Béla Bartók Rhapsodie pour piano, Op. 1 list 3 Vidéos
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2024-04-14
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Anda Béla Bartók Ferenc Fricsay Gruber Zoltán Kodály Franz Liszt Kodály 1881 1904 1905 1907 1945
Béla Bartók [1881-1945] Rhapsodie für Klavier und Orchester op. 1 [1904] I. Adagio molto II. Poco Alegretto Geza Anda, Klavier Deutsches Symphony Orchester Berlin Ferenc Fricsay, Leitung The Rhapsody for piano was a very important work, especially for the fact that it was at that time when Bartók decided to begin his third list of compositions. In this stage, he decided to embark a new period in his artistic career where he would explore mainly folk music from Romania and Hungary. This turned out to be the pivotal work from which he developed a new direction to both his compositional style and his preoccupations as an artist. The Rhapsody was completed in late 1904 and was dedicated to Emma Gruber, who later became the wife of Zoltán Kodály. Drafts for the composition are not extant.The virtuoso piano writing of the work's "elaborate textures and sectional contrasts" relates to the model of Franz Liszt. After five revisions and updates, Bartók also released a version for piano and orchestra in 1905 and a version for two pianos. In 1907, Bartók also composed a fourth version of the same piece, which was shortened by almost half of the total length of the composition. [Wikipedia] by berlinzerberus
Béla Viktor János Bartók Isaac Stern Leonard Bernstein Liszt Joseph Szigeti Hermann Scherchen Walsh Zoltán Székely Laki 1881 1904 1928 1929 1938 1945 1962 1994 2001 2005
Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology. Rhapsody Folk Songs for Violin and Orchestra No. 1 +••.••(...)) Dedication: Joseph Szigeti 1. Lassú. Moderato 2. Friss. Allegretto moderato Isaac Stern, violin and the New York Philharmonic conducted by Leonard Bernstein rec. 1962 Rhapsody No. 1, Sz. 86, 87, and 88, BB 94 is the first of two virtuoso works for violin and piano, written by Béla Bartók in 1928 and subsequently arranged in 1929 for violin and orchestra, as well as for cello and piano. It is dedicated to Hungarian virtuoso violinist Joseph Szigeti, a close friend of Bartók, who gave the first performance of the orchestra version in Königsberg on 1 November 1929, with Hermann Scherchen conducting the orchestra (Kenneson 1994, 127). Bartók evidently composed both rhapsodies purely as a personal gesture, rather than on commission, and did so without telling anyone until they were both completed (Walsh 2005, 235). According to the violinist Zoltán Székely, he and the composer met one day in 1928 and, after chatting for a time, Bartók suddenly announced that he had a surprise for him, and produced the manuscripts of the two rhapsodies, which no one else had previously seen. "One is for you; one is for Szigeti," Bartók told him. “You may choose which one you like for the dedication.” Székely chose the Second Rhapsody, but quickly added, "that doesn’t mean that the First Rhapsody was already dedicated to Szigeti!" (Kenneson 1994, 113). Both rhapsodies exemplify a mode of composition using peasant-music sources, described by Bartók as taking an existing melody and adding an accompaniment together with some introductory or ending material, in such a way that the newly composed matter is strictly secondary—never competing with the folk material for prominence. This was acknowledged in the scores of the early editions, which bore the subtitle "Folk Dances" (Walsh 2005, 235–36). Bartók's objective was to transplant the entire style of Eastern-European fiddle playing into the Western concert context. In order to further this project, he insisted that Szigeti listen to the original field recordings from which the melodies were transcribed (Laki 2001, 141). The Rhapsody uses the same slow–fast (lassú—friss) paired movements of the popular Hungarian verbunkos (recruiting dance) found in the earlier Rhapsody for Piano of 1904, and to which he would later return in the first movement of Contrasts in 1938 (Losseff 2001, 124). Bartók specified that each of the movements can be performed separately—not only the fast second movement but also the more serious slow opening movement of each rhapsody (Walsh 2005, 235).
Béla Viktor János Bartók Isaac Stern Leonard Bernstein Liszt Zoltán Székely Pierre Monteux Walsh Szigeti Concertgebouw Orchestra 1881 1903 1904 1928 1929 1932 1935 1937 1938 1944 1945 1962 1994 2001 2005
Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology. Violin Rhapsody No. 2, Sz.90 (1928, revised 1944-45) Dedication: Zoltán Székely +••.••(...)) 1. Lassú. Moderato 2. Friss. Allegro moderato Isaac Stern, violin and the New York Philharmonic conducted by Leonard Bernstein rec. 1962 First Performance: 1928-11-19 in Amsterdam - violin and piano Zoltán Székely (violin), Béla Bartók (piano) 1932-01-24 in Amsterdam - violin and orchestra Zoltán Székely (violin), Concertgebouw Orchestra, Pierre Monteux (conductor) Rhapsody No. 2, Sz. 89 and 90, BB 96, is the second of two virtuoso works for violin and piano, subsequently arranged with orchestra accompaniment, written by Béla Bartók. It was composed in 1928 and orchestrated in 1929. The orchestral version was revised in 1935, and the version with piano in 1945. It is dedicated to Hungarian violinist Zoltán Székely, who later became the first violinist of the Hungarian String Quartet in 1937, two years after the founding of the ensemble. Bartók evidently composed both rhapsodies purely as a personal gesture, rather than on commission, and did so without telling anyone until they were both completed (Walsh 2005, 235). According to Székely, he and the composer met one day in 1928 and, after chatting for a time, Bartók suddenly announced that he had a surprise for him, and produced the manuscripts of the two rhapsodies, which no one else had previously seen. "One is for you; one is for Szigeti," Bartók told him. “You may choose which one you like for the dedication.” Székely chose the Second Rhapsody (Kenneson 1994, 113). Both of the rhapsodies exemplify a mode of composition using peasant-music sources, described by Bartók as taking an existing melody and adding an accompaniment together with some introductory or ending material, in such a way that the newly composed matter is strictly secondary—never competing with the folk material for prominence (Walsh 2005, 235–36). The Rhapsody uses the same slow–fast (lassú—friss) paired movements of the popular Hungarian verbunkos (recruiting dance) found in the earlier Rhapsody for Piano of 1904, and to which he would return in the first movement of Contrasts in 1938 (Losseff 2001, 124). The title, 'Rhapsody', is a reference to the dramatic contrasts between the movements. Bartók specified that each of the movements can be performed separately—not only the fast second movement but also the more serious slow opening movement (Walsh 2005, 235).
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