Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality (California Studies in 20th-Century Music)

It is well known that Béla Bartók had an extraordinary ability to synthesize Western art music with the folk music of Eastern Europe. What this rich and beautifully written study makes clear is that, contrary to much prevailing thought about the great twentieth-century Hungarian composer, Bartók was also strongly influenced by the art-music traditions of his native country. Drawing from a wide array of material including contemporary reviews and little known Hungarian documents, David Schneider presents a new approach to Bartók that acknowledges the composer's debt to a variety of Hungarian music traditions as well as to influential contemporaries such as Igor Stravinsky. Putting representative works from each decade beginning with Bartók's graduation from the Music Academy in 1903 until his departure for the United States in 1940 under critical lens, Schneider reads the composer's artistic output as both a continuation and a profound transformation of the very national tradition he repeatedly rejected in public. By clarifying why Bartók felt compelled to obscure his ties to the past and by illuminating what that past actually was, Schneider dispels myths about Bartók's relationship to nineteenth-century traditions and at the same time provides a new perspective on the relationship between nationalism and modernism in early-twentieth century music. "It is well known that Bela Bartok had an extraordinary ability to synthesize Western art music with the folk music of Eastern Europe. What this study makes clear is that, contrary to much prevailing thought about the great twentieth-century Hungarian composer, Bartok was also strongly influenced by the art-music traditions of his native country. Drawing from a wide array of material, including contemporary reviews and little-known Hungarian documents, David Schneider presents a new approach to Bartok that acknowledges the composer's debt to a variety of Hungarian music traditions as well as to influential contemporaries such as Igor Stravinsky. Considering representative works from each decade - from Bartok's graduation from the Music Academy in 1903 to his departure for the United States in 1940 - Schneider reads the composer's artistic output as both a continuation and a profound transformation of the very national tradition that Bartok repeatedly rejected in public. By clarifying why Bartok felt compelled to obscure his ties to the past and by illuminating what that past actually was, Schneider dispels myths about Bartok's relationship to nineteenth-century traditions and at the same time provides a new perspective on the relationship between nationalism and modernism in early twentieth-century music."--Jacket Contents......Page 8 Acknowledgments......Page 10 Introduction......Page 14 1 Tradition Rejected: Bartók’s Polemics and the Nineteenth-Century Hungarian Musical Inheritance......Page 21 2 Tradition Maintained: Nationalism, Verbunkos, Kossuth, and the Rhapsody, Op. 1......Page 46 3 Tradition Transformed: “The Night’s Music” and the Pastoral Roots of a Modern Style......Page 94 4 Tradition Challenged: Confronting Stravinsky......Page 132 5 Tradition Transcribed: The Rhapsody for Violin No. 1, the Politics of Folk-Music Research, and the Artifice of Authenticity......Page 197 6 Tradition Restored: The Violin Concerto, Verbunkos, and Hungary on the Eve of World War II......Page 231 Notes......Page 264 Bibliography......Page 296 Index......Page 306 Attempting to answer the question "What is Hungarian?" has been a preoccupation of educated Hungarians since the rise of national consciousness in the early nineteenth century.