Bela Bartok, who died in New York fifty years ago, is one of the most frequently performed 20th-century composers. He is also the subject of a rapidly growing critical and analytical literature. Bartok was born in Hungary and made his home there for all but his last five years, when he resided in the United States. As a result, many aspects of his life and work have been accessible only to readers of Hungarian. The main goal of this volume is to provide English-speaking audiences with new insights into the life and reception of this musician, especially in Hungary. Part I begins with an essay by Leon Botstein that places Bartok in a large historical and cultural context. Laszlo Somfai reports on the catalogue of Bartok's works that is currently in progress. Peter Laki shows the extremes of the composer's reception in Hungary, while Tibor Tallian surveys the often mixed reviews from the American years. The essays of Carl Leafstedt and Vera Lampert deal with his librettists Bela Balazs and Melchior Lengyel respectively. David Schneider addresses the artistic relationship between Bartok and Stravinsky. Most of the letters and interviews in Part II concern Bartok's travels and emigration as they reflected on his personal life and artistic evolution. Part III presents early critical assessments of Bartok's work as well as literary and poetic responses to his music and personality.
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Adds important material to the slim library of English-language studies of Bartók's achievements. -- Review
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Inside This Book
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First Sentence:
Of all the leading figures in twentieth-century music-those whom Pierre Boulez in 1961 termed the "Great Five" of contemporary music, Stravinsky, Schoenberg, Berg, Webern, and Bartok-only Bartok, from the start of his career to this day, has remained closely identified with a single national group. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
urban popular music, thundering steps, peasant music, musical modernism, new classicism, many greetings, door scene, piano concerto, former wives Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Béla Bartók, Bela Bartók, Second Piano Concerto, Western European, Budapest Opera, Universal Edition, Béla Bartok, First Piano Concerto, Violin Concerto, Travel Reports, Academy of Sciences, Béla Bartcík, Bence Szabolcsi, Columbia University, Dance Suite, Friedrich Hebbel, Malcolm Gillies, The Miraculous Mandarin, Uncle Béla, Béla Balázs, Béla Bartbk, Karl Mannheim, Los Angeles, Bartók Béla New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Of all the leading figures in twentieth-century music-those whom Pierre Boulez in 1961 termed the "Great Five" of contemporary music, Stravinsky, Schoenberg, Berg, Webern, and Bartok-only Bartok, from the start of his career to this day, has remained closely identified with a single national group. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
urban popular music, thundering steps, peasant music, musical modernism, new classicism, many greetings, door scene, piano concerto, former wives Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Béla Bartók, Bela Bartók, Second Piano Concerto, Western European, Budapest Opera, Universal Edition, Béla Bartok, First Piano Concerto, Violin Concerto, Travel Reports, Academy of Sciences, Béla Bartcík, Bence Szabolcsi, Columbia University, Dance Suite, Friedrich Hebbel, Malcolm Gillies, The Miraculous Mandarin, Uncle Béla, Béla Balázs, Béla Bartbk, Karl Mannheim, Los Angeles, Bartók Béla New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 18
books:
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3
books
cite this book:
- 9 Little Piano Pieces by Peter Bartok on page 186, and page 277
- The Rite of Spring (Dover Miniature Music Scores) by Igor Stravinsky on page 178, and page 197
- Piano Pieces (Music Scores) by Wolfgang Amadeus Mozart on page 186, and page 277
- The Modern Drama by Maurice Maeterlinck on page 133, and page 146
- The Origins of Totalitarianism by Hannah Arendt on page 53
See all 18 books this book cites
- Musical Symbolism in the Operas of Debussy and Bartďż1/2k: Trauma, Gender, and the Unfolding of the Unconscious by Elliott Antokoletz in Back Matter
- Musical Biography: Towards New Paradigms by Jolanta T. Pekacz in Back Matter
- Twentieth-Century Chamber Music (Routledge Studies in Musical Genre) by James McCalla in Back Matter
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