"Bartok" redirects here.
For other uses, see Bartok (disambiguation).
The native form of this personal name is Bartók Béla Viktor János.
This article uses Western name order when mentioning individuals.
He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers.
Childhood and early years (1881–98)
Early musical career (1899–1908)
There he met Zoltán Kodály, who made a strong impression on him and became a lifelong friend and colleague.
When visiting a holiday resort in the summer of 1904, Bartók overheard a young nanny, Lidi Dósa from Kibéd in Transylvania, sing folk songs to the children in her care.
This sparked his lifelong dedication to folk music.
The first piece to show clear signs of this new interest is the String Quartet No. in A minor (1908), which contains folk-like elements. 1
He began teaching as a piano professor at the Royal Academy.
This position freed him from touring Europe as a pianist and enabled him to work in Hungary.
In 1908, he and Kodály traveled into the countryside to collect and research old Magyar folk melodies.
Their growing interest in folk music coincided with a contemporary social interest in traditional national culture.
They made some surprising discoveries.
Magyar folk music had previously been categorised as Gypsy music.
In contrast, Bartók and Kodály discovered that the old Magyar folk melodies were based on pentatonic scales, similar to those in Asian folk traditions, such as those of Central Asia, Anatolia and Siberia.
Bartók and Kodály quickly set about incorporating elements of such Magyar peasant music into their compositions.
They both frequently quoted folk song melodies verbatim and wrote pieces derived entirely from authentic songs.
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 other nations.
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 (1909–39)
In 1909, at the age of 28, Bartók married Márta Ziegler (1893–1967), aged 16.
Their son, Béla Bartók III, was born the next year.
After nearly 15 years together, Bartók divorced Márta in June 1923.
Two months after his divorce, he married Ditta Pásztory (1903–1982), a piano student, ten days after proposing to her.
She was aged 19, he 42.
Their son, Péter, was born in 1924.
Although Bartók was not conventionally religious, according to his son Béla Bartók III, "he was a nature lover: he always mentioned the miraculous order of nature with great reverence."
As an adult, Béla III later became lay president of the Hungarian Unitarian Church.
In 1911, Bartók wrote what was to be his only opera, Bluebeard's Castle, dedicated to Márta.
He entered it for a prize by the Hungarian Fine Arts Commission, but they rejected his work as not fit for the stage.
In 1917 Bartók revised the score for the 1918 première, and rewrote the ending.
Following the 1919 revolution in which he actively participated, he was pressured by the Horthy regime to remove the name of librettist Béla Balázs from the opera, as Balázs was of Jewish origin, was blacklisted, and had left the country for Vienna.
Bluebeard's Castle received only one revival, in 1936, before Bartók emigrated.
For the remainder of his life, although passionately devoted to Hungary, its people and its culture, he never felt much loyalty to the government or its official establishments.
Folk music and composition
After his disappointment over the Fine Arts Commission competition, Bartók wrote little for two or three years, preferring to concentrate on collecting and arranging folk music.
He found the phonograph an essential tool for collecting folk music for its accuracy, objectivity, and manipulability.
The outbreak of World War I forced him to stop the expeditions, but he returned to composing with a ballet called The Wooden Prince (1914–16) and the String Quartet No. in (1915–17), both influenced by 2Debussy.
Though started in 1918, the story of prostitution, robbery, and murder was not performed on the stage until 1926 because of its sexual content.
He next wrote his two violin sonatas (written in 1921 and 1922, respectively), which are harmonically and structurally some of his most complex pieces.
World War II and last years in America (1940–45)
In 1940, as the European political situation worsened after the outbreak of World War II, Bartók was increasingly tempted to flee Hungary.
After the Nazis came to power in the early 1930s, Bartók refused to give concerts in Germany and broke away from his publisher there.
His anti-fascist political 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 his wife, Ditta Pásztory, in October that year.
They settled in New York City after arriving on the night of 29–30 October 1940 via a steamer from Lisbon.
After joining them in 1942, their younger son, Péter Bartók, enlisted in the United States Navy where he served in the Pacific during the remainder of the war and later settled in Florida where he became a recording and sound engineer.
His elder son, by his first marriage, Béla Bartók III, remained in Hungary and later worked as a railroad official until his retirement in the early 1980s.
Although he became an American citizen in 1945, shortly before his death, Bartók never felt fully at home in the United States.
He initially found it difficult to compose.
Although he was well known in America as a pianist, ethnomusicologist and teacher, he was not well known as a composer.
There was little American interest in his music during his final years.
