Béla Bartók

Béla Bartók - Concerto For Orchestra (1943) (Full)

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Duration: 40:05
Updated: 06 Sep 2014
views: 271868
author: hfmFRANZLISZTweimar

The Symphony Orchestra of the Liszt School Of Music (Conductor: Prof. Nicolás Pasquet) plays Béla Bartók's Concerto For Orchestra, which he composed 1943, af...

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VA - BEST OF BELA BARTOK

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Duration: 280:10
Updated: 01 Sep 2015
views: 64

BEST OF BELA BARTOK 1. Music For Strings, Percussion & Celesta, SZ 106 I Andante Tranquillo 00:00 2. Music For Strings, Percussion & celesta SZ 106, II Allegro 06:59 3. Music For Strings, Percussion & Celesta SZ 106 III Adagio 14:30 4. Music For Strings, Percussion & Celesta Sz 106 IV Allegro Molto 21:02 5. Violin Concerto No. 2 In B Minor Sz 112 I Allegro non troppo 27:47 6. Violin Concerto No. 2 In B Minor Sz 112 II Andante Tranquillo 43:47 7. Violin Concerto No. 2 In B Minor SZ 112 III Allgero Molto 53:50 8. Concerto For Orchestra, SZ 116 I Introduzione 01:05:39 9. Concerto For Orchestra, SZ 116 II Giuco delