Bartok, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and NationalityUniversity of California Press, 06.11.2006 - 319 Seiten 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. |
Inhalt
1 | |
8 | |
2 Tradition Maintained Nationalism Verbunkos Kossuth and the Rhapsody Op 1 | 33 |
3 Tradition Transformed The Nights Music and the Pastoral Roots of a Modern Style | 81 |
4 Tradition Challenged Confronting Stravinsky | 119 |
5 Tradition Transcribed The Rhapsody for Violin No 1 the Politics of FolkMusic Research and the Artifice of Authenticity | 184 |
6 Tradition Restored The Violin Concerto Verbunkos and Hungary on the Eve of World War II | 218 |
Notes | 251 |
Bibliography | 283 |
293 | |
Andere Ausgaben - Alle anzeigen
Bartók, Hungary, and the Renewal of Tradition: Case Studies in the ... David E. Schneider Eingeschränkte Leseprobe - 2006 |
Häufige Begriffe und Wortgruppen
Aladár Tóth art music Bánk bán Bartók and Kodály Bartók Béla Bartók's letter Bartók's music bass BBCsaL Béla Bartók Budapest century chord cimbalom clarinet compositions critic culmination point culture dance DocB Dohnányi dotted rhythms éjszaka zenéje example Ferenc Erkel Firebird German Géza Gypsy music Gyula Hungarian composers Hungarian folk music Hungarian Folk Songs Hungarian music Hungarian national Hungarian style Hungary Hungary's Ibid instrument János Károly Kodály's Kossuth kuruc lassú László Somfai Magyar magyar nóta March Melinda melodies Mihály Mihály Mosonyi minor Miraculous Mandarin modern modernist Molnár Mosonyi movement Music Academy musicians nationalist nóta Nyugat old-style Opera orchestra original peasant music performance Pesti Napló Philharmonic phrase played political premiere primary theme Puszta Rákóczi rhythmic Rite of Spring Romanian Romantic Rózsavölgyi Second Piano Concerto short-long Stravinsky strings symphonic poem Székely tárogató tempo tion tonal tune verbunkos Violin Concerto Wooden Prince zene Zenei Zeneműkiadó Zoltán Kodály
Beliebte Passagen
Seite 1 - At the beginning of the twentieth century there was a turning point in the history of modern music. The excesses of the romanticists began to be unbearable for many. There were composers who felt: "this road does not lead us anywhere; there is no other solution but a complete break with the nineteenth century.
Seite 1 - All profound changes in consciousness, by their very nature, bring with them characteristic amnesias. Out of such oblivions, in specific historical circumstances, spring narratives.