Principles of Pitch Firm in Bartók's Duke Bluebeard's Castle
1 . According to Hungarian customized, the family name can be followed, not really preceded, by the baptismal brand. This leads to a lot of confusion in countries where reverse personalized prevails. Within my study, the Western purchase is employed: Béla Bartók, rather than Bartók Béla, which is appropriate in Hungary. In citing titles of Bartók's works, I generally use only the English headings as they appear in the comprehensive " List of Compositions” in Béla Bartók: Strategies for Research (Antokoletz 1997 : 5–43), but sometimes present the Hungarian game titles as well, particularly for major performs such as Fight it out Bluebeard's Fort (A kékszakállú herceg vára – virtually The Bluebearded Duke's Castle). In my examine, the internet explorer is variously referred to as Duke Bluebeard's Castle, Bluebeard's Fort, or Bluebeard. Hungarian games of academic publications will be accompanied by British translations; those in People from france and The german language are given inside the original different languages. 2 . Bartók gave opus numbers you to twenty-one to his early performs. In 1898, he halted assigning gyvas numbers to his arrangement for 6 years. In 1904, with the Rhapsody for piano solo (Sz 21, BB 36a), Bartók began the numbering once again, supplying opus numbers to arrangement that this individual considered major works. In 1921, he assigned the opus amount 21 to his Sonata for Violin and Piano No . you in C-sharp-minor (I. Szonáta hegedűre és zongorára) (Sz 75, BB 84), dedicated to Jelly Arányi (1893–1966), and after that Bartók stopped using gyvas numbers for good. The Sz numbers consider András Szőllősy's (1956) brochure of Bartók's mature works, " Bibliographie des oeuvres musicales et écrits musicologiques de Béla Bartók, ” in Bence Szabolcsi's release of Bartók, sa compete et kid oeuvre. In Béla Bartók, József Ujfalussy (1971 : 400–430) revised that list by corrections. In Bartók kompozíciós módszere (Béla Bartók: Formula, Concepts and Autograph Sources), the Hungarian Bartók college student, László Somfai (2000 ) clarifies concerns regarding effective research in sources, plus the methodology employed in the complete copy (BB); see also, Somfai (1995).
two — Rules of Frequency Organization in Bartók's Duke Bluebeard's Fortress
mystery enjoy (misztériumjáték)3 the action is reduced to a minimum, with (internal) character expansion being the central dramatic process. In Magyar színpad (The Hungarian Stage), Bartók remarks on his opera the following: It may sound peculiar although I must acknowledge that the failing of my own one-act play, Bluebeard's Fortress, prompted me personally to write The Wooden Knight in shining armor. It is common relief of knowing that this safari of acquire failed by a competition; the highest hindrance to its stage production is usually that the plot provides only the psychic conflict of two folks, and the music is confined to the information of that situation in summary simplicity. Nothing else happens around the stage. I am so fond of my own opera that whenever I received the fascicolo [of The Solid wood Prince] from Béla Balázs, my personal first thought was that the ballet – with its impressive, picturesque, richly variegated activities – tends to make it feasible to perform these kinds of works precisely the same evening. In my opinion it is pointless to stress the ballet can be just as dear in my opinion as my opera. (BBE 1976 : 406. )
Duke Bluebeard's Fort was opened on May twenty four, 1918, in the Magyar Királyi Operaház (Hungarian Royal Ie House) in Budapest. About that event, Bartók announced: I arranged the wonder play Fight it out Bluebeard's Castle from Drive to Sept 1911. It had been simultaneously my first level [work] and my initially vocal work. At that time conditions were not suited to its efficiency, so that I actually showed it to depend Miklós Bánffy, and to caudillo Egisto Tango only following the performance with the Wooden Prince. I are most grateful to them for sparing neither difficulty nor discomfort in producing such a first-rate performance. Olga Haselbeck and Oszkár Kálmán sang their parts so flawlessly that the efficiency...
References: Bibliography — 331