The Life of Béla Bartók

Tempo ◽  
1949 ◽  
pp. 3-7 ◽  
Author(s):  
Béla Bartók ◽  
Denijs Dille

I was born on March 25th, 1881, in a small place, called Nagyszentmiklós, which now, together with the whole county of Torontál, belongs to Roumania. My mother gave me my first piano lessons when I was 6 years old. My father, who was the head of an agricultural school, was gifted musically and active in many directions. He played the piano, organized an amateur orchestra, learned the 'cello in order to play that instrument in his orchestra, and composed some dance music. I was 8 years old when I lost him. After his death my mother had to work as a school mistress and struggle hard for our daily bread. We first went to live at Nagyszöllös (at present Czechoslovak territory), then to Beszterce in Transylvania (at present Roumanian territory) and in 1893 to Pozsony (Bratislava, at present Czechoslovak territory). I began writing piano music when I was nine years old and made my first public appearance as a “composer” and pianist at Nagyszöllös in 1891; it was therefore a matter of some importance for us to settle at last in a biggish town. Among Hungarian country towns at that time it was Pozsony that had the most vigorous musical life, and by moving there I was given the possibility of having lessons in piano and composition with László Erkel (Ferenc Erkel's son) and also of hearing a few operas, more or less well performed, and orchestral concerts. I had the opportunity, too, of playing chamber-music, and before I was eighteen I had acquired a fairly thorough knowledge of music from Bach to Brahms (though in Wagner's work I did not get further than Tannhäuser). All this time I was also busy composing and was under the strong influence of Brahms and Dohnányi (who was 4 years my senior). Especially Dohnányi's youthful Opus No. 1 influenced me deeply.

Tempo ◽  
1993 ◽  
pp. 45-61
Keyword(s):  

‘Stone Litany/Black Pentecost’ John WarnabyBirtwistle on NMC Antony ByeModern British Guy RickardsXenakis Chamber Music Nicolas HodgesThe Essential Gorecki John WarnabyVagn Holmboe series Guy Rickards 51Contemporary Accordion Robin FreemanFinnish Piano Music Martin AndersonOthmar Schoeck on disc Peter PalmerPiano Miscellany Calum MacDonald


Tempo ◽  
2014 ◽  
Vol 68 (270) ◽  
pp. 80-82
Author(s):  
Emil Bernhardt

For this Norwegian music critic, visiting a German music festival always means excitement and great expectations for, given its long traditions and proud institutions, German musical life has a special attraction. However, the reality may sometimes be quite astonishing. So it was that after about an hour on the train from Düsseldorf Airport, climbing down the steps at Witten Hauptbahnhof, I couldn't help asking myself, ‘How can it be that this rather anonymous-looking little town will, for the coming couple of days, be the centre of the relatively narrow field of contemporary chamber music?’.


Author(s):  
Niels Krabbe

With the collected edition of J.P.E. Hartmann’s piano music in The Hartmann Edition of Danish Centre for Music Publication at The Royal Library (edited in two volumes in 2012 by the author), the article discusses the role of Hartmann’s piano music in the Danish musical life of the 19th century, included its relation to general trends in piano music of the time outside Denmark. The article focuses on the scope and genres of the composer’s more than 50 piano works including the dissemination of the music in Hartmann’s time, both in the form of published editions and of public and private performances . It is concluded that there is a conspicuous disproportion between the number of published editions (Danish and German) and the lack of fingerprints from the music in the actual music life.


2017 ◽  
Vol 58 (2) ◽  
pp. 225-238
Author(s):  
Dagmara Łopatowska-Romsvik

Ernst von Dohnányi visited Kristiania, nowadays Oslo, the first time in 1906. Receiving very good reviews, he became a frequent guest in the city playing usually for full concert halls. He came to the city numerous times as a soloist performing music of the leading European composers of the nineteenth century and Beethoven’s and Bach’s works as well. He appeared on the stages in Kristiania also as a chamber music performer. Besides, his music was played there being prized high. He was considered a permanent and very wanted guest in the city and became an artist recommended as a piano teacher to the young Norwegian students by for example Edvard Grieg. His name was also used by the Norwegian piano factory’s owners together with the names of other famous artists such as Leschetizky, Paderewski, Carreño and others in the commercials of the instruments for many years. Eventually, his music was played there not only by the artist. This article’s aim is to show all the aspects of presence and reception of Dohnányi’s art in Kristiania in the period the artist used to show up in the city’s musical life.


