Béla Bartók
- The native form of this personal name is Bartók Béla. This article uses the Western name order.
Béla Viktor János Bartók (pronounced /ˈbɑrtɒk/ (Wells 1990), Hungarian pronunciation: [ˈbeːlɒ ˈbɒrtoːk]) (March 25, 1881 – September 26, 1945) was a Hungarian composer and pianist. He is considered one of the most important composers of the 20th century and is regarded, along with Liszt, as Hungary's greatest composer (Gillies 2001). Through his collection and analytical study of folk music, he was one of the founders of ethnomusicology.
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Biography
Childhood and early years (1881–1898)
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 (Gillies 1990, 6). 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 (Gillies 1990, 5). 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" (de Toth 1999). Shortly thereafter László Erkel accepted him as a pupil.
Early musical career (1899–1908)
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.
Middle years and career (1909–1939)
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 (Chalmers 1995, 93). 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 (Chalmers 1995, 123). 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 (Hughes 1999–2007).
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 (Özgentürk 2008; Sipos 2000).
World War II and last years in America (1940–1945)
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 in the early 1930s, he refused to give concerts there and broke from his German publisher. His anti-fascist 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 in July that year. 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.A. 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 (Bartók 1994, 1995a, 1995b, 2003 2007, 2008).
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 as well as translated some old Hungarian textbooks into English. Bartók's difficulties during his first years in America 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 (Chalmers 1995, 196–203).
The first symptoms of his leukemia began late 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 (Chalmers 1995, 202–207).
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 a hospital in New York from complications of 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 (anon. 2006). 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 (Chalmers 1995, 214).
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 (Chalmers 1995, 210).
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.
Compositions
Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony that had served composers for the previous two hundred years (Griffiths, 7); and the revival of nationalism as a source for musical inspiration, a trend that began with Mikhail Glinka and Antonín Dvořák in the last half of the 19th century (Einstein, 332). In his search for new forms of tonality, Bartók turned to Hungarian folk music, as well as to other folk music of the Carpathian Basin and even of Algeria and Turkey; and in so doing he became influential in that stream of modernism which exploited indigenous music and techniques (Botstein, 6).
One characteristic style of music is his Night music, which he used mostly in slow movements of multi-movement ensemble or orchestral compositions in his mature period. It is characterised by "eerie dissonances providing a backdrop to sounds of nature and lonely melodies" (Schneider 2006, 84). An example is the third movement Adagio of his Music for Strings, Percussion and Celesta.
His music can be grouped roughly in accordance with the different periods in his life.
Youth: Late-Romanticism (1890–1902)
The works of his youth are of a late-Romantic style. Between 1890 and 1894 (nine to 13 years of age) he wrote 31 pieces with corresponding opus numbers. He started numbering his works anew with ‘opus 1’ in 1894 with his first large scale work, a piano sonata. Up to 1902, Bartók wrote in total 74 works which can be considered in Romantic style. Most of these early compositions are either scored for piano solo or include a piano. Additionally, there is some chamber music for strings. Compared to his later achievements, these works are of less importance.
New influences (1903–1911)
Under the influence of Richard Strauss (among others Also sprach Zarathustra) (Stevens 1993, 15–17), Bartók composed in 1903 Kossuth, a symphonic poem in ten tableaux. In 1904 followed his Rhapsody for piano and orchestra which he numbered opus 1 again, marking it himself as the start of a new era in his music. An even more important occurrence of this year was his overhearing the eighteen-year-old nanny Lidi Dósa from Transylvania sing folk songs, sparking Bartók’s life long dedication to folk music (Stevens 1993, 22). When criticised for not composing his own melodies Bartók pointed out that Molière and Shakespeare mostly based their plays on well-known stories too. Regarding the incorporation of folk music into art music he said:
The question is, what are the ways in which peasant music is taken over and becomes transmuted into modern music? We may, for instance, take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some opening and concluding phrases. This kind of work would show a certain analogy with Bach’s treatment of chorales. [...] Another method [...] is the following: the composer does not make use of a real peasant melody but invents his own imitation of such melodies. There is no true difference between this method and the one described above. [...] There is yet a third way [...] Neither peasant melodies nor imitations of peasant melodies can be found in his music, but it is pervaded by the atmosphere of peasant music. In this case we may say, he has completely absorbed the idiom of peasant music which has become his musical mother tongue. (Bartók 1931/1976, 341–44.)
