus) 15 Five Hungarian Folksongs (single voice) 16 Three Village Scenes (female voices) 14 “I never liked his music anyway” Igor Stravinsky.
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