The Cambridge Companion to Bartok

The Cambridge Companion to Bartok

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This Companion is an accessible guide to Bartok's music and is an ideal introduction to the composer for students, performers and concert-goers. Part I of the book sets out the cultural, social and political background in Hungary at the beginning of the twentieth century, and considers Bartok's interest in and research into folk music. Part II surveys his compositional output in all genres, relating changes in style to broad aesthetic issues, his folk music studies, and his activities as a pianist, music editor and teacher. The final part reveals the wide variety of responses to Bartok's music in Europe and the United States, both during and after his lifetime. It includes a comparison of analytical approaches to his music and an evaluation of performances including those of the composer himself. The book is written by a team of specialists, who represent more recent thinking on the composer and his music.
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Product details

  • Online resource
  • Cambridge, United Kingdom
  • 4 b/w illus. 1 map 74 music examples
  • 113900221X
  • 9781139002219

Table of contents

Contributors; Acknowledgements; Chronology; Introduction Amanda Bayley; Part I. Contexts: Political, Social and Cultural: 1. The political and cultural climate in Hungary at the turn of the twentieth century Lynn Hooker; 2. Bartok and folk music Stephen Erdely; Part II. Profiles of the Music: 3. Bartok's orchestral music and the modern world David Cooper; 4. The stage works: portraits of loneliness Carl Leafstedt; 5. Vocal music: inspiration and ideology Rachel Beckles Willson; 6. Piano music: teaching pieces and folksong arrangements Victoria Fischer; 7. Piano music: recital repertoire and chamber music Susan Bradshaw; 8. The Piano Concertos and Sonata for Two Pianos and Percussion Nicky Losseff; 9. Works for solo violin and the Viola Concerto Peter Laki; 10. The String Quartets and works for chamber orchestra Amanda Bayley; Part III. Reception: 11. Hungarian nationalism and the reception of Bartok's music 1904-1940 David E. Schneider; 12. Bartok in America Malcolm Gillies; 13. Bartok reception in cold war Europe Danielle Fosler-Lussier; 14. Analytical responses to Bartok's music: pitch organization Ivan F. Waldbauer; 15. Bartok at the piano: lessons from the composer's sound recordings Vera Lampert; Notes; Select bibliography; Index.
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Review quote

"The contributors maintain a consistent, jargon-free style. Music examples, graphs, and illustrations meet the high standards of clarity expected from this publisher...Highly recommended." Choice
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