Amanda Bayley (ed.) - The Cambridge Companion to Bartók

The Cambridge Companion to Bartk

Bla Bartk (18811945) is now regarded as a key innovator of twentieth-century music. He is widely known for compositions strongly influenced by his folk music studies, and for his activities as a concert pianist, music editor and teacher.

This Companion comprises three sections: the first explores Bartks general philosophy on life, as it evolved within the turbulent political and cultural environment in Hungary in which he grew up. Focusing on his major works the second section identifies the innovative characteristics of his musical style within the context of the diverse genres in which he composed. The third section examines the wide variety of critical and analytical responses to his compositions and his performances both during his life and after.

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The Cambridge Companion to

BARTK

...........................

EDITED BY

Amanda Bayley

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521660105

Cambridge University Press 2001

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2001

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication data

The Cambridge companion to Bartk / edited by Amanda Bayley.

p. cm. (Cambridge companions to music)

Includes bibliographical references (p. ) and index.

Discography: p.

Contents: Contexts: political, social, and cultural Profiles of the music Reception. ISBN 0 521 66010 6 (hardback) 0 521 66958 8 (paperback)

1. Bartk, Bla, 18811945 Criticism and interpretation. I. Bayley, Amanda. II. Series.

ML410.B26 C35 2001

780.92 dc21 00-036030

ISBN 978-0-521-66010-5 hardback

ISBN 978-0-521-66958-0 paperback

Transferred to digital printing 2007

Contents

Amanda Bayley

Lynn Hooker

Stephen Erdely

David Cooper

Carl Leafstedt

Rachel Beckles Willson

Victoria Fischer

Susan Bradshaw

Nicky Losseff

Peter Laki

Amanda Bayley

David E. Schneider

Malcolm Gillies

Danielle Fosler-Lussier

Ivan F. Waldbauer

Vera Lampert

Contributors

Amanda Bayley is Senior Lecturer in Music at the University of Wolverhampton and has published on Bartks Fourth String Quartet. Following research undertaken at the Budapest Bartk Archive she is currently preparing a book on Bartk performance studies.

Rachel Beckles Willson is Lecturer in Music at Bristol University. She has published articles on Gyrgy Kurtg and is currently preparing a book on this composer.

Susan Bradshaw is a pianist and writer on music, mainly that of the twentieth century, who studied at the Royal Academy of Music with Harold Craxton and Howard Ferguson and afterwards in Paris with Pierre Boulez.

David Cooper is Senior Lecturer in Music at the University of Leeds. His publications include the Cambridge Music Handbook on Bartks Concerto for Orchestra and a number of other essays about the composer.

Stephen Erdely is Professor Emeritus of Music at Massachusetts Institute of Technology. His field research in ethnomusicology includes the oral traditional music of central European nationality groups in the midwest and east of the United States, and more recently as an appointed research associate to the Milman Parry Collection at Harvard University; his studies also include his book on the Music of Southslavic Epics from the Bihac Region of Bosnia .

Victoria Fischer , professional pianist, is Associate Professor of Music at Elon College, North Carolina. She is author and editor of a number of publications on Bartks music.

Danielle Fosler-Lussier completed her doctoral dissertation entitled The Transition to Communism and the Legacy of Bla Bartk in Hungary, 19451956, at the University of California, Berkeley in 1999. She now holds a postdoctoral research and teaching fellowship at Princeton Universitys Society of Fellows in the Humanities.

Malcolm Gillies is Executive Dean of Humanities and Social Sciences at the University of Adelaide, and President of the Australian Academy of the Humanities. His extensive publications on Bartk include The Bartk Companion (1993). With Adrienne Gombocz he has edited a volume of Bartks letters, and is the author of a forthcoming Master Musicians volume on the composer.

Lynn Hooker is completing her doctoral dissertation, entitled Modernism Meets Nationalism: Bla Bartk and the Musical Life of Pre-World War I Budapest, at the University of Chicago.

Peter Laki is Programme Annotator for the Cleveland Orchestra. He has lectured on Bartk at conferences in Hungary, France and the United States.

Vera Lampert holds a degree in musicology from the Liszt Ferenc Academy of Music in Budapest. From 1969 to 1978 she was a researcher at the Budapest Bartk Archive and has published several articles on Bartk including a catalogue of all the folk melodies used in his compositions. Since 1983 she has been a music librarian at Brandeis University, Massachusetts, while continuing with her Bartk studies.

Carl Leafstedt is Assistant Professor of Music at the University of North Carolina at Greensboro. His writings on Bartk have appeared in College Music Symposium , NOTES , and Studia musicologica and he is author of Inside Bluebeards Castle: Music and Drama in Bla Bartks Opera (1998).

Nicky Losseff is Lecturer in Music at the University of York. She has written on subjects ranging from medieval polyphony through nineteenth-century literature to Kate Bush. She is also a pianist, specializing in contemporary music.