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It is well known that Béla Bartók had an extraordinary ability to synthesize Western art music with the folk music of Eastern Europe. What this rich and beautifully written study makes clear is that, contrary to much prevailing thought about the great twentieth-century Hungarian composer, Bartók was also strongly influenced by the art-music traditions of his native country. Drawing from a wide array of material including contemporary reviews and little known Hungarian documents, David Schneider presents a new approach to Bartók that acknowledges the composer’s debt to a variety of Hungarian music traditions as well as to influential contemporaries such as Igor Stravinsky. Putting representative works from each decade beginning with Bartók’s graduation from the Music Academy in 1903 until his departure for the United States in 1940 under critical lens, Schneider reads the composer’s artistic output as both a continuation and a profound transformation of the very national tradition he repeatedly rejected in public. By clarifying why Bartók felt compelled to obscure his ties to the past and by illuminating what that past actually was, Schneider dispels myths about Bartók’s relationship to nineteenth-century traditions and at the same time provides a new perspective on the relationship between nationalism and modernism in early-twentieth century music.

Racines - Bartok: Piano Works Florent Boffard - CD 3760127224112

Tanja Becker-Bender, one of Germany's most distinguished violinists, already has a number of critically acclaimed CDs of absorbing repertoire to her credit. Her collaboration with the Hungarian pianist Peter Nagy over many years has borne musical fruits of remarkable quality, as this Bartok recording so impressively demonstrates.

(Amadeus). Bela Bartok is among the most significant figures in the rise of musical modernism, placed alongside Debussy, Stravinsky, and the composers of the Second Viennese School in the pantheon of the 20th century's most influential innovators.

Bartok: Choral Works 1 Bartok / Chabron / Slovak Philharmonic Choir - CD 5991813252227

Bartok Pierre Boulez - CD 028947781257

Sylvia Sass and Kolos Kovats star in this Bartok opera with Sir Georg Solti conducting the London Philharmonic.

It is well known that Béla Bartók had an extraordinary ability to synthesize Western art music with the folk music of Eastern Europe. What this rich and beautifully written study makes clear is that, contrary to much prevailing thought about the great twentieth-century Hungarian composer, Bartók was also strongly influenced by the art-music traditions of his native country. Drawing from a wide array of material including contemporary reviews and little known Hungarian documents, David Schneider presents a new approach to Bartók that acknowledges the composer’s debt to a variety of Hungarian music traditions as well as to influential contemporaries such as Igor Stravinsky. Putting representative works from each decade beginning with Bartók’s graduation from the Music Academy in 1903 until his departure for the United States in 1940 under critical lens, Schneider reads the composer’s artistic output as both a continuation and a profound transformation of the very national tradition he repeatedly rejected in public. By clarifying why Bartók felt compelled to obscure his ties to the past and by illuminating what that past actually was, Schneider dispels myths about Bartók’s relationship to nineteenth-century traditions and at the same time provides a new perspective on the relationship between nationalism and modernism in early-twentieth century music.

(BH Piano). Includes For Children Complete ; Allegro barbaro ; Romanian Folk Dances ; Romanian Christmas Carols ; Suite, Op. 14 ; Fifteen Hungarian Peasant Songs ; Improvisations on Hungarian Peasant Songs ; Dance Suite ; Out of Doors ; Nine Little Piano Pieces ; and Three Rondos on Folk Tunes .

Bach: Bartok Boulez: Barenboim Bach, J.S. / Bartok / Barenboim - CD 4260234831290

(BH Piano). Includes For Children Complete ; Allegro barbaro ; Romanian Folk Dances ; Romanian Christmas Carols ; Suite, Op. 14 ; Fifteen Hungarian Peasant Songs ; Improvisations on Hungarian Peasant Songs ; Dance Suite ; Out of Doors ; Nine Little Piano Pieces ; and Three Rondos on Folk Tunes .

Neuware -Mit dem 'Konzert für Orchester' eröffnet Henle die Reihe preiswerter Studien-Editionen nach dem Notentext der Bartók-Gesamtausgabe. Als Bartók im Mai 1943 von Serge Koussevitzky den Kompositionsauftrag erhielt, bedeutete dies nicht nur eine finanzielle Unterstützung, sondern auch einen wichtigen schöpferischen Impuls für den schwer kranken Komponisten. Schon im Oktober lag das fünfsätzige Konzert vor, das Koussevitzky begeistert als 'das beste Orchesterwerk der letzten 25 Jahre' bezeichnete. Auch die ersten Aufführungen im Winter 1944/45 waren sehr erfolgreich. Gleichwohl wurde Bartók zur Fixierung eines alternativen Endes bewogen, das der schon im September 1945 verstorbene Komponist allerdings nicht mehr hören sollte. Bartók-Spezialistin Klára Móricz liefert in ihrer Ausgabe beide Versionen und fasst in einem spannenden Vorwort Geschichte und Überlieferung des 'Konzert für Orchester' zusammen. Ein knapper Bemerkungsteil informiert über die wesentlichen Grundlagen der Edition.Mehr zu dieser Ausgabe im Henle-Blog. 159 pp. Englisch, Französisch, Deutsch

Bela Bartok's compositions feature among the major artistic achievements of the 20th century. This accessible text discusses the music of the "Concerto for Orchestra" in detail, and provides the background in which Bartok created this major composition. Arranged in two parts, the book provides an extensive discussion of Bartok's musical language, and highlights the influence of folk and art music sources on his compositions. Suchoff traces Bartok's development as a composer from his early days at the Budapest Academy of Music to his later life, including a discussion of his influence on modern composition. Secondly, the author discusses the specific influences which led to the creation of the concerto. He examines each of the piece's five movements, closely analyzing numerous musical examples. Finally, Suchoff relates the significance of the composition to the whole of Bartok's oeuvre.