Bartók became first acquainted with Debussy’s music in 1907 and regarded his music highly. In an interview in 1939 Bartók said
Debussy's great service to music was to reawaken among all musicians an awareness of harmony and its possibilities. In that, he was just as important as Beethoven, who revealed to us the possibilities of progressive form, or as Bach, who showed us the transcendent significance of counterpoint. Now, what I am always asking myself is this: is it possible to make a synthesis of these three great masters, a living synthesis that will be valid for our time? (Moreux 1953, 92)
Debussy's influence is present in the Fourteen Bagatelles (1908). These made Ferruccio Busoni exclaim ‘At last something truly new!’ (Bartók, 1948, 2:83). Until 1911, Bartók composed widely differing works which ranged from adherence to romantic-style, to folk song arrangements and to his modernist opera Bluebeard’s Castle. The negative reception of his work led him to focus on folk music research after 1911 and abandon composition with the exception of folk music arrangements (Gillies 1993, 404 and Stevens 1964, 47-49).
New inspiration and experimentation (1916–1921)
His pessimistic attitude towards composing was lifted by the stormy and inspiring contact with Klára Gombossy in the summer of 1915 (Gillies 1993, 405). This interesting episode in Bartók's life remained hidden until it was researched by Denijs Dille between 1979 and 1989 (Dille 1990, 257–277). Bartók started composing again, including the Suite for piano opus 14 (1916), and The Miraculous Mandarin (1918) and he completed The Wooden Prince (1917).
Bartók felt the result of World War I as a personal tragedy (Stevens 1993, 3). Many regions he loved were severed from Hungary: Transylvania, the Banat where he was born, and Pozsony where his mother lived. Additionally, the political relations between Hungary and the other successor states to the Austro-Hungarian empire prohibited his folk music research outside of Hungary (Somfai, 1996, 18). Thrown largely onto himself, he experimented with extreme compositional practices, the peak being his Sonata for Violin and Piano No. 1 (Op. 21) and No. 2. Bartók also wrote the noteworthy Eight Improvisations on Hungarian Peasant Songs in 1920, and the sunny Dance Suite in 1923, the year of his second marriage.
"Synthesis of East and West" (1926–1945)
In 1926, Bartók needed a significant piece for piano and orchestra with which he could tour in Europe and America. In the preparation for writing his First Piano Concerto, he wrote his Sonata, Out of Doors, and Nine Little Pieces, all for solo piano (Gillies 1993, 173). He increasingly found his own voice in his maturity. The style of his last period—named "Synthesis of East and West" (Gillies 1993, 189)—is hard to define let alone to put under one term. In his mature period, Bartók wrote relatively few works but most of them are large-scale compositions for large settings. Only his voice works have programmatic titles and his late works often adhere to classical forms.
Among his masterworks are all the six String quartets (1908, 1917, 1927, 1928, 1934, and 1939), the Cantata Profana (1930, Bartók declared that this was the work he felt and professed to be his most personal "credo", Szabolcsi 1974, 186), the Music for Strings, Percussion and Celesta (1936), the Concerto for Orchestra (1943) and the Third Piano Concerto (1945).
Bartók also made a lasting contribution to the literature for younger students: for his son Péter's music lessons, he composed Mikrokosmos, a six-volume collection of graded piano pieces.
