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050 00 a| ML410.B26b| U383;

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100 1 a| Ujfalussy, József.=| ^A33535;

240 10 a| Bartók Béla.l| English=| ^A33535;

245 10 a| Béla Bartók /c| Jozsef Ujfalussy ; translated by Ruth Pataki.;

250 a| 1st U.S. edition.;

300 a| 459 pages :b| portrait ;c| 21 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 453-459).;

505 00 t| Childhood and student years: 1881-1898.t| Childhood ;t| Musical experience within the family ;t| Turbulent student years ;t| Successes at Nagyszollos ;t| Systematic music studies in Pozsony ;t| Influence of Brahms and Dohnanyi --t| Student years at the Budapest academy of music: 1898-1903.t| Guidance from Istvan Thoman ;t| Acquaintance with the works of Wagner ;t| Uncertainty as a composer ;t| Illness ;t| Successes as a pianist ;t| Patrons, friends, Mrs. Emma Gruber Sandor ;t| Richard Strauss's Zarathustra ;t| Ein Heldenleben ;t| New composing orientation ;t| The Four Piano Pieces and the Symphony --t| The first great works: 1903-1905.t| Patriotic faith and zeal ;t| A season in Berlin ;t| Concerts abroad ;t| Absorbing work in Gerlicepuszta ;t| The Rhapsody (op. 1) and the Suite No. 1 --t| Experience of folk music: 1905-1907.t| Liszt's twofold example: search for a new and Hungarian musical style ;t| Paris experiences ;t| Failure at the musical competition ;t| Kodaly's stimulus, the first folk-music collecting tours ;t| Contact with European cities and Hungarian villages ;t| The first publication of folk music ;t| 'Nietzsche's disciple' ;t| Philosophical, creative and personal crisis ;t| New ideals: folk music, the world of the peasants, and nature --t| Folk music inspiration and its first great creative product: Bluebeard's Castle: 1907-1911.t| Appointment as a teacher in the academy of music ;t| Lessons drawn from musical folklore and from the music of Debussy ;t| A new approach to the understanding of late Liszt works ;t| End of pre-creative period: Suite No. 2 ;t| Violin concerto for Stefi Geyer ;t| Piano works with a new tone ;t| The String Quartet No. 1 ;t| Dualistic artistic creed: legacy of Romantic music and the diatony of folk music ;t| The start of collecting Slovak and Romanian folk music ;t| Their influence upon musical works and Bartok's social views ;t| New Hungarian music and the press ;t| Composer recitals by Kodaly and Bartok ;t| The Waldbauer quartet --t| Years of silence: Folk-music collections and the anxieties of war: The Wooden Prince: 1911-1917.t| Struggle for the recognition of new music ;t| Disappointment and withdrawal ;t| Four Orchestral Pieces ;t| Folk-music collections in Bihar and the Romanian collection in Maramaros ;t| Political tension, thwarted folk-music plans ;t| Outbreak of war ;t| Collecting worries and family troubles ;t| Stimulus provided by Romanian and Slovak folk music, smaller folk-song compositions ;t| The Wooden Prince ;t| Libretto, dramatic and symphonic construction ;t| Piano Suite (op. 14), songs ;t| String Quartet No. 2 --t| Theater Successes ;t| The Miraculous Mandarin: 1917-1919.t| Premiere and success of The Wooden Prince ;t| New artistic atmosphere towards the end of the war ;t| Performance of Bluebeard's Castle ;t| Contract with universal publishers ;t| The Miraculous Mandarin ;t| Libretto by Menyhert Lengyel, Bartok's adaptation ;t| Musical typology, dramatic construction and musical idiom of the work ;t| Bartok, member of the music directory of the Hungarian republic of councils --t| International successes and new creative ideals: 1919-1923.t| Counter-revolutionary changes in Hungary ;t| Disciplinary investigation at the academy of music ;t| Plans for emigration, gathering of information in Berlin ;t| Persecution of Bartok by the chauvinistic press ;t| Informed and conservative opinion on the premiere of Four Orchestral Pieces ;t| Bartok and Kodaly ;t| Towards a new synthesis of folk music and modern art-music idiom: Improvisations ;t| Happy