🎉 Up to 70% Off Selected ItemsShop Sale
Bela Bartok Composition, Concepts, and Autograph Sources
This long-awaited, authoritative account of BartĂłk's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music.
For Bèla Bartók, composition often began with improvisation at the piano. Là szló Somfai maintains that Bartók composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role.
These conclusions are the result of Somfai's three decades of work with BartĂłk's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of BartĂłk's compositions. Included as well are corrections preserved only on recordings of BartĂłk's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of BartĂłk, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on BartĂłk and will assist performers in clarifying the problems of BartĂłk notation. Moreover, it will be a model for future work on other major composers.
For Bèla Bartók, composition often began with improvisation at the piano. Là szló Somfai maintains that Bartók composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role.
These conclusions are the result of Somfai's three decades of work with BartĂłk's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of BartĂłk's compositions. Included as well are corrections preserved only on recordings of BartĂłk's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of BartĂłk, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on BartĂłk and will assist performers in clarifying the problems of BartĂłk notation. Moreover, it will be a model for future work on other major composers.
$27.63
Original: $78.95
-65%Bela Bartok Composition, Concepts, and Autograph Sources—
$78.95
$27.63Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
This long-awaited, authoritative account of BartĂłk's compositional processes stresses the composer's position as one of the masters of Western music history and avoids a purely theoretical approach or one that emphasizes him as an enthusiast for Hungarian folk music.
For Bèla Bartók, composition often began with improvisation at the piano. Là szló Somfai maintains that Bartók composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role.
These conclusions are the result of Somfai's three decades of work with BartĂłk's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of BartĂłk's compositions. Included as well are corrections preserved only on recordings of BartĂłk's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of BartĂłk, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on BartĂłk and will assist performers in clarifying the problems of BartĂłk notation. Moreover, it will be a model for future work on other major composers.
For Bèla Bartók, composition often began with improvisation at the piano. Là szló Somfai maintains that Bartók composed without preconceived musical theories and refused to teach composition precisely for this reason. He was not an analytical composer but a musical creator for whom intuition played a central role.
These conclusions are the result of Somfai's three decades of work with BartĂłk's oeuvre; of careful analysis of some 3,600 pages of sketches, drafts, and autograph manuscripts; and of the study of documents reflecting the development of BartĂłk's compositions. Included as well are corrections preserved only on recordings of BartĂłk's performances of his own works. Somfai also provides the first comprehensive catalog of every known work of BartĂłk, published and unpublished, and of all extant draft, sketch, and preparatory material. His book will be basic to all future scholarly work on BartĂłk and will assist performers in clarifying the problems of BartĂłk notation. Moreover, it will be a model for future work on other major composers.