Analysis
Analytic approaches
Paul Wilson lists as the most prominent characteristics of Bartók's music from late 1920s onwards the influence of the Carpathian basin and European art music, and his changing attitude toward (and use of) tonality, but without the use of the traditional harmonic functions associated with major and minor scales (Wilson 1992, 2–4).
Although Bartók claimed in his writings that his music is always tonal, it rarely uses the chords or scales of tonality, and so the descriptive resources of tonal theory are of limited use. George Perle and Elliott Antokoletz focus on alternative methods of signaling tonal centers, via axes of inversional symmetry. Others view Bartok's axes of symmetry in terms of atonal analytic protocols. Richard Cohn argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes the resources for exploring polymodal chromaticism, projected sets, privileged patterns, and large set types used as source sets such as the equal tempered twelve tone aggregate, octatonic scale (and alpha chord), the diatonic and heptatonia seconda seven-note scales, and less often the whole tone scale and the primary pentatonic collection (Wilson 1992, 24–29).
He rarely used the simple aggregate actively to shape musical structure, though there are notable examples such as the second theme from the first movement of his Second Violin Concerto, commenting that he "wanted to show Schoenberg that one can use all twelve tones and still remain tonal" (Gillies 1990, 185). More thoroughly, in the first eight measures of the last movement of his Second Quartet, all notes gradually gather with the twelfth (G♭) sounding for the first time on the last beat of measure 8, marking the end of the first section. The aggregate is partitioned in the opening of the Third String Quartet with C♯–D–D♯–E in the accompaniment (strings) while the remaining pitch classes are used in the melody (violin 1) and more often as 7-35 (diatonic or "white-key" collection) and 5-35 (pentatonic or "black-key" collection) such as in no. 6 of the Eight Improvisations. There, the primary theme is on the black keys in the left hand, while the right accompanies with triads from the white keys. In measures 50–51 in the third movement of the Fourth Quartet, the first violin and 'cello play black-key chords, while the second violin and viola play stepwise diatonic lines (Wilson 1992, 25). On the other hand, from as early as the Suite for piano, op. 14 (1914), he occasionally employed a form of serialism based on compound interval cycles, some of which are maximally distributed, multi-aggregate cycles (Martins 2004, Gollin 2007).
Erno Lendvai (1971) analyses Bartók's works as being based on two opposing tonal systems, that of the acoustic scale and the axis system, as well as using the golden section as a structural principle.
Milton Babbitt, in his 1949 critique of Bartók's string quartets, criticized Bartók for using tonality and non tonal methods unique to each piece. Babbitt noted that "Bartók's solution was a specific one, it cannot be duplicated" (Babbitt 1949, 385). Bartók's use of "two organizational principles"—tonality for large scale relationships and the piece-specific method for moment to moment thematic elements—was a problem for Babbitt, who worried that the "highly attenuated tonality" requires extreme non-harmonic methods to create a feeling of closure (Babbitt 1949, 377–78).
Catalogues and opus numbers
The cataloguing of Bartók's works is somewhat complex. Bartók assigned opus numbers to his works three times, the last of these series ending with the Sonata for Violin and Piano No. 1, Op. 21 in 1921. He ended this practice because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing. The first, and still most widely used, is András Szőllősy's chronological Sz. numbers, from 1 to 121. Denijs Dille subsequently reorganised the juvenilia (Sz. 1–25) thematically, as DD numbers 1 to 77. The most recent catalogue is that of László Somfai; this is a chronological index with works identified by BB numbers 1 to 129, incorporating corrections based on the Béla Bartók Thematic Catalogue..
Discography
- Bartók, Béla. 1994. Bartók at the Piano. Hungaroton 12326. 6-CD set.
- Bartók, Béla. 1995a. Bartok Plays Bartok - Bartok At The Piano 1929–41. Pearl 9166. CD recording.
- Bartók, Béla. 1995b. Bartók Recordings From Private Collections. Hungaroton 12334. CD recording.
- Bartók, Béla. 2003. Bartók Plays Bartók. Pearl 179. CD recording.
