Béla Bartók was one of the leading Hungarian and European composers of his time, proficient also as a pianist. He joined his friend Zoltán Kodály in the collection of
folk-music in Hungary and neighbouring regions, including, in his case, Anatolia. His work in this field deeply influenced his own style of composition, which is, however, very much
more astringent in its apparent mathematical organisation than much of what Kodály wrote. He was out of sympathy with the government that replaced the immediate post-1918 republic in
Hungary, where he was held in less official esteem than abroad, and moved in 1940 to the United States, dying there in relatively straitened circumstances in 1945.
Probably the best loved of Bartók's orchestral compositions is the Concerto for Orchestra, commissioned by Koussevitzky for the Boston Symphony Orchestra. The two Violin Concertos are
important additions to the solo violin repertoire, as is the Viola Concerto for players of that instrument. This last, with the Third Piano Concerto, were left in various stages of
incompleteness when Bartók died. Both are moving works, while the earlier two Piano Concertos have much to offer. Other important Orchestral music that form not infrequent parts of
concert programmes are the Divertimento for strings and the challenging Music for Strings, Percussion and Celesta. The energetic Romanian Dances appear in various versions, including
one for solo violin and string orchestra, arranged from an original piano composition.
Bartók's six string quartets are a significant and important part of repertoire, extending the musical and technical range of the form. The 44 Duos for two violins are primarily
educational compositions, but make attractive concert pieces in various groupings suggested by the composer. A work of greater importance is the spectacular Sonata for two pianos and
percussion, later rescored by the composer for two pianos and orchestra. The original version makes use of three kettle-drums, a xylophone, two side-drums, cymbals, suspended cymbal,
bass drum, triangle and tam-tam, with the two pianos. It has an extended first movement, a night-music second and a tautly rhythmic third. Written in 1937, the sonata experiments
fruitfully with the varied percussive sonorities of pianos and percussion instruments.
Mikrokosmos consists of six books of pieces of progressive difficulty, intended to be used for teaching, with the last two volumes including more demanding pieces possible for concert
use. Folk melodies form the basis of 85 Pieces for Children, while the Allegro barbaro shows the composer in a more aggressive mood.
Biography selected from Naxos, the World's Leading Classical Music Label.
©HNH International Ltd. 2000. In Kunst der Fuge / On Classical by permission. All rights reserved.