Zur Bartók-Rezeption in Russland

Tschigareva, Evgenia (2007) Zur Bartók-Rezeption in Russland. Studia Musicologica, 48 (1-2). pp. 225-236. ISSN 1788-6244

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Abstract

Abstract Béla Bartók's sympathies towards Russian culture are well-known, as is the veneration of the Hungarian master by Russian musicians. During the course of three quarters of a century the image of Bartók the composer and folklore researcher has gradually infolded itself to Russian musical circles as well as the broad strata of music lowers. This thesis presents an integral overview of the reception of Bartók in Russia: the perception of his musical legacy by composers, musicological research about him, performances and publications of his works in Russia, comments from the press, and of music critics, etc. At the same time a particular evolution could be traced: an active interest towards Bartók the composer and pianist in the 1920s, then a nearly twenty-five years “pause;” in the 1950's a perception of him primarily as a folklor researcher as well as a progressive musical public figure at that an aversion from the official policy makers of his musical style as an “avant-garde” style during the dominance of the doctrine of “socialist realism;” the discovery of Bartók's innovative style, his influence on the young Soviet composers (E. Denisov, A. Schnittke, S. Gubaidulina) during the 1960's and 1970's; an overall comprehensive study of his musical legacy and the recognition of his significance (1960's–1980's), a decline of interest towards Bartók (as a classic) as a result of the stream of information, gushing from the West, having to do with the “new music” of the avant-garde of the “second wave” and the “post-avantgarde” trends (during the 1990's); a resurgence of interest at the turn of the century and an acquiescence of Bartók's artistic path as being perspective for musical art.

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