Béla Bartók's Chamber Music
Identifieur interne : 001509 ( Istex/Corpus ); précédent : 001508; suivant : 001510Béla Bartók's Chamber Music
Auteurs : Mátyás SeiberSource :
- Tempo [ 0040-2982 ] ; 1949.
Abstract
With a great master who excelled in many fields of composition, who created great works in orchestral, chamber and piano music, it is often difficult to assess which of these groups is most representative for the expression of his genius. Yet, in Bartók's case, it always seemed to me that his chamber music, even if less in quantity, expresses the essence of his creation. It is in his chamber music that he works with the greatest concentration, economy and clarity of detail, that he utters his most important and profound thoughts. Even if some of his orchestral and concertant works gained greater popularity with the public lately—I think mainly of the Concerto for Orchestra, the Violin Concerto and the Third Piano Concerto—the essential Bartók, I feel, can be found in his chamber music, and particularly in his String Quartets, which tower over contemporary chamber music like a range of high mountain peaks.
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DOI: 10.1017/S0040298200042947
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Yet, in Bartók's case, it always seemed to me that his chamber music, even if less in quantity, expresses the essence of his creation. It is in his chamber music that he works with the greatest concentration, economy and clarity of detail, that he utters his most important and profound thoughts. Even if some of his orchestral and concertant works gained greater popularity with the public lately—I think mainly of the Concerto for Orchestra, the Violin Concerto and the Third Piano Concerto—the essential Bartók, I feel, can be found in his chamber music, and particularly in his String Quartets, which tower over contemporary chamber music like a range of high mountain peaks.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Mátyás Seiber</name></json:item></author><articleId><json:string>04294</json:string></articleId><arkIstex>ark:/67375/6GQ-QHGRZ29J-J</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>With a great master who excelled in many fields of composition, who created great works in orchestral, chamber and piano music, it is often difficult to assess which of these groups is most representative for the expression of his genius. 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Yet, in Bartók's case, it always seemed to me that his chamber music, even if less in quantity, expresses the essence of his creation. It is in his chamber music that he works with the greatest concentration, economy and clarity of detail, that he utters his most important and profound thoughts. Even if some of his orchestral and concertant works gained greater popularity with the public lately—I think mainly of the Concerto for Orchestra, the Violin Concerto and the Third Piano Concerto—the essential Bartók, I feel, can be found in his chamber music, and particularly in his String Quartets, which tower over contemporary chamber music like a range of high mountain peaks.</p></abstract></profileDesc><revisionDesc><change when="1949">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200042947</article-id><article-id pub-id-type="pii">S0040298200042947</article-id><article-id pub-id-type="publisher-id">04294</article-id><title-group><article-title>Béla Bartók's Chamber Music</article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">BÉLA BARTÓK'S CHAMBER MUSIC</alt-title></title-group><contrib-group><contrib><name name-style="western"><surname>Seiber</surname><given-names>Mátyás</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><season>Autumn</season><year>1949</year></pub-date><issue>13</issue><issue-title>Bartók Number</issue-title><fpage seq="9">19</fpage><lpage>31</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1949</copyright-statement><copyright-year>1949</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>With a great master who excelled in many fields of composition, who created great works in orchestral, chamber and piano music, it is often difficult to assess which of these groups is most representative for the expression of his genius. Yet, in Bartók's case, it always seemed to me that his chamber music, even if less in quantity, expresses the essence of his creation. It is in his chamber music that he works with the greatest concentration, economy and clarity of detail, that he utters his most important and profound thoughts. Even if some of his orchestral and concertant works gained greater popularity with the public lately—I think mainly of the <italic>Concerto for Orchestra</italic>, the <italic>Violin Concerto</italic> and the <italic>Third Piano Concerto</italic>—the essential Bartók, I feel, can be found in his chamber music, and particularly in his String Quartets, which tower over contemporary chamber music like a range of high mountain peaks.</p></abstract><counts><page-count count="13"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200042947a.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="page 20 note *"><label><sup>page 20 note *</sup></label><p><italic>The influence of folk-music can be felt even in his most abstract works, often in a very indirect and sublimated way–but it is always present</italic>.</p></fn><fn id="fn02" symbol="page 24 note *"><label><sup>page 24 note *</sup></label><p><italic>Much later in his career, in the</italic> Violin Concerto, <italic>Banok used consciously something resembling the 12-tone technique. The second subject, both in the first and last movement, introduces a 12-tone series with its variations</italic>.</p></fn><fn id="fn03" symbol="page 28 note *"><label><sup>page 28 note *</sup></label><p><italic>For more detailed analysis of the Quartets see my booklet “The String Quartets of Be'la Bartók” (Boosey & Havrkes</italic>, 1945).</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Béla Bartók's Chamber Music</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Béla Bartók's Chamber Music</title></titleInfo><name type="personal"><namePart type="given">Mátyás</namePart><namePart type="family">Seiber</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1949</dateIssued><copyrightDate encoding="w3cdtf">1949</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">With a great master who excelled in many fields of composition, who created great works in orchestral, chamber and piano music, it is often difficult to assess which of these groups is most representative for the expression of his genius. 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Even if some of his orchestral and concertant works gained greater popularity with the public lately—I think mainly of the Concerto for Orchestra, the Violin Concerto and the Third Piano Concerto—the essential Bartók, I feel, can be found in his chamber music, and particularly in his String Quartets, which tower over contemporary chamber music like a range of high mountain peaks.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>1949</date><detail type="title"><title>Bartók Number</title></detail><detail type="issue"><caption>no.</caption><number>13</number></detail><extent unit="pages"><start>19</start><end>31</end><total>13</total></extent></part></relatedItem><identifier type="istex">BAB02F5830F209FF5CFFC4583BF80BFAE52C207B</identifier><identifier type="ark">ark:/67375/6GQ-QHGRZ29J-J</identifier><identifier type="DOI">10.1017/S0040298200042947</identifier><identifier type="PII">S0040298200042947</identifier><identifier type="ArticleID">04294</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1949</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1949</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/BAB02F5830F209FF5CFFC4583BF80BFAE52C207B/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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