B. Bartók | Violin Sonata No.2, Sz.76 скачать в хорошем качестве

B. Bartók | Violin Sonata No.2, Sz.76

B. Bartók : Violin Sonata No.2, Sz. 76 I. Molto Moderato 00:00 II. Allegretto 08:34 Live recording from 2024 Queen Elisabeth Competition, Brussels Flagey, Studio 4 Violin : SongHa Piano : Yukako Morikawa •About the Piece• The father of ethnomusicology, a prodigy pianist and composer, the national treasure of Hungarian music scenes. These titles were all later given to Béla Bartok. While on a holiday in Transylvania, the young Bartok had overheard a nanny singing folk tunes to her children, and this occasion ignited his initial passion for folk music, to which he dedicated himself for the rest of his life to research, collect and transcribe. By the 1920s, Bartok had already been acquainted and influenced by composers such as Debussy, Stravinsky and Strauss. He continued his ethnomusicological research in countries such as Romania, Bulgaria and Slovakia, but after the war, the tense political situation in Hungary among its neighbour countries prohibited Bartok to continue his folk music research outside Hungary. Having experienced the impact of the first world war on the division of Hungary as well as witnessing severe destruction of his birthplace Banat, his writing style reached its peak of dissonance, aggression and complexity. The two violin sonatas were written in 1921-1922, following the birth of The Wooden Prince and the Miraculous Mandarine. The sonatas were dedicated to violinist Jelly d'Aranyi as a token of his infatuation over her and her violin playing. They gave successful premieres of the works in London, with the composer himself on the piano, and the reviews and reception by the public were glowing. Bartók claimed that the Second Sonata was his favorite of the two, and that the work was set in the key of C major, though aside from the very last chord at the end, the tonality barely goes near the Key of C major at all. Bartok dropped the traditional tonal practice and classical form in this continuous 2 movement work. Unlike a typical folk tune which utilises only four or five notes, Bartók uses of all 12 notes accessible in Western music in his melodies. His use of fiddling technique such as glissando and portamento, as well as rhythmic pizzicato is frequently implemented throughout the piece. In the midst of its harmonic and structural complexity, the influence of Transylvanian folk is evidently present, though this sonata is definitely not a simple transcription of a naïve Hungarian roma (gypsy) song.  (Written by SongHa)