He and his wife Ditta gave some concerts, although demand for them was low.
Bartók, who had made some recordings in Hungary, also recorded for Columbia Records after he came to the US; many of these recordings (some with Bartók's own spoken introductions) were later issued on LP and CD.
Bartók's economic difficulties during his first years in America were mitigated by publication royalties, teaching and performance tours.
While his finances were always precarious, he did not live and die in poverty as was the common myth.
He had enough friends and 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.
Despite being short on cash at times, he often refused money that his friends offered him out of their own pockets.
Although he was not a member of the ASCAP, the society paid for any medical care he needed during his last two years, to which Bartók reluctantly agreed.
The first symptoms of his health problems 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.
Bartók 's illness was at first thought to be a recurrence of the tuberculosis he had experienced as a young man, and one of his doctors in New York was Edgar Mayer, director of Will Rogers Memorial Hospital in Saranac Lake but medical examinations found no underlying disease.
Finally, in April 1944, leukemia was diagnosed, but by this time, little could be done.
As his body slowly failed, Bartók found more creative energy, 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.
Koussevitsky's Boston Symphony Orchestra premièred the work in December 1944 to highly positive reviews.
The Concerto for Orchestra quickly became Bartók's most popular work, although he did not live to see its full impact.
In 1945, Bartók composed his Piano Concerto No. , a graceful and almost neo-classical work, as a surprise 42nd birthday present for Ditta, but he died just over a month before her birthday, with the scoring not quite finished. 3
He had also sketched his Viola Concerto, but had barely started the scoring at his death, leaving completed only the viola part and sketches of the orchestral part.
His funeral was attended by only ten people.
Aside from his widow and their son, other attendees included György Sándor.
Bartók's body was initially interred in Ferncliff Cemetery in Hartsdale, New York.
During the final year of communist Hungary in the late 1980s, the Hungarian government, along with his two sons, Béla III and Péter, requested that his remains be exhumed and transferred back to Budapest for burial, where Hungary arranged a state funeral for him on 7 July 1988.
He was re-interred at Budapest's Farkasréti Cemetery, next to the remains of Ditta, who died in 1982, one year after what would have been Béla Bartók's 100th birthday.
The two unfinished works were later completed by his pupil Tibor Serly.
György Sándor was the soloist in the first performance of the Third Piano Concerto on 8 February 1946.
Ditta Pásztory-Bartók later played and recorded it.
The Viola Concerto was revised and published in the 1990s by Bartók's son; this version may be closer to what Bartók intended.
Concurrently, Peter Bartók, in association with Argentinian musician Nelson Dellamaggiore, worked to reprint and revise past editions of the Third Piano Concerto.
- A statue of Bartók stands in Brussels, Belgium, near the central train station in a public square, Spanjeplein-Place d'Espagne.
- A statue stands outside Malvern Court, London, south of the South Kensington tube station, and just north of 7 Sydney Place, where he stayed when performing in London. An English Heritage blue plaque, unveiled in 1997, now commemorates Bartók at 7 Sydney Place.
- A statue of him was installed in front of the house in which Bartók spent his last eight years in Hungary, at Csalán út 29, in the hills above Budapest. It is now operated as the Béla Bartók Memorial House (Bartók Béla Emlékház).
- A bust and plaque located at his last residence, in New York City at 309 W. 57th Street, inscribed: "The Great Hungarian Composer / Béla Bartók / (1881–1945) / Made His Home In This House / During the Last Year of His Life".
- A bust of him is located in the front yard of Ankara State Conservatory, Ankara, Turkey, right next to the bust of Ahmet Adnan Saygun.
- A bronze statue of Bartók, sculpted by Imre Varga in 2005, stands in the front lobby of the Royal Conservatory of Music, 273 Bloor Street West, Toronto, Ontario, Canada.
- A statue of Bartók, sculpted by Imre Varga, stands near the river Seine in the public park at Square Béla Bartók , 26 place de Brazzaville, in Paris, France.
- Also to be noted, in the same park, a sculptural transcription of the composer's research on tonal harmony, the fountain/sculpture Cristaux designed by Jean-Yves Lechevallier in 1980.
- An expressionist sculpture by Hungarian sculptor András Beck in Square Henri-Collet , Paris 16th arrondissement.
- A statue of him also stands in the city centre of Târgu Mureș, Romania.
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; 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.
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; in so doing he became influential in that stream of modernism which used indigenous music and techniques.
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".
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.
Early years (1890–1902)
The works of Bartók's youth were written in a classical and early romantic style touched with influences of popular and Gypsy music.