- Bartók, Béla. 2007. Bartók: Contrasts, Mikrokosmos. Membran/Documents 223546. CD recording.
- Bartók, Béla. 2008. Bartok Plays Bartok. Urania 340. CD recording.
Media
See also
- List of solo piano compositions by Béla Bartók
Bibliography
- Anon. 1945. "Béla Bartók 1881–1945". Musical Times (November): .
- Anon. 2003. "Béla Bartók 1881–1945". Websophia.com. (Accessed 25 March 2009)
- Anon. 2006. "Gyorgy Sandor, Pianist and Bartok Authority, Dies at 93". The Juilliard Journal Online 21, no. 5 (February).
- Antokoletz, Elliott. 1984. The Music of Béla Bartók. University of California Press.
- Babbitt, Milton. 1949. "The String Quartets of Bartók". Musical Quarterly 35 (July): 377–85. Reprinted in The Collected Essays of Milton Babbitt, edited by Stephen Peles, with Stephen Dembski, Andrew Mead, and Joseph N. Straus, [1]. Princeton: Princeton University Press, 2003. ISBN 0691089663
- Bartók, Béla. 1976. "The Influence of Peasant Music on Modern Music (1931)". In Béla Bartók Essays, edited by Benjamin Suchoff, 340–44. London: Faber & Faber. ISBN 0571101208 OCLC 60900461
- Bartók, Béla. 1948. Levelek, fényképek, kéziratok, kották. ("Letters, photographs, manuscripts, scores"), ed. János Demény, 2 vols. A Muvészeti Tanács könyvei, 1.–2. sz. Budapest: Magyar Muvészeti Tanács. English edition, as Béla Bartók: Letters, translated by Péter Balabán and István Farkas; translation revised by Elisabeth West and Colin Mason (London: Faber and Faber Ltd.; New York: St. Martin's Press, 1971). ISBN 978-0571096381
- Bartók, Peter. 2002. "My Father". Homosassa, Florida, Bartók Records (ISBN 0-9641961-2-3).
- Botstein, Leon. "Modernism", Grove Music Online, ed. L. Macy (Accessed April 29, 2008), (subscription access)
- Chalmers, Kenneth. 1995. Béla Bartók. 20th-Century Composers. London: Phaidon Press. ISBN 0714831646 (pbk.)
- Cohn, Richard, 1988. "Inversional Symmetry and Transpositional Combination in Bartok." Music Theory Spectrum 10.
- Cohn, Richard, 1992. "Bartok's Octatonic Strategies: A Motivic Approach." Journal of the American Musicological Society 44
- de Toth, June. 1999. "Béla Bartók: A Biography". Bela Bartok Biography Liner notes to Béla Bartók: Complete Piano Works 7-CD set, Eroica Classical Recordings
- Dille, Denijs. 1990. Béla Bartók: Regard sur le Passé. (French, no English version available). Namur: Presses universitaires de Namur. ISBN 2870371683 ISBN 978-2870371688
- Einstein, Alfred. 1947. Music in the Romantic Era. New York: W.W. Norton.
- Gillies, Malcolm (ed.). 1990. Bartók Remembered. London: Faber. ISBN 0571142435 (cased) ISBN 0571142443 (pbk)
- Gillies, Malcolm (ed.). 1993. The Bartók Companion. London: Faber. ISBN 0571153305 (cloth), ISBN 0571153313 (pbk) New York: Hal Leonard. ISBN 0-931340-74-8
- Gillies, Malcolm. 2001. "Béla Bartók". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Press; New York: Grove's Dictionaries of Music. Also in Grove Music Online, ed. L. Macy (Accessed May 23, 2006), (subscription access)
- Gollin, Edward. 2007. "Multi-Aggregate Cycles and Multi-Aggregate Serial Techniques in the Music of Béla Bartók". Music Theory Spectrum 29, no. 2 (Fall): 143–76.
