Bela Bartok

The Philadelphia Orchestra in Concert on WRTI
1:23 pm
Fri October 24, 2014

The Philadelphians in Concert on WRTI: Bruckner, Barber, Bartok, & Batiashvili, Oct. 26, 1 PM

Georgian violinist Lisa Batiashvili

This Sunday at 1 pm, from a Philadelphia Orchestra concert this past May at Verizon Hall, Yannick is on the podium to conduct Barber’s Adagio for Strings, an ethereal meditation that has emerged as an iconic piece of 20th-century American music; Bartok’s First Violin Concerto, played by Lisa Batiashvili, one of the world’s most sought-after violinists; and the concert will conclude with that imposing orchestral cathedral of sound known as Bruckner’s Symphony No.

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Creatively Speaking
12:13 pm
Mon October 20, 2014

Batiashvili on Bartok's Emotional Roller Coaster

Georgian violinist Lisa Batiashvili

On The Philadelphia Orchestra in Concert this Sunday afternoon at 1 pm, a highly acclaimed Georgian soloist performs Bela Bartók’s first Violin Concerto. As WRTI's Jim Cotter reports, the work was written while the composer was under the spell of unrequited love.
 

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Discoveries from the Fleisher Collection
5:59 am
Wed April 30, 2014

The Influence of Leó Weiner

"Leo Weiner, 1911" by Róbert Berény

On Discoveries from the Fleisher Collection, Saturday May 3rd, 5-6 pm... In addition to being one of Hungary’s great 20th-century composers, Leó Weiner taught generations of world-famous musicians, including cellist János Starker and conductors Georg Solti, Antal Doráti, and a certain Jenö Blau, who went on to be known as Eugene Ormandy.

The unmistakable Eastern European flavor of Weiner’s music charms today as it ever did. Its beauty is of a different kind from Béla Bartók’s and Zoltán Kodály’s, two other Hungarians we’ve already met on Discoveries. Bartók and Kodály collected and transcribed folk music, and that source material came to affect their own original music. From the harmonies and rhythms of this hidden edge of Europe, Bartók, especially, created a musical language so personal that it stands apart from traditionalists and atonalists alike.

Weiner, however, was a romantic. He uses Hungarian tunes the way Brahms uses Hungarian tunes: They are exotic yet grounded in a thoroughly Germanic soundscape. But what a soundscape! He was being noticed and was winning prizes for works in which he included very un-classical folk instruments such as the cimbalom, a type of hammered dulcimer. By 1914, when Fritz Reiner conducted the premiere of Weiner’s early Prince Csongor and the Kobolde, based on a Hungarian fairy tale, his career was already taking off.

He started teaching at the main conservatory in Budapest, and remained there the rest of his life. In addition to composition, he accompanied and coached opera singers, and began teaching in the area where he would have the most international influence, chamber music.

The musicians who came through his chamber music classes learned to develop a full-blooded yet highly accurate approach to sound. Many would become conductors, yet whether in playing or in directing the playing of others, the combination of boundless passion with razor-sharp technique ironically catapulted American orchestras (Ormandy’s Philadelphia and Solti’s Chicago, for instance), into the vanguard of European classical performance.

The 1930s saw the composing of his Divertimento and the Opus 18 Suite of Hungarian dances. America was the first to hear the Suite, now perhaps his most-played work. It was Reiner, again, with the Rochester Philharmonic in 1933. Weiner dedicated it to composer László Lajtha, who had introduced him to many of these Hungarian tunes. Where did Lajtha learn them? Why, from working alongside Bartók and Kodály.

Through his rigorous teaching and his brilliant music, Léo Weiner is rightly considered one of the leading lights of Hungarian music in the 20th century.

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Discoveries from the Fleisher Collection
4:50 pm
Sat January 7, 2012

The Musical World of Bela Bartok

The Hungarian Fine Arts Commission told Bartok in 1911 that his opera, the only one he would ever write, was no good, not suitable for the stage. With only two singers and no set changes, Bluebeard's Castle just wasn't operatic. He'd later tinker with it some, but the immediate effect of the rejection was that, for four years, he almost completely stopped writing music. Now recognized as one of the greatest composers of the 20th century, Bela Bartok--just entering the height of his powers--went into a composing blackout.

Program:

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