concert tours in Transylvania, successes in England and Paris ;t| Two sonatas for violin and piano ;t| European organizing activity of disciples of musical progress ;t| The Slovak collection ;t| The folk-dance finales: signs of a new creative approach and new artistic ideas ;t| Dance Suite, first large-scale musical expression of the idea of the 'brotherhood of peoples' --t| Pause in creativity - active concert programme: overture to a new period: journey in the U.S.A.: 1923-1928.t| Recognition in Romania ;t| Fulfilment of career as pianist ;t| Discouragement as a composer ;t| Obstacles in the path of the performance of The Miraculous Mandarin ;t| European musical profile after the war ;t| Bartok's attitude and aesthetic views ;t| Epoch-making series of piano compositions ;t| String Quartets Nos. 3 and 4 ;t| 'The night music' ;t| New adventures of The Miraculous Mandarin ;t| Delay of the Budapest premiere ;t| Premiere in Cologne ;t| Gradual isolation from Hungarian public life ;t| Success of String Quartet No. 3 in Philadelphia ;t| Concert tour in the United States --t| In the Soviet Union: European musical fronts and Bartok: Choral works: Cantata profana: 1928-1930.t| Works of a more popular nature for the podium ;t| Appearance of the verbunkos in the Rhapsodies ;t| Concerts and experiences in the Soviet Union ;t| Strengthening of Bartok's circle in Hungary ;t| Reception of his art in the Soviet Union and in the west ;t| Confrontation of Bartok the 'folklorist' and the 'avant-gardist' ;t| Strongholds of international musical life ;t| Social ideals of the beginning of the century become topical again in the Hungary between the two world wars ;t| Textual and openly political works by Bartok from the end of the 1920s ;t| Avowal of faith in the brotherhood of peoples ;t| Cantata profana ;t| Influence of the kolindas ;t| Plan for a Romanian-Slovak-Hungarian cantata triptych ;t| The hymn of Exodus in the Cantata ;t| Musical construction of the work --t| Oppressive political atmosphere: nationalist attacks at home and abroad: retreat: collecting tour in Turkey: folk-music studies and great musical compositions: 1931-1936.t| Once again the plan for the premiere of The Miraculous Mandarin is frustrated ;t| Bartok withdraws from the Budapest concert scene ;t| Attacks in Romania ;t| Fate of the Slovak collection ;t| Work classifying folk music at the academy of science ;t| Two significant folk-music studies ;t| Collecting tour in Turkey ;t| Great compositions for children: 44 Violin Duos and Mikrokosmos ;t| Concerto No. 2 for piano ;t| String Quartet no. 5, Music for String Instruments, Percussion and Celesta, and Sonata for Two Pianos and Percussion ;t| Inaugural address at the academy of sciences ;t| Revival of Bartok's works in the opera house, Bartok composition in the strengthening of the choral movement ;t| Bartok and the progressive Hungarian intelligentsia --t| Last years and works in Europe: 1937-1940.t| Campaign of slander against Bartok and Kodaly in the clerical press ;t| Struggle with fascism, anxiety for Hungary and Europe ;t| Rescue of manuscripts ;t| Contrasts, violin concerto, divertimento and string quartet no. 6 ;t| Plan for emigration ;t| Concert tour in the United States ;t| Farewell to Europe --t| In emigration: the end of life and creativity: 1940-1945.t| Adventurous journey ;t| Settling down and housing problems ;t| Folk-music activity at Columbia University ;t| The Serbo-Croatian collection ;t| Grave illness, inability to work ;t| Help from friends, support from ASCAP ;t| Commission by Koussevitzky: Concerto for Orchestra ;t| World-wide success of the Violin Concerto ;t| Vacation in Asheville, Sonata for Solo Violin ;t| Premiere and success of the Concerto ;t| Hopes of recuperation ;t| The Romanian folk-music collection ;t| News from home at the end of the war ;t| Anxiety and homesickness ;t| Menuhin's invitation ;t| Health problems ;t| Concerto No. 3 for piano ;t| Drafts of the Viola Concerto ;t| Tragic end.;

