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Béla Viktor János Bartók (March 25, 1881 – September 26, 1945) was a Hungarian composer and pianist. He is considered to be one of the greatest composers of the 20th century and is regarded, along with Liszt, as Hungary's greatest composer. Through his collection and analytical study of folk music, he was one of the founders of ethnomusicology. Béla
Bartók was born in the small Banatian town of Nagyszentmiklós in Austria-Hungary (now Sânnicolau
Mare, Romania)
on March 25, 1881. He displayed notable musical talent very early in
life: according to his mother, he could distinguish between different
dance rhythms that she played on the piano even before he learned to
speak in complete sentences. By the age of four, he
was able to play 40 pieces on the piano and his mother began formally
teaching him the next year.
Béla
was a small and sickly child and suffered from a painful chronic rash
until the age of five. In 1888, when he was seven,
his father (the director of an agricultural school) died suddenly.
Béla's mother then took him and his sister, Erzsebet, to live in
Nagyszőlős (today Vinogradiv, Ukraine) and then to Pozsony (German: Pressburg, today Bratislava, Slovakia). In Pozsony, Béla gave his first
public recital at age eleven to
a warm critical reception. Among the pieces he played was his own first
composition, written two years previously: a short piece called "The
Course of the Danube". Shortly thereafter László
Erkel accepted him as a pupil. Bartók
studied piano under István
Thomán, a former student of Franz Liszt,
and composition under János
Koessler at the Royal Academy
of Music in Budapest from
1899 to 1903. There he met Zoltán
Kodály, who influenced him greatly and became his
lifelong friend and colleague. In 1903, Bartók wrote his first
major orchestral work, Kossuth,
a symphonic poem
which honored Lajos Kossuth,
hero of the Hungarian
Revolution of 1848. The music of Richard Strauss,
whom he met in 1902 at the Budapest premiere of Also sprach
Zarathustra, was
very
influential on his early work. When visiting a holiday resort in
the summer of 1904, Bartók overheard the eighteen year old
nanny, Lidi Dósa from Kibéd in
Maros-Torda in Transylvania sing folk songs to the children under her
care. This sparked his life-long dedication to folk music. From 1907
his music also began to be influenced by Claude Debussy,
whose
compositions Kodály had brought back from Paris.
Bartók's large-scale orchestral works were still in the style of Johannes Brahms and
Richard Strauss, but also around this time he wrote a number of small
piano pieces which show his growing interest in folk music. The first
piece to show clear signs of this new interest is the String Quartet
No. 1 in A minor
(1908), which contains folk-like elements. In
1907,
Bartók began teaching as a piano professor at the Royal
Academy. This position freed him from touring Europe as a pianist and
enabled him to stay in Hungary. Among his notable students were Fritz Reiner, Sir Georg Solti, György
Sándor, Ernő Balogh, Lili Kraus,
and, after Bartók moved to the United States, Jack Beeson and Violet Archer. In
1908,
inspired by both their own interest in folk music and by the
contemporary resurgence of interest in traditional national culture, he
and Kodály travelled into the countryside to collect and
research old Magyar folk melodies. Their
findings came as a surprise: Magyar folk music had previously been
categorised as Gypsy music. The classic example
of this misconception is Franz Liszt's
famous Hungarian
Rhapsodies for
piano, which were based on popular art-songs performed by Gypsy bands
of the time. In contrast, the old Magyar folk melodies discovered by
Bartók and Kodály bore little resemblance to the popular
music performed by these Gypsy bands. Instead, they found that many of
the folk songs are based on pentatonic scales similar to those in
Oriental folk traditions, such as those of Central Asia and Siberia. Bartók
and Kodály quickly set about incorporating elements of real
Magyar peasant music into their compositions. Both Bartók and
Kodály frequently quoted folk songs verbatim and wrote pieces
derived entirely from authentic folk melodies. An example is his two
volumes entitled For Children for
solo piano containing 80 folk tunes to which he wrote accompaniment.
Bartók's style in his art music compositions was a synthesis of
folk music, classicism, and modernism. His melodic and harmonic sense
was profoundly influenced by the folk music of Hungary, Romania, and
many other nations, and he was especially fond of the asymmetrical
dance rhythms and pungent harmonies found in Bulgarian
music. Most of his early
compositions offer a blend of nationalist and late Romanticism elements. In
1909,
Bartók married Márta Ziegler. Their son,
Béla II, was born in 1910. In 1911, Bartók wrote what was
to be his only opera, Bluebeard's
Castle, dedicated to Márta. He entered it for a prize
awarded by the
Hungarian Fine Arts Commission, which rejected it out of hand as
un-stageworthy. In 1917 Bartók revised the
score in preparation for the 1918 première, for which he rewrote
the ending. Following the 1919 revolution,
he was pressured by the government to remove the name of the
blacklisted librettist Béla
Balázs (by
then a refugee in Vienna) from the opera. Bluebeard's Castle received
only one revival, in 1936, before Bartók emigrated. For the
remainder of his life, although he was passionately devoted to Hungary,
its people and its culture, he never felt much loyalty to its
government or its official establishments. After
his
disappointment over the Fine Arts Commission prize, Bartók
wrote little for two or three years, preferring to concentrate on
collecting and arranging folk music. He collected first in the Carpathian Basin (the then Kingdom of
Hungary), where he notated Hungarian, Slovakian, Romanian and Bulgarian folk music. He also
collected in Moldavia, Wallachia and in 1913 in Algeria.
