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Bela Bartok (1881-1945) - Hungarian Folk
[Bartok at his high school graduation] Béla [Viktor János] Bartók (in Hungarian usage "Bartók Béla" March 25, 1881 - September 26, 1945) was born in the small Banatian town of Nagyszentmiklós in Austria-Hungary (now Sânnicolau Mare, Romania). 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. By the age of four, he was able to play 40 songs 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 . In 1888, when he was seven, his father (the director of an agricultural school) died suddenly, and Béla's mother then took him and his sister Erzsebet to live in Nagyszőlős (today Vinogradiv, Ukraine), and then to Pozsony (Bratislava, Slovakia). In Pressburg (Pozsony) Béla gave his first public recital at 11 to a warm critical reception. Among the pieces he played was his own first composition, written two years previously: a short item called The Course of the Danube. Shortly thereafter he was accepted as a student of László Erkel. He studied piano under István Thoman (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 become his lifelong friend and colleague. It was the music of Richard Strauss, whom he met at the Budapest premiere of Also Sprach Zarathustra in 1902, that had the most influence on his early work. In 1903, Bartók wrote his first major orchestral work, Kossuth, a symphonic poem which honored Lajos Kossuth, hero of the Hungarian revolution of 1848. Raised as a Roman Catholic, Bartók had by this year early adulthood (22) become an atheist, and considered the existence of God as undecidable and unnecessary. *** Rhapsody for Piano and Orchestra, Op. 1 (1903) Scherzo Burlesque for Piano and Orchestra, Op. 2 (1904) Suite No. 1 for full orchestra, Op. 3 (1905) Suite No. 2 for small orchestra, Op. 4 (1906) *** From 1907, his music also began to be influenced by the music of Claude Debussy that Kodály had brought back from Paris. In that year, 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. It was at the Academy that he met the talented violin student Stefi Geyer, with whom he formed a deep attachment. But before long, their relationship ran into difficulties, largly as a result of their conflicting attitudes towards religion. In September 1907 Bartok wrote two letters to Geyer in which he expounded his views with missionary zeal. In the first of these (which runs to four thousand words), despite correctly predicting that his beloved (a devout Christian) would find it hard to sympathize with his position, Bartok nevertheless spent many pages attempting to convince her of the emptiness of religion, and signed the letter "Greetings from AN UNBELIEVER (who is more honest than a great many believers)." Geyer's reply has not survived, but its gist may be surmised from Bartok's next letter, in which he confesses how upset he was at her reaction. While refusing to backtrack, he admits to a certain inner loneliness. "After reading your letter, I sat down at the piano -- I have a sad misgiving that I shall never find any consolation in life except in music, and yet..." This is followed by a musical quotation contating the four-note opening motif of the Violin Concerto No. 1 (1908), over which Bartok writes: "This is your Leitmotiv." Completing the score on February 5, the composer inscribed it, "For Stefi, from the times that were happy ones -- although even that was only half-happiness," and in letters written at about this time he declared "I wrote it straight from the heart... the first movement is my confession to you." He sent the manuscript (not a copy!) to her as a token of his love and, as if to underline his point about humanity's essential loneliness, added a long poem by Bela Balazs to the last pages of the score, the general idea being the futility of relying on others for happiness ("No two stars are as far apart as two human souls"). The choice of poet is significant: it was Balazs who later provide the times for Bartok's opera Bluebeard's Castle and ballet The Wooden Prince, two works which dwell further on the difficulties of communication between the sexes. The relationship with Geyer finally disintegrated during th espring of 1908, and, by the time her leitmotiv reappeared in the last two of the 14 Bagatelles, Op. 6 (May 1908), it had acquired thoroughly negative connotations, somewhat in the manner of the transformation of Hector Berlioz's idee fixe in the Symphonie Fantastique fifth movement. 13 is inscribed "Elle est morte" ("She is dead"), while 14, a mocking waltz which burlesques Geyer's theme, is perhaps the "hateful music" the composer had earlier said would represent the "cool, indifferent, silent Stefi Geyer." Back in January, Bartok had still intended to write a three-movement concerto, but soon after this decided that the two contrasting movemnts already composed -- the first "a musical portrait of the idealized Stefi Geyer, transcendant and intimate," the second "The lively Stefi Geyer, gay, wity, and entertaining" -- could stand on thier own. This concerto was destined to remain unperformed until after Geyer's death, when the manuscript was discoverd among her possessions. The 14 Bagatelles also show Bartok's growing interest in folk music. Probably the first piece to show clear signs of this new development is the String Quartet No. 1 in A Minor (1908). Yet Bartok could not quite let go of the music associated with Steffi Geyer, creating a new piece -- Two Portraits (1908), Op. 5 -- out of pre-existent movement. Portrait No. 1, "One Ideal," is practically identical with the first movment of the Violin Concerto No. 1, while No. 2, "One Grotesque," is an orchestrated version of the Bagatelle No. 14. Also in 1908, inspired by both their own interest in folk music and by the contemporary resurgence of interest in traditional national culture (and to forget about Geyer?), Bartok and Kodály undertook an expedition into the countryside to collect and research old Magyar folk melodies. Their findings came as somewhat of a surprise: previously, most people had considered Magyar folk music to be Gypsy music. The classic example of this misperception is Franz Liszt's famous Hungarian Rhapsodies for piano, which were actually 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 if any resemblance to the popular music performed by these Gypsy bands. Instead, many of the folk-songs they found to be based on pentatonic scales similar to those in various O