- Griffiths, Paul. 1978. A Concise History of Modern Music. London: Thames and Hudson. ISBN 0-500-20164-1
- Hughes, Peter. 1999–2007. "Béla Bartók" in Dictionary of Unitarian and Universalist Biography. [n.p.]: Unitarian Universalist Historical Society.
- Leafstedt, Carl S. 1999. Inside Bluebeard's Castle. New York: Oxford University Press. ISBN 0195109996
- Lendvai, Ernő (1971). Béla Bartók: An Analysis of his Music. introd. by Alan Bush. London: Kahn & Averill. ISBN 0900707046. OCLC 240301.
- Loxdale, Hugh D., and Adalbert Balog. 2009. "Bela Bartok: Musician, Musicologist, Composer, and Entomologist!." Antenna - Bulletin of the Royal Entomological Society of London 33, no. 4:175–82.
- Moreux, Serge. 1953. Béla Bartók, translated G. S. Fraser and Erik de Mauny. London: The Harvill Press.
- Özgentürk, Nebil. 2008. Türkiye'nin Hatıra Defteri, episode 3. Istanbul: Bir Yudum İnsan Prodüksiyon LTD. ŞTİ. Turkish CNN television documentary series.
- Sipos, János (ed.). 2000. In the Wake of Bartók in Anatolia 1: Collection Near Adana. Budapest: Ethnofon Records.
- Somfai, Laszlo (1996). Béla Bartók: Composition, Concepts, and Autograph Sources. Ernest Bloch Lectures in Music 9. Berkeley : University of California Press. ISBN 978-0520084858
- Schneider, David E. 2006. Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality. California Studies in 20th-Century Music 5. Berkeley: University of California Press. ISBN 978-0520245037
- Stevens, Halsey. 1964. The Life and Music of Béla Bartók, second edition. New York: Oxford University Press. ASIN: B000NZ54ZS (Third edition 1993, ISBN 978-0198163497)
- Szabolcsi, Bence. 1974. Bartók Béla: Cantata profana in "Miért szép századunk zenéje?" (Why is the music of the Twentieth century so beautiful), ed. György Kroó. Budapest.
- Wells, John C. 1990. "Bartók", in Longman Pronunciation Dictionary, 63. Harlow, England: Longman. ISBN 0582053838
- Wilson, Paul. 1992. The Music of Béla Bartók. New Haven: Yale University Press. ISBN 0300051115.
Further reading
- Antokoletz, Elliott (1984). The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press. ISBN 0520046048
- Kárpáti, János (1975). Bartók's String Quartets. Translated by Fred MacNicol. Budapest: Corvina Press.
- Somfai, László. 1981. Tizennyolc Bartók-tanulmány [Eighteen Bartók Studies]. Budapest: Zeneműkiadó. ISBN 9633303702
- Somfai, Lászlo. 1996. Béla Bartók: Composition, Concepts, and Autograph Sources. Ernest Bloch Lectures. Berkeley: University of California Press. ISBN 0520084853
External links
- Béla Bartók biography and works on the UE website (publisher)
- The Lied and Art Song Texts Page Original texts of the songs of Bartok with translations in various languages.
- Bartók Béla Memorial House, Budapest
- Bartók and his relationship with Unitarianism
- Gallery of Bartók portraits
- Béla Bartók at the Notable Names Database
- "Béla Bartók (original burial site)". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=4240. Retrieved August 10, 2010.
- "Béla Bartók (current burial site)". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=4241. Retrieved August 10, 2010.
- Don Gabor recorded Béla Bartók at his home in New York
- Plaque #94 on Open Plaques. in Sydney Place, London
Recordings
- Kunst der Fuge: Béla Bartók—MIDI files
- Excerpts from sound archives of Bartok's works.
- In the BBC Discovering Music: Listening Library
Sheet Music
- Free scores by Bartók in the International Music Score Library Project
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