Bartók for Piano , livre ebook

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1988

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Discover the piano works of one the century's most interesting minds.


" . . . detailed and thorough . . . a wealth of information . . . David Yeomans deserves our thanks for a job exceedingly well done." —American Music Teacher

" . . . a must for pianists . . . " —American Reference Book Annual

"David Yeomans's study is certainly to be recommended for all good music libraries, pianists and students of Bartók." —The Music Review

"Although there are currently more than 15 books in print about composer Béla Bartók, this short volume is unique in its focus on his complete oeuvre for solo piano. . . . Recommended for pianists, piano teachers, and students from lower-division undergraduate level and above." —Choice

" . . . the entire book is indispensable for any of us before we play another Bartók piece." —Clavier

"This work collects in one place an enormous number of 'facts' about the piano music of Bartók . . . for planning concerts and student repertoire, and as a survey of an important body of 20th-century music, this listing is valuable." —Library Journal

This chronological listing of more than 400 pieces and movements presents in convenient form essential information about each of Bartók's solo piano works, including its various editions, timing, level of difficulty, pertinent remarks by the composer, and bibliographical references to it.


Introduction: Bartók as Pianist and Piano Teacher
Using the Survey

*Chronological Survey of Bartók's Solo Piano Works
Funderal March from Kossuth, Sz. 21
Four Piano Pieces, Sz. 22
Rhapsody, Op. 1, Sz. 22
Rhapsody, Op. 1, Sz. 26
Three Hungarian Foilsongs from Csik, Sz. 35a
fourteen Bagatelles, Op. 6, Sz. 29
Ten Easy Piano Pieces, Sz. 29
Two Elegies, op. 8b, Sz. 41
For Children (Volumes I and II), Sz. 42
Two Romanian Dances, Op. 8a, Sz. 43
Seven Sketches, Op. 9b, Sz. 44
Four Dirges, Op. 9a, Sz. 45
Two Pictures, Op. 12, Sz. 46
Three Burlesques, Op. 8c, Sz. 47
Allegro Barbaro, Sz. 49
Piano Method, Sz. 52
The First Term at the Piano, Sz. 53
Sonatina, Sz. 55
Romanian Folk Dances, Sz. 56
Romanian Christmas Songs (Series I and II), Sz. 57
Suite, Op. 14, Sz. 62
Three Hungarian Folk-tunes, Sz. 66
Fifteen Hungarian Peasant Songs, Sz. 71
Three Studies, Op. 18, Sz. 72
Improvisations on Hungarian Peasant Songs, Op. 20, Sz. 74
Dance Suite, Sz. 77
Sonata, Sz. 80
Out of Doors, Sz. 81
Nine Little Piano Pieces, Sz. 82
Three rondos on Folk Tunes, Sz. 84
Petite Suite, Sz. 105
Mikrokosmos (Volumes I-VI), Sz. 107

Appendix A: Solo Piano Works in Order of Difficulty
Appendix B: Publishers' Addresses
Appendix C: Editions and Transcriptions by Bartók of Keyboard Works by Other Composers
Appendix D: Critical Survey of Teaching Editions and Collections of Bartók's Piano Music
Bibliography
Index

