Anna Dagmar conducts Bartok Romanian Folk Dances May 2023 скачать в хорошем качестве

Anna Dagmar conducts Bartok Romanian Folk Dances May 2023

Rumanian Folk Dances by Béla Bartók (1881 - 1945), dedicated to Ion Bușiția I. Joc cu bâtâ (Stick game) II. Brâul (Peasant costume) III. Pe loc (Standing still) IV. Buciumeana (Song of the mountain horn) V. Poargâ Românească (A garden gate in Romania) VI. Mâruntel (Little one) VII. Mâruntel Béla Bartók published the Rumanian Folk Dances as piano pieces in 1915, and arranged them for orchestra in 1917. Movements V, VI, and VII are performed contiguously. Bartók recorded folk music using wax cylinders beginning in 1906 in the region of Békés, now near the border of Hungary and Romania. He was interested in Hungarian music as well as the music of Rumanians, Slovakians, Bulgarians, Serbs, Turks, and North African Arabs. In a letter to his wife, Bartók expressed sympathy toward oppressed cultures. He was considered too physically weak to serve in the army, thus during WWI he withdrew from public life and found an outlet in gathering folk songs: “One could go on collecting exactly as in times of peace; the peasants are so merry and light-hearted, one might think they didn’t have a thought about the war.” After the Peace Treaty of Trianon, Transylvania no longer belonged to Hungary and Bartok changed the title from “Rumanian Folk Dances from Hungary,” to “Rumanian Folk Dances.” His folksong arrangements were not initially profitable, but later became a cherished part of his concert repertoire. Unlike Johannes Brahms and Franz Listz, who adapted folk melodies into European major and minor contexts, Bartók set folk melodies according to Eastern European modes (scales constructed of specific intervals). He used these modes to build a harmonic framework and created ostinati (repeated patterns, often used as introductions) to acclimate the listener. Bartók found the modes liberating, claiming “new kinds of harmonic combinations…led to release from the stiff major-minor scales and, as a final consequence, to the completely free availability of each individual pitch of our chromatic twelve-tone scale.” He balanced these modal elements with classical craft: “Composers surround these [archaic] motifs with the results of their working, their imagination, and thus create, so to speak, an original and individual work.” Today the Rumanian Folk Dances are used as a source for teaching open strings, bowings, dynamics, articulation, ostinati, ornamentation and syncopation in the Zoltán Kodály educational method. As part of our interpretive process, the Hunter Symphony Orchestra analyzed the modes, improvised with them, and experimented with learning melodies by ear. In this way, we aspire to capture the spirit of folk musicians.