2021 ◽  
Author(s):  
◽  
Zhong Gui

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>


2020 ◽  
Vol 22 (1) ◽  
pp. 245-261
Author(s):  
Ioana Baalbaki

AbstractAs a student of Zoltán Kodály and Béla Bartók, but also a close collaborator of László Lajtha at the Hungarian Ethnographic Museum in Budapest, and later of Béla Bartók at Folk Department of the Hungarian Academy of Science, Sándor Veress followed the path of his masters regarding the relation with folklore music. In 1930, he undertook an expedition in Moldavia, Romania, to collect music from the Csángó population, a small Hungarian speaking community, of catholic faith, living in the east of the Carpathian Mountains. In the seven villages he has visited, he collected, with the help of the phonograph, 138 folk songs on 57 wax cylinders, taking in the same time around 60 pictures and documenting the whole expedition in a journal. Following this journey, during the 30’s, Sándor Veress not only transcribed and analyzed the entire material, but also selected some of the melodies and used them as theme for his own choir arrangements and chamber music compositions.


Popular Music ◽  
2007 ◽  
Vol 26 (2) ◽  
pp. 281-304 ◽  
Author(s):  
PEKKA GRONOW ◽  
BJÖRN ENGLUND

AbstractThe first Scandinavian records appeared in 1899. By 1925, over 27,000 sides had been made in the region, and recordings had become an established part of musical life. Half of the recordings were made by the Gramophone Company, the market leader, but there were at least a dozen competing firms. The companies had to find out by trial and error what types of music would be attractive to customers. Early recording artists were mostly well-known personalities from opera, theatre or music halls, and their repertoire had already been tried on the stage.Most Scandinavian records were pressed in Germany or the United Kingdom, and the companies also promoted their international repertoire in the region, but customers preferred local artists. A hundred years ago, opera singers were the only internationally known recording artists. Popular music was tied to local languages and traditions, and a demand for imported popular music only emerged after World War One, with the growing popularity of modern dance music.


2003 ◽  
Vol 56 (3) ◽  
pp. 525-594 ◽  
Author(s):  
Joan Evans

Abstract This investigation of the reception in Nazi Germany of the work (and person) of Igor Stravinsky offers new insights into the issue of modern music in Hitler's Germany. As the most prominent modernist composer of the period, Stravinsky was the chief beneficiary of Germany's desire, after the xenophobic early Nazi years, to rejoin the European cultural community. Thanks to the determination of his supporters, and aided by the greater accessibility of his 1930s works, Stravinsky's music achieved a significant position in the musical life of the New Germany, which it maintained until the outbreak of war. Modern-minded critics articulated the ideological basis for his “rehabilitation”: although rooted in a foreign musical tradition, Stravinsky was an “Aryan” composer with acceptable political views, whose tonally based music revealed suitably “national” qualities. Many foreign composers, including the antifascist Béla Bartók, shared Stravinsky's desire for German performances. Whether they allowed this to temper their modernist tendencies is difficult to determine. What is certain is that their tonally based music allowed many (racially and politically acceptable) foreign composers to find an audience in Nazi Germany. It also made feasible Germany's desire to reconnect with the larger musical world.


2017 ◽  
Vol 58 (3-4) ◽  
pp. 415-430
Author(s):  
Veronika Kusz

Compared to his contemporaries Béla Bartók and Zoltán Kodály, Ernst von Dohnányi (1877–1960) did not leave an extensive legacy of prose writings. He rarely spoke either of himself, the background of his compositions, his musical principles or compositional aesthetics; nor was he particularly active as a musicologist, ethnomusicologist or critic. Yet, during a long life filled with wide-ranging professional activities, he authored numerous writings pertinent to the history of music and musical life. Equally informative are the interviews he gave in his various capacities as composer, performer, teacher, and institutional leader. A volume in progress, entitled Ernő Dohnányi’s Selected Writings and Interviews, will offer an annotated critical edition of these texts (collected and edited by the author, to be published in late 2019). This study is based on the collected interview-material and gives a summary of some of their most important topics such as Dohnányi’s views on modern music, creative and reproductive talents, live-, radio-, and recorded performances. Though these transcripts cannot always be considered authentic sources, this study attempts to show that there is a great deal of information, heretofore unknown, contained in the numerous new interviews our research has brought to light.


2021 ◽  
Author(s):  
Erica Buurman

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.


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