Bartók performance practice through correspondence

Gillies, Malcolm (2012) Bartók performance practice through correspondence. Studia Musicologica, 53 (1-3). pp. 103-112. ISSN 1788-6244

Text smus.53.2012.1-3.8.pdf Restricted to Repository staff only until 30 September 2032. Download (53kB)

Abstract

Questions of source, style and interpretation have been central to the work of the Budapest Bartók Archives over its first half-century. The author looks at various issues of work genesis, structure, and interpretation, in works by Mahler and Riley, before considering the “definitive” state of Bartók’s Viola Concerto and the Sonata for Solo Violin, and the current availability of different editions of Bartók’s late works. He then outlines ways in which correspondence, both to and from Bartók, illuminates the rich and varied path from sketch to score to work première, and on to the earliest stages of performing interpretation. The paper concludes with seven examples where performance practice is enlightened by observations in Bartók’s correspondence: innovative work combination, comparative work quality or difficulty, compositional archetypes and models, processes of work revision, song-text translations, section or movement timings, and issues of correction versus revision.

Actions (login required)

Edit Item