Analytical Notes on Bartók's Piano Year of 1926

Somfai, László

doi:10.2307/902299

Cited by 5 publications

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“…This stylization of the sounds of nature in Bartok's works -reduction to frequencies, intervals, rhythms, speeds, and forms of movements, and re-composition of them -simplifies them into musical motives that assume their appointed places in a structure that is highly consciously designed. 17 The 'consciously designed' structure of the Adagio religioso can be seen in the obviously straightforward metric organization of the whole 'nature music' section -real birds do not sing in a regular meter of 3/4 or 4/4. Similarly, in nature, birds do not harmonize their voices and blend with background noises in such a way that these sounds contain 11 or 12 different pitch-classes.…”

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Birds in concert: North American birdsong in Bartók's Piano Concerto No. 3

Harley¹

1994

Tempo

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On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind of ‘kutyafa’ (dogwood) is in bloom, like acacias flowering at home. The birds have become completely drunk with the spring and are putting on concerts the like of which I've never heard. They start with puty-puty-puty ./../../. and end up with various new bird sounds (clearly from later arrivals). The keeps on creating more and more variants.

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Birds in concert: North American birdsong in Bartók's Piano Concerto No. 3

Harley¹

1994

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A Linear Analysis of Piano Sonata (1926) Sz.80 by Béla Bartók: The Genesis and Development of the Composition

Lee

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Béla Bartók's Piano Sonata Sz.80 is known for its integration of modernist language with traditional elements. However, due to Bartók's radical style of writing, it remains challenging to precisely define the piece's motives, voice-leading, and structure, even though pianists who perform it may intuitively comprehend them. Therefore, this study aims to elucidate the Piano Sonata's motivic and tonal structure, genesis and development. First, this study demonstrates Bartók's use of linear motives and progressions to elucidate the Piano Sonata's large-scale structure and demonstrate its internal coherence. Second, by comparing the published score with the facsimile of the Budapest Manuscript, it is possible to shed light on the significance of the changes that Bartók made, facilitating a better understanding of his intentions. Lastly, this study suggests interpretive decisions based on the analysis and manuscripts, thus providing performers with a more thorough understanding of the piece.

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Zones of Impingement: Two Movements from Bartók's Music for Strings, Percussion, and Celesta

Bernard¹

2003

Music Theory Spectrum

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Analytical Notes on Bartók's Piano Year of 1926

Cited by 5 publications

References 0 publications

Birds in concert: North American birdsong in Bartók's Piano Concerto No. 3

Birds in concert: North American birdsong in Bartók's Piano Concerto No. 3

A Linear Analysis of Piano Sonata (1926) Sz.80 by Béla Bartók: The Genesis and Development of the Composition

Zones of Impingement: Two Movements from Bartók's Music for Strings, Percussion, and Celesta

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