Between 1890 and 1894 (nine to 13 years of age) he wrote 31 piano pieces with corresponding opus numbers.
Although most of these were simple dance pieces, in these early works Bartók began to tackle some more advanced forms, as in his ten-part programmatic A Duna folyása ("The Course of the Danube", 1890–94), which he played in his first public recital in 1892.
Following his matriculation into the Budapest Academy in 1890 he composed very little, though he began to work on exercises in orchestration and familiarized himself thoroughly with the operas of Wagner.
In 1902 his creative energies were revitalized by the discovery of the music of Richard Strauss, whose tone poem Also sprach Zarathustra, according to Bartók, "stimulated the greatest enthusiasm in me; at last I saw the way that lay before me."
Bartók also owned the score to A Hero's Life, which he transcribed for the piano and committed to memory.
New influences (1903–11)
Under the influence of Strauss, Bartók composed in 1903 Kossuth, a symphonic poem in ten tableaux on the subject of the 1848 Hungarian war of independence, reflecting the composers growing interest in musical nationalism.
A year later he renewed his opus numbers with the Rhapsody for Piano and Orchestra serving as Opus 1.
Driven by nationalistic fervor and a desire to transcend the influence of prior composers, Bartók began a lifelong devotion to folk music which was sparked by his overhearing nanny Lidi Dósa's singing of Transylvanian folk songs at a Hungarian resort in 1904.
Bartók began to collect Magyar peasant melodies, later extending to the folk music of other peoples of the Carpathian Basin, Slovaks, Romanians, Rusyns, Serbs and Croatians.
His compositional output would gradually prune away romantic elements in favour of an idiom that embodied folk music as intrinsic and essential to its style.
Later in life he would have this to say on the incorporation of folk and art music:
Bartók became first acquainted with Debussy's music in 1907 and regarded his music highly.
In an interview in 1939 Bartók said
Debussy's influence is present in the Fourteen Bagatelles (1908).
These made Ferruccio Busoni exclaim "At last something truly new!".
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.
New inspiration and experimentation (1916–21)
His pessimistic attitude towards composing was lifted by the stormy and inspiring contact with Klára Gombossy in the summer of 1915.
This interesting episode in Bartók's life remained hidden until it was researched by Denijs Dille between 1979 and 1989.
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.
Additionally, the political relations between Hungary and other successor states to the Austro-Hungarian empire prohibited his folk music research outside of Hungary.
"Synthesis of East and West" (1926–45)
In 1926, Bartók needed a significant piece for piano and orchestra with which he could tour in Europe and America.
He increasingly found his own voice in his maturity.
The style of his last period—named "Synthesis of East and West"—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 Bartók's most important works 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", the Music for Strings, Percussion and Celesta (1936), the Concerto for Orchestra (1943) and the Third Piano Concerto (1945).
He 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.
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.
Although Bartók claimed in his writings that his music was always tonal, he rarely uses the chords or scales of tonality, and so the descriptive resources of tonal theory are of limited use.
George and Elliott focus on alternative methods of signaling tonal centers, via axes of inversional symmetry.
Others view Bartók's axes of symmetry in terms of atonal analytic protocols.
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 secunda seven-note scales, and less often the whole tone scale and the primary pentatonic collection.
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".
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.
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.
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".
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.
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.
Together with his like-minded contemporary Zoltán Kodály, Bartók embarked on an extensive programme of field research to capture the folk and peasant melodies of Magyar, Slovak and Romanian language territories.
At first they would transcribe the melodies by hand, but later they began to use a wax cylinder recording machine invented by Thomas Edison.
Compilations of Bartók's field recordings, interviews, and original piano playing have been released over the years, largely by the Hungarian record label Hungaroton:
- Bartók, Béla. 1994. Bartók at the Piano. Hungaroton 12326. 6-CD set.
- Bartók, Béla. 1995a. Bartók Plays Bartók – Bartók 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. Bartók Plays Bartók. Urania 340. CD recording.
- Bartók, Béla. 2016. Bartók the Pianist. Hungaroton HCD32790-91. Two CDs. Works by Bartók, Domenico Scarlatti, Zoltán Kodály, and Franz Liszt.
A compilation of field recordings and transcriptions for two violas was also recently released by Tantara Records in 2014.
On 18 March 2016 Decca Classics released Béla Bartók: The Complete Works, the first ever complete compilation of all of Bartók's compositions, including new recordings of never-before-recorded early piano and vocal works.
However, none of the composer's own performances are included in this 32-disc set.
Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Béla Bartók.