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Date de parution

22 août 1988

Nombre de lectures

8

EAN13

9780253028211

Langue

English

Bartók for Piano
Bartók for Piano
David Yeomans
Indiana University Press
Bloomington and Indianapolis
Indiana University Press
601 North Morton Street
Bloomington, IN 47404-3797 USA
http://www.indiana.edu/~iupress
Telephone orders     800-842-6796
Fax orders     812-855-7931
Orders by e-mail     iuporder@indiana.edu
© 1988 by David Yeomans
First reissued in paperback in 2000
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Yeomans, David, 1938-Bartók for piano. Bibliography: p. Includes index.
1. Bartók, Béla, 1881-1945. Piano music.
2. Piano music—Bibliography. I. Title.
ML134.B18Y4 1988
786.1-092-4 87-45436
ISBN 0-253-31006-7 (cloth : alk. paper)
ISBN 0-253-21383-5 (paper : alk. paper)
2 3 4 5 6 05 04 03 02 01 00
For my mother, Anne my wife, Sheila my daughter, Sheryl
CONTENTS
Preface
Introduction: Bartók as Pianist and Piano Teacher
Using the Survey
Chronological Survey of Bartók’s Solo Piano Works
Funeral March from Kossuth , Sz. 21
Four Piano Pieces, Sz. 22
Rhapsody, Op. 1, Sz. 26
Three Hungarian Folksongs from Csík, Sz. 35a
Fourteen Bagatelles, Op. 6, Sz. 38
Ten Easy Piano Pieces, Sz. 39
Two Elegies, Op. 8b, Sz. 41
For Children, Sz. 42
Volume I
Volume II
Two Romanian Dances, Op. 8a, Sz. 43
Seven Sketches, Op. 9b, Sz. 44
Four Dirges, Op. 9a, Sz. 45
Two Pictures, Op. 12, Sz. 46
Three Burlesques, Op. 8c, Sz. 47
Allegro Barbaro, Sz. 49
Piano Method, Sz. 52
The First Term at the Piano, Sz. 53
Sonatina, Sz. 55
Romanian Folk Dances, Sz. 56
Romanian Christmas Songs, Sz. 57
Series I
Series II
Suite, Op. 14, Sz. 62
Three Hungarian Folk-Tunes, Sz. 66
Fifteen Hungarian Peasant Songs, Sz. 71
Three Studies, Op. 18, Sz. 72
Improvisations on Hungarian Peasant Songs, Op. 20, Sz. 74
Dance Suite, Sz. 77
Sonata, Sz. 80
Out of Doors, Sz. 81
Nine Little Piano Pieces, Sz. 82
Three Rondos on Folk Tunes, Sz. 84
Petite Suite, Sz. 105
Mikrokosmos, Sz. 107
Volume I
Volume II
Volume III
Volume IV
Volume V
Volume VI
Appendix A: Solo Piano Works in Order of Difficulty
Appendix B: Publishers’ Addresses
Appendix C: Editions and Transcriptions by Bartók of Keyboard Works by Other Composers
Appendix D: Critical Survey of Teaching Editions and Collections of Bartók’s Piano Music
Bibliography
Index
PREFACE
Béla Bartók’s contributions to the pianist’s repertoire remain unsurpassed in the twentieth century. His published works for solo piano, counting individual selections and movements, total close to four hundred and span a complete spectrum from the most elementary teaching pieces to the most advanced concert repertoire. Although they reflect several centuries of musical style, they contain some of the most original compositional and pianistic idioms of our time.
His legacy for piano is not limited to composition. Bartók was a dedicated and conscientious teacher of piano, having published several influential methods and collections for teaching purposes. In addition, he is responsible for a number of editions of keyboard music, including the Well-Tempered Clavier of J. S. Bach, the complete piano sonatas of Mozart, keyboard works of Couperin and of D. Scarlatti, and his own arrangements for piano of organ works by several composers of the Italian Baroque. Bartók has also left an abundance of writings, lectures, and commentaries, much of it having to do with his own ideas on piano playing, teaching, and interpretation, especially of his own piano music. His musical thoughts also emerge from his many recordings, documenting years of his career as a performing pianist.
Bartók also published a vast supply of information that is helpful, often essential, to the proper understanding and rendering of his music. Probably his most important contributions are the multi-volume publications of several thousand folk tunes and texts from his findings in Eastern Europe and the Middle East, which provide melodic origins and helpful clues to the interpretation of his folk-oriented piano music.
A large array of biographies, symposia, dissertations, analytical guides, interpretive guides, and articles about Bartók give additional insights into his creativity and communication. Bartók’s piano music, especially his teaching material, is represented in more collections, anthologies, and teaching editions than that of any other twentieth-century composer for the piano.
It is precisely because of the enormity of Bartók’s output for piano and the quantity and diversity of material pertaining to it that those engaged in the study and teaching of his piano music are often overwhelmed by the prospect of choosing suitable literature for individual needs and abilities and of gaining access to materials that provide helpful insights into the study and performance of that literature.
Bartók for Piano consolidates this vast network of information pertaining to Bartók’s piano music into a practical and convenient reference. It lists for each work the available editions, timings, difficulty ratings from both a technical and a musical standpoint, translations of the text if the piece derives from folk music, and commentary on Bartók’s own performance if the composer has recorded it. Where applicable I have included background information, quotes from Bartók, analyses, suggestions for performance and programming, and suggestions for further study. It is my hope that through this information the Bartók pianist will gain a better understanding of the composer’s piano music.
I wish to express my gratitude to the following: Elliott Antokoletz (University of Texas, Austin, TX), Tibor Bachmann (Béla Bartók Society of America), Werner Fuchss (Grandvaux, Switzerland), Maurice Hinson (Southern Baptist Theological Seminary, Louisville, KY), Béla Nagy (Catholic University of America, Washington, DG), Gyórgy Sándor (Juilliard School of Music, New York, NY), Halsey Stevens (University of Southern California, Los Angeles, CA), and Benjamin Suchoff (Béla Bartók Archives, Lynwood, NY) for their professional advice and encouragement; István Berkes (Budapest, Hungary), Josef Fryščcá (Ostrava, Czechoslovakia), Anna Hanusová (Brno, Czechoslovakia), Erika Péter (Budapest), Martha Schäfer (Weimar, East Germany), and Tarina Smoláková (Prague, Czechoslovakia) for their help in translating foreign-language texts; and Washington State University for grant funding in my research for the project.
Bartók for Piano
Introduction
Bartók as Pianist and Piano Teacher
General Observations
No account of Béla Bartók’s musical career can ignore his profound and innovative contributions to the literature, performance, and teaching of twentieth-century piano. His compositions for piano reveal a vast repertoire that embraces almost every aspect of musical art, past and present. Bartók had been established as a concert pianist and piano pedagogue for a considerable period of time before his compositions for piano were recognized. Through all avenues of pianistic endeavor, he pushed the frontiers of piano technique and sonority to greater lengths than did any other twentieth-century pianist-composer, an accomplishment carried out with the utmost deliberation and dedication. He was concerned not only with the circumstances confronting the concert pianist but also with the quality of teaching procedures, methods, and materials for the average piano student. This concern is evidenced in his pedagogical works for piano and the fact that his solo piano compositions address themselves equally to all levels of piano study and with more consistency than shown by any major composer in the history of piano writing.
To understand and appreciate fully Bartók’s vast legacy, it is necessary to investigate his own disposition as a pianist and teacher as perceived by his family, colleagues, and students.
Bartók’s Piano Playing
Most of what has been said or written about Bartók’s piano playing is corroborated in the many recordings that have survived from the years 1912 to 1945; perhaps the most common observation, in written accounts or in personal reactions to his recordings, is that his playing always arrived at the inner essence of the music and avoided any shallow virtuosity or frivolous flamboyance. According to György Sándor, Bartók’s piano student from 1931:
There was a universality in the way he interpreted any kind of music, a vital plasticity that somehow made his music breathe, whether it was Bach or Bartók. As a matter of fact, it seemed that somehow he had found a valid syntax for recreating any musical idio

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