A virtuoso himself at the piano, Béla Bartók was also responsible for over 300 compositions for his beloved instrument. Yet, of all the books exploring his life and music, this is the first to depart from the realm of complex music theory. Written from the vantage point of a pianist and active performer rather than a theorist or musicologist, Bartók and the Piano: A Performer's View readily addresses the artist's exceptional relationship with the piano, paying special attention to form, structure, and the foundation and roots of his musical vocabulary. Using universal terms that the most novice of music lovers will find appealing, the book focuses on Bartók's approach to his music, his pianism, and the discipline and preparation required for performance. It serves as a guide to more informed listening, and will enable its readers to appreciate not only the work of Bartók, but that of countless others.In the midst of recording Bartók's complete works, renowned pianist Barbara Nissman has explored the very roots of his creative processes. To further aid readers in understanding the elements of the repertoire at hand, a CD insert of Bartók's music performed by the author is included. A perfect companion to Benjamin Suchoff's Bela Bartók: Life and Work, the first in-depth biography of the artist and folklorist.

Bela Bartok's compositions feature among the major artistic achievements of the 20th century. This accessible text discusses the music of the "Concerto for Orchestra" in detail, and provides the background in which Bartok created this major composition. Arranged in two parts, the book provides an extensive discussion of Bartok's musical language, and highlights the influence of folk and art music sources on his compositions. Suchoff traces Bartok's development as a composer from his early days at the Budapest Academy of Music to his later life, including a discussion of his influence on modern composition. Secondly, the author discusses the specific influences which led to the creation of the concerto. He examines each of the piece's five movements, closely analyzing numerous musical examples. Finally, Suchoff relates the significance of the composition to the whole of Bartok's oeuvre.

In Bartók Remembered, Malcolm Gillies has brought us closer to this man through a collection of memoirs written by those who knew him best. The volume contains nearly one hundred recollections of Bartók, from his mother’s memories of his early years in provincial Hungary, to assorted reminiscences of his last years in New York. Bartók’s virtuosic Concerto for Orchestra, his opera Duke Bluebeard’s Castle, and his Mikrokosmos for solo piano are some of the works by this great Hungarian composer that are admired and performed throughout the Western world. Yet Béla Bartók, the man, remains something of an enigma―remote, ascetic, uncompromising in his person and in his art.

Text: English, Hungarian (translation)

The 19th century saw the flowering of modern nationalism as the various peoples of Europe who had previously been culturally silent began to make themselves heard. Along with the invigorating effects on art, nationalism also led to provincialism and occasional bigotry. Examining Bart+¦k, author Kenneth Chalmers uncovers an intellectual whose research into folk music was genuinely nationalistic and, at the same time, broad-minded. Bartok's research covered not just Hungarian sources; it also reached out to other European ethnic groups--even as far as North Africa. Just as Bartok's nationalism managed to be cosmopolitan, his compositions served as a contemporary idiom that escaped the sterile orthodoxy of serialism. Chalmers's portrait of this proud and withdrawn man captures his single-minded commitment to his music and explains why Bartok's works are among the most accessible contemporary scores to enter the repertory after WWII.

This important and highly original book, written by one of Hungary's leading musicologists, makes a vital contribution to the understanding of the work of one of the greatest composers of the last century. His research and analysis is liberally illustrated with music examples and diagrams.

Bartók's music is greatly prized by concertgoers, yet we know little about the intellectual milieu that gave rise to his artistry. Bartók is often seen as a lonely genius emerging from a gray background of an "underdeveloped country." Now Judit Frigyesi offers a broader perspective on Bartók's art by grounding it in the social and cultural life of turn-of-the-century Hungary and the intense creativity of its modernist movement. Bartók spent most of his life in Budapest, an exceptional man living in a remarkable milieu. Frigyesi argues that Hungarian modernism in general and Bartók's aesthetic in particular should be understood in terms of a collective search for wholeness in life and art and for a definition of identity in a rapidly changing world. Is it still possible, Bartók's generation of artists asked, to create coherent art in a world that is no longer whole? Bartók and others were preoccupied with this question and developed their aesthetics in response to it. In a discussion of Bartók and of Endre Ady, the most influential Hungarian poet of the time, Frigyesi demonstrates how different branches of art and different personalities responded to the same set of problems, creating oeuvres that appear as reflections of one another. She also examines Bartók's Bluebeard's Castle, exploring philosophical and poetic ideas of Hungarian modernism and linking Bartók's stylistic innovations to these concepts.