Biography of Béla Bartok (1881-1945)

Bela Bartok.

Hungarian composer, whose work was capital for the renewal of contemporary music. Orphaned very young, after an itinerant childhood, settled with his mother and his brother in the city of Pozsony, one of the most important cultural centres of Hungary, where he/she studied piano and harmony with László Erkel. Focused on the study of music, especially Beethoven, Bach and Brahms, but unrelated to contemporary music, until he/she discovered the Also spratch Zarathustra, by Strauss. They are engaged then the composition within the Hungarian musical nationalism by presenting its Rapshodie for piano and Orchestra to the Rubinstein competition in Paris (1901). Do not get the expected success and for a time is dedicated to the collection of popular folklore, Romanian, Hungarian, and Slovak. Appointed Professor of the Budapest Academy of music piano, his later work did not enjoy popular acceptance (14 Bagatelles for piano, Quartet for string op. 7, for children (piano), the castle of Bluebeard, opera in one Act, etc.) and away time on the music scene, even though he/she continued composing: 2nd String Quartet, op. 17, the miraculous mandarin, op. cit., 19, etc.

Bartók started a new period from 1926 with the piano Sonata, sonata outdoors and first piano concerto. He/She left his post at the Academy of music in 1934 and is exclusively dedicated to the composition and research. He/She travels by Turkey and the United States, where he/she collaborates with jazz musician Benny Goodman (contrasts, for violin, piano and clarinet) and in 1940 emigrated to North America where assumes the post of Manager of research at Columbia University. However, despite the fact that it was always sickly, his health began to decline more rapidly and in 1943 due to abandon his career as pianist. It reaches a last hit with concert for Orchestra and died in New York.

The influence of Bartók in the music of the 20th century has been immense. His early work is based on classic styles and romantic in that the greater influence due to Strauss symphonic poems and Hungarian popular song. The knowledge of the latter led him to get rid of the mayor-menor duality, but without rejecting the tonality. These melodies provided him better chances you made music of the 19th, since they underlying in the modality and the pentatonismo, also renewing the musical time with new rhythmic configurations.

In the use of harmony employs dissonances with structural significance and, therefore, static, with the aim of boosting the sound density. His use of the motif and theme reminiscent of Beethoven and sets, thanks to the theme, an internal link in the compositions with several movements. As a pianist, he/she contributed to the development of the piano music mostly capital Mikrokosmos (1926-1937), six-volume work of progressive parts.