600 10 a| Bartók, Béla,d| 1881-1945.=| ^A27166;

919 a| BOOK;

596 a| 3;

998 a| 20196;

999 a| ML410.B26 U383w| LCc| 1i| 310372000191998d| 7/12/2018e| 7/6/2018f| 2/28/2024g| 7l| MSTm| JMUSICn| 46q| 3r| Ys| Yt| MGESBKu| 2/4/1986x| BOOKz| MCIRCo| .STAFF. enhanced 5/14/21 -jmusictech;

Béla Bartók / Jozsef Ujfalussy ; translated by Ruth Pataki.

Author/creator	Ujfalussy, József
Format	Book
Edition	1st U.S. edition.
Publication Info	Boston : Crescendo Pub. Co., [1972, ©1971]
Description	459 pages : portrait ; 21 cm
Subjects	Bartók, Béla, 1881-1945.

Uniform title	Bartók Béla. English
Contents	Childhood and student years: 1881-1898. Childhood ; Musical experience within the family ; Turbulent student years ; Successes at Nagyszollos ; Systematic music studies in Pozsony ; Influence of Brahms and Dohnanyi -- Student years at the Budapest academy of music: 1898-1903. Guidance from Istvan Thoman ; Acquaintance with the works of Wagner ; Uncertainty as a composer ; Illness ; Successes as a pianist ; Patrons, friends, Mrs. Emma Gruber Sandor ; Richard Strauss's Zarathustra ; Ein Heldenleben ; New composing orientation ; The Four Piano Pieces and the Symphony -- The first great works: 1903-1905. Patriotic faith and zeal ; A season in Berlin ; Concerts abroad ; Absorbing work in Gerlicepuszta ; The Rhapsody (op. 1) and the Suite No. 1 -- Experience of folk music: 1905-1907. Liszt's twofold example: search for a new and Hungarian musical style ; Paris experiences ; Failure at the musical competition ; Kodaly's stimulus, the first folk-music collecting tours ; Contact with European cities and Hungarian villages ; The first publication of folk music ; 'Nietzsche's disciple' ; Philosophical, creative and personal crisis ; New ideals: folk music, the world of the peasants, and nature -- Folk music inspiration and its first great creative product: Bluebeard's Castle: 1907-1911. Appointment as a teacher in the academy of music ; Lessons drawn from musical folklore and from the music of Debussy ; A new approach to the understanding of late Liszt works ; End of pre-creative period: Suite No. 2 ; Violin concerto for Stefi Geyer ; Piano works with a new tone ; The String Quartet No. 1 ; Dualistic artistic creed: legacy of Romantic music and the diatony of folk music ; The start of collecting Slovak and Romanian folk music ; Their influence upon musical works and Bartok's social views ; New Hungarian music and the press ; Composer recitals by Kodaly and Bartok ; The Waldbauer quartet -- Years of silence: Folk-music collections and the anxieties of war: The Wooden Prince: 1911-1917. Struggle for the recognition of new music ; Disappointment and withdrawal ; Four Orchestral Pieces ; Folk-music collections in Bihar and the Romanian collection in Maramaros ; Political tension, thwarted folk-music plans ; Outbreak of war ; Collecting worries and family troubles ; Stimulus provided by Romanian and Slovak folk music, smaller folk-song compositions ; The Wooden Prince ; Libretto, dramatic and symphonic construction ; Piano Suite (op. 14), songs ; String Quartet No. 2 -- Theater Successes ; The Miraculous Mandarin: 1917-1919. Premiere and success of The Wooden Prince ; New artistic atmosphere towards the end of the war ; Performance of Bluebeard's Castle ; Contract with universal publishers ; The Miraculous Mandarin ; Libretto by Menyhert Lengyel, Bartok's adaptation ; Musical typology, dramatic construction and musical idiom of the work ; Bartok, member of the music directory of the Hungarian republic of councils -- International successes and new creative ideals: 1919-1923. Counter-revolutionary changes in Hungary ; Disciplinary investigation at the academy of music ; Plans for emigration, gathering of information in Berlin ; Persecution of Bartok by the chauvinistic press ; Informed and conservative opinion on the premiere of Four Orchestral Pieces ; Bartok and Kodaly ; Towards a new synthesis of folk music and modern art-music idiom: Improvisations ; Happy concert tours in Transylvania, successes in England