6 Two Part Inventions on Hungarian Folk Songs - Piano
The initial collection, which led them into the remotest corners of Hungary, was begun with the intention of revitalizing Hungarian music. Both composers not only transcribed many folk tunes for the piano and other media but also incorporated into their original music the melodic, rhythmic, and textural elements of peasant music. Ultimately, their own work became suffused with the folk spirit. His holidays were spent collecting folk material, which he then analyzed and classified, and he soon began the publication of articles and monographs. His first numbered quartet shows few traces of folk influence, but in the others that influence is thoroughly assimilated and omnipresent.
A ballet , The Wooden Prince —16 , and a pantomime , The Miraculous Mandarin —19 , followed; thereafter he wrote no more for the stage.
Mikrokosmos, Sz.107 (Bartók, Béla)
His most productive years were the two decades that followed the end of World War I in , when his musical language was completely and expressively formulated. He had assimilated many disparate influences; in addition to those already mentioned—Strauss and Debussy—there were the 19th-century Hungarian composer Franz Liszt and the modernists Igor Stravinsky and Arnold Schoenberg. After a second concert tour of the United States in , he immigrated there the same year.
His health, however, was never very strong and had begun to deteriorate even before his arrival in the United States.
Nonetheless, he was able to compose the Concerto for Orchestra , the Sonata for violin solo , and all but the last measures of the Piano Concerto No. When he died, his last composition, a viola concerto , was left an uncompleted mass of sketches completed by Tibor Serly, As a composer of a stature equaled by few in the first half of the 20th century, he fused the essence of Hungarian and related folk music with traditional music to achieve a style that was at once nationalistic and deeply personal.
As a pianist he gave concerts in Europe and the United States, disseminating the newer Hungarian music. As a teacher he helped train generations of pianists, both Hungarian and foreign. And as an ethnomusicologist he was one of the first to examine folk music with attention to its historical and sociological implications. He helped to lay the foundations for the study of comparative musical folklore in Hungary and published several important book-length studies of Hungarian and Romanian folk music. We welcome suggested improvements to any of our articles.
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Largo A mixolydian, 21 bars Pesante 26 bars Lento 17 bars Allegro robusto E minor, 32 bars In four parts 2. Molto moderato, sonoro G major, 16 bars Once upon a time Moderato C minor, 34 bars 95a. Allegro con brio D major, 16 bars 95b. Fox song with voice. Allegro con brio D major, 18 bars Allegretto G major, 34 bars. Adagio E minor, 37 bars Allegro non troppo G dorian, 28 bars Lento C minor, 23 bars In folk song style.
They involve constantly changing time and pitch intervals and unit groupings that keep Eders fingers continually alert. They range in mood from quiet tremolos in the bass to an increasingly frenzied crescendo in Dance No. The selection of piano music on this disc illustrates the composer's brilliant use of folk melody and its integration into highly original and innovative works for the keyboard.
Kocsis plays Bartók - Complete Solo Piano Music - Philips: E - download | Presto Classical
The 15 Hungarian Peasant Songs are one of the composer's most accessible collections consisting mostly of short, straightforward songs. With the exception of No 15, they all contain one idea per song and their duration is brief, but in general the mood is bright and jolly and, being organized in regular phrase units, this set makes for some relaxed listening.
Improvisations on Hungarian Peasant Songs is a collection of eight short pieces each focused on its own simple folk tune repeated several times with variations. Written between and , these wild and jazzy dances are tightly organized, and abound with imitation, the clever use of motives at different pitch levels, and the employment and characteristics of counterpoint.
A generously filled issue in classy presentation and superb sound quality that should whet the appetite of many a pianophile. In the end we have a Terry Eder who revels in this music, getting inside it and affirming how it speaks very much to us in the new century.
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