Word: bartok
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Dates: during 1950-1959
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August 10: Dorothy Crawford, soprano; John Crawford and Bruce Archibald, pianists. Music by Bartok, Schoenberg, Webern, Debussy, and Stravinsky...
...Beaux Arts in Brussels to play before the world's toughest violin jury* in the finals of the famed Queen Elisabeth of Belgium International Music Competition. With his boyishly chubby face creased in an intent frown, he fiddled his way through the Sibelius Concerto in D Minor, Bartok's Rumanian Dances, and Darius Milhaud's Royal Concerto. Two days later, the world's most prestigious violin prize went to U.S.-trained Jaime Laredo, still a week short of his 18th birthday and the youngest winner in the contest's history. (Runner-up of last week...
Thompson expressed vehement disapproval of the imitation of contemporary masters. "Nothing strikes me as more futile than to become a little Stravinsky or a little Bartok. I have tried, just as Stravinsky and Bartok have done, to make a purely personal synthesis of the musical teachings of the past." Thompson is no conservative, however. He says quite firmly that, "Modern music and, specifically, atonal composition seems to me to be a logical development from the experimentation of Wagner and Strauss. After all there are many passages in Wagner where there is extended tonal ambiguity. From this, it is just...
...including It's Always Fair Weather and Bad Day at Black Rock. By "cheating every minute," he has managed to turn out a symphony and a quantity of piano works and chamber music. As a concert pianist, he admires the moderns-Copland, Barber. Prokofiev, Hindemith, Bartok-but he has also recorded all the four-hand piano music of Mozart, with his good friend Composer Lukas Foss. His jazz manner is all his own: a fanciful, highly individualistic style, characterized by kaleidoscopic rhythmic shifts, trip-hammered treble runs and a discreetly swinging left hand punctuated by sudden stops and breaks...
Despite the advance beyond tonality in the early years of this century, the power of this great organizing force has been strong enough to dominate most of the production of Bartok, Stravinsky, and Hindemith. It dominates a good deal of the music being written today. The atonalists have not found it easy to resist. How can a piece of music be held together without the familiar tonal relationships? Some composers (Elliott Carter, for example) have attempted highly individual and cerebral ways of unifying a large work. Others have seen a revivifying solution in the twelve-tone system, from which...