Béla Bartók : composition, concepts, and autograph sources / László Somfai.

This long-awaited, authoritative account of Bartok's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music. For Bela Bartok, compo...

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Bibliographic Details
Main Author: Somfai, László
Format: Book
Language:English
Published: Berkeley : University of California Press, ©1996.
Series:Ernest Bloch lectures ; 9.
Subjects:
Table of Contents:
  • Bartok on composition, his concepts, and works
  • A survey of the sources. The existing sources ; The function of different types of manuscripts ; Reconstructing the chain of sources
  • Sketches and the plan of a work. Terminology ; Destroyed and lost sketches or no sketches? ; Separate preliminary memos ; Preliminary memos in context ; Side sketches in drafts ; Memos extended into continuity sketches; Working with a sketch-book ; Partial sketches for the final texture or the instrumentation ; "Plans" and "calculations"?
  • Fragments, unrealized plans
  • Paper studies and the micro-chronology of the composition
  • The key manuscript: the draft. General characteristics ; Formation of a work. String quartet no. 3, Ricapitulazione della prima parte ; Piano Sonata, the beginning of movement I ; String quartet no. 4, the beginning of movement I ; Violin concerto, the 12-tone melody ; Recapitulation strategies in piano concerto no. 2, movement I ; Development section strategies ; Formation of the coda in piano sonata, movement I ; Draft complex of piano pieces from 1926 ; Corrections in the draft of string quartet no. 6, movements III & I, and string quartet no. 5, movements III & II
  • Reorganization of the form. String quartet no. 5, scherzo ; Deleted movements and episodes ; Endings for the violin rhapsody no. 1 and the violin concerto ; New retransition in the 2-piano sonata ; Endings for the concerto for orchestra and for the violin rhapsody no. 2
  • Final copy, orchestration, reduction, arrangement. Autograph fair copy and copyist's copy ; The Bartok copyists ; Working with Lichtpausen ; Orchestration ; Piano reduction ; Arrangements, authorization of arrangements made by others
  • Editing and correcting process. Introduction ; Maturing the final version ; Editing and proofreading ; Corrected and revised editions
  • On Bartok's notation and performing style. Tempo, metronome, duration ; Selected problems of Bartok's notation ; The significance of Bartok's own recordings.