and Paris ; Two sonatas for violin and piano ; European organizing activity of disciples of musical progress ; The Slovak collection ; The folk-dance finales: signs of a new creative approach and new artistic ideas ; Dance Suite, first large-scale musical expression of the idea of the 'brotherhood of peoples' -- Pause in creativity - active concert programme: overture to a new period: journey in the U.S.A.: 1923-1928. Recognition in Romania ; Fulfilment of career as pianist ; Discouragement as a composer ; Obstacles in the path of the performance of The Miraculous Mandarin ; European musical profile after the war ; Bartok's attitude and aesthetic views ; Epoch-making series of piano compositions ; String Quartets Nos. 3 and 4 ; 'The night music' ; New adventures of The Miraculous Mandarin ; Delay of the Budapest premiere ; Premiere in Cologne ; Gradual isolation from Hungarian public life ; Success of String Quartet No. 3 in Philadelphia ; Concert tour in the United States -- In the Soviet Union: European musical fronts and Bartok: Choral works: Cantata profana: 1928-1930. Works of a more popular nature for the podium ; Appearance of the verbunkos in the Rhapsodies ; Concerts and experiences in the Soviet Union ; Strengthening of Bartok's circle in Hungary ; Reception of his art in the Soviet Union and in the west ; Confrontation of Bartok the 'folklorist' and the 'avant-gardist' ; Strongholds of international musical life ; Social ideals of the beginning of the century become topical again in the Hungary between the two world wars ; Textual and openly political works by Bartok from the end of the 1920s ; Avowal of faith in the brotherhood of peoples ; Cantata profana ; Influence of the kolindas ; Plan for a Romanian-Slovak-Hungarian cantata triptych ; The hymn of Exodus in the Cantata ; Musical construction of the work -- Oppressive political atmosphere: nationalist attacks at home and abroad: retreat: collecting tour in Turkey: folk-music studies and great musical compositions: 1931-1936. Once again the plan for the premiere of The Miraculous Mandarin is frustrated ; Bartok withdraws from the Budapest concert scene ; Attacks in Romania ; Fate of the Slovak collection ; Work classifying folk music at the academy of science ; Two significant folk-music studies ; Collecting tour in Turkey ; Great compositions for children: 44 Violin Duos and Mikrokosmos ; Concerto No. 2 for piano ; String Quartet no. 5, Music for String Instruments, Percussion and Celesta, and Sonata for Two Pianos and Percussion ; Inaugural address at the academy of sciences ; Revival of Bartok's works in the opera house, Bartok composition in the strengthening of the choral movement ; Bartok and the progressive Hungarian intelligentsia -- Last years and works in Europe: 1937-1940. Campaign of slander against Bartok and Kodaly in the clerical press ; Struggle with fascism, anxiety for Hungary and Europe ; Rescue of manuscripts ; Contrasts, violin concerto, divertimento and string quartet no. 6 ; Plan for emigration ; Concert tour in the United States ; Farewell to Europe -- In emigration: the end of life and creativity: 1940-1945. Adventurous journey ; Settling down and housing problems ; Folk-music activity at Columbia University ; The Serbo-Croatian collection ; Grave illness, inability to work ; Help from friends, support from ASCAP ; Commission by Koussevitzky: Concerto for Orchestra ; World-wide success of the Violin Concerto ; Vacation in Asheville, Sonata for Solo Violin ; Premiere and success of the Concerto ; Hopes of recuperation ; The Romanian folk-music collection ; News from home at the end of the war ; Anxiety and homesickness ; Menuhin's invitation ; Health problems ; Concerto No. 3 for piano ; Drafts of the Viola Concerto ; Tragic end.
Bibliography note	Includes bibliographical references (pages 453-459).
LCCN	72200879
ISBN	087597077X

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Béla Bartók / Jozsef Ujfalussy ; translated by Ruth Pataki.

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