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.

This is a wide-ranging and accessible guide to Bartók and his music.

Publisher description

This second edition ofBela Bartok: A Guide to Researchpresents a concisely detailed history of Bartok's musical development, a catalogue of his compositions according to genre (including basic data on Bartok's publishers, achives, library collections, and catalogues), and 1200 annotated primary and secondary sources. A decade of scholarship since the first edition (1988) is included; over forty percent of the material in the second edition is new. Four indexes cover listings by author and title; Bartok's compositions and his editions and transcriptions of earlier keyboard works; proper names; and subjects. Primary sources include: Bartok's own essays, articles, lectures on folk music and art music, letters, and other documents; his folk music collections; facsimilies, reprints, and revisions of his music; and his own editions and transcriptions of earlier keyboard music. Secondary sources include: biographical and historical studies, specialized studies of his personality, philiosophy, andpolitical attitudes; theoretic, analytic, stylistic, and aesthetic studies of his music; discussions of folk music influences and art music influences; studies of his compositional process (based on autograph manuscripts, editions, and his own recordings); discussions of his orientation toward pedagogy; and discussions of insitutional sources for Bartok's research (including archival and bibliographic sources, special issues, festivals, conferences, colloquia, concert programs, and computerized data bases for Bartok analysis and research. This annotated, topically-organizedGuideis the most extensive bibliographical research tool on Bartok. It is the first to draw together the most important primary and secondary bibliographic sources, which cover his varied activities as composer, ethnomusicologist, pianist, pedagogue, linguist, and editor. It is significant not only for those interested in musicological research into Bartok's compositional and scholarly activities but also for those interestedin ethnomusicological research methodology in general, and the study of Eastern European, North African Arab, and Turkish folk music in particular.

The authors explore the means by which two early 20th-century operas - Debussy's 'Pelléas et Mélisande' (1902) and Bartók's 'Duke Bluebeard's Castle' (1911) - transformed the harmonic structures of the traditional major/minor scale system into a new musical language.

At the centre of Bartók's œuvre are his string quartets, which are generally acknowledged as some of the most significant pieces of 20th century chamber music. This book examines these remarkable works from a range of theoretical and methodological perspectives.

The definitive account of the life and music of Hungary's greatest twentieth-century composer This deeply researched biography of Béla Bartók (1881-1945) provides a more comprehensive view of the innovative Hungarian musician than ever before. David Cooper traces Bartók's international career as an ardent ethno-musicologist and composer, teacher, and pianist, while also providing a detailed discussion of most of his works. Further, the author explores how Europe's political and cultural tumult affected Bartók's work, travel, and reluctant emigration to the safety of America in his final years. Cooper illuminates Bartók's personal life and relationships, while also expanding what is known about the influence of other musicians--Richard Strauss, Zoltán Kodály, and Yehudi Menuhin, among many others. The author also looks closely at some of the composer's actions and behaviors which may have been manifestations of Asperger syndrome. The book, in short, is a consummate biography of an internationally admired musician.