However, the outbreak of World War I forced him to stop these
expeditions, and he returned to composing, writing the ballet The Wooden
Prince in
1914–16 and the String Quartet
No. 2 in
1915–17, both influenced by Debussy.
It was The Wooden
Prince which
gave him some degree of international fame. Raised
as a Roman Catholic,
Bartók had by his early adulthood become an atheist and considered the
existence of God as undecidable and unnecessary. He later became
attracted to Unitarianism and publicly converted to
the Unitarian faith in 1916. His son
later became president of the Hungarian Unitarian Church. He
subsequently worked on another ballet, The Miraculous
Mandarin influenced
by Igor Stravinsky, Arnold
Schoenberg, as well as Richard Strauss,
following this up with his two violin sonatas (written in 1921 and 1922
respectively) which are harmonically and structurally some of the most
complex pieces he wrote. The Miraculous
Mandarin, a sordid modern story of prostitution, robbery,
and murder,
was started in 1918, but not performed until 1926 because of its sexual content. He wrote his third and fourth string quartets
in 1927–28, after which his compositions demonstrate his
mature style. Notable examples of this period are Divertimento
for String Orchestra BB 118 (1939) and Music for
Strings, Percussion and Celesta (1936). The String Quartet
No. 5 (1934) is
written in somewhat more traditional style. Bartók wrote his sixth and
last string quartet in 1939, the sadness of which has been related to
the death of Bartók’s mother and the looming war in Europe. Bartók
divorced Márta in 1923, and married a piano student, Ditta
Pásztory. His second son, Péter, was born in 1924. In 1936 he travelled to Turkey to collect and study folk music. He
worked in collaboration with Turkish composer Ahmet
Adnan Saygun mostly around Adana. In
1940, as the European political situation worsened after the outbreak of World War II,
Bartók was increasingly tempted to flee Hungary. He was strongly
opposed to the Nazis and Hungary’s siding with Germany.
After the Nazis had come to power in Germany, he refused to give
concerts there and broke from his German publisher. His views caused
him a great deal of trouble with the establishment in Hungary. Having
first sent his manuscripts out of the country, Bartók
reluctantly emigrated to the U.S. with Ditta Pásztory. They
settled in New York City.
After joining them in 1942, Péter Bartók enlisted in the United States
Navy. Béla Bartók, Jr. remained in Hungary. Bartók
never
became fully at home in the U.S. He initially found it difficult
to compose. Although well-known in America as a pianist,
ethnomusicologist and teacher, he was not well known as a composer and
there was little interest in his music during his final years. He and
his wife Ditta gave concerts. Bartók, who had made some
recordings in Hungary also recorded for Columbia Records after
he came to the U.S; many of these recordings (some with Bartók's
own spoken introductions) were later issued on LP and CD. For
several years, supported by a research fellowship from Columbia
University, Bartók and his wife worked on a large
collection of Serbian and Croatian folk
songs in Columbia's libraries. Bartók's difficulties during his
first years in the US were mitigated by publication royalties, teaching
and performance tours. While their finances were always precarious, it
is a myth that he lived and died in abject poverty and neglect. There
were enough supporters to ensure that there was sufficient money and
work available for him to live on. Bartók was a proud man and
did not easily accept charity. Though he was not a member of ASCAP,
the society paid for any medical care he needed in his last two years
and Bartók accepted this. The
first symptoms of his leukemia began
in 1940, when his right shoulder began to show signs of stiffening. In
1942 symptoms increased and he started having bouts of fever but the
disease was not diagnosed in spite of medical examinations. Finally, in
April 1944, leukemia was diagnosed but by this time little could be
done. As
his body failed, Bartók's creative energy reawakened and he
produced a final set of masterpieces, partly thanks to the violinist Joseph
Szigeti and the conductor Fritz
Reiner (Reiner
had been Bartók's friend and champion since his days as
Bartók's student at the Royal Academy). Bartók's last
work might well have been the String
Quartet No. 6 but for Serge
Koussevitsky's commission for the Concerto
for Orchestra. Koussevitsky's Boston
Symphony Orchestra premièred
the work in December 1944 to highly positive reviews. Concerto for
Orchestra quickly became Bartók's most popular work, although he
did not live to see its full impact. He was also commissioned in 1944 by Yehudi
Menuhin to write a Sonata
for Solo Violin. In 1945
Bartók composed his Piano
Concerto No. 3, a graceful
and almost neo-classical work and he began work on his Viola
Concerto. He had not
completed the scoring at his death. Bartók
died in New York from leukemia (specifically, of secondary
polycythemia)
on September 26, 1945 at age 64. His funeral was attended by only ten
people, including his friend the pianist György
Sándor. Bartok's body was initially interred in Ferncliff
Cemetery in Hartsdale, New
York, but during the
final year of communist Hungary in the late 1980s, his remains were
transferred to Budapest for a state funeral on July 7, 1988 with
interment in Budapest's Farkasréti
Cemetery. He
left
his Third Piano Concerto almost finished at his death. For the
Viola Concerto he only left the viola part and sketches of the
orchestra part. Both works were later completed by his pupil, Tibor Serly.
György
Sándor was the soloist in the first performance of
the Third Piano Concerto on February 8, 1946. The Viola Concerto was
revised and polished in the 1990s by Bartók's son, Peter, and
this version may be closer to what Bartók may have intended. There
is a statue of Béla Bartók in Brussels, Belgium, near the central train station
in a public square, Spanjeplein-Place d'Espagne. Another statue stands
in London, opposite South Kensington Underground
Station. Still another is in front of one of the houses that
Bartók owned in the hills above Budapest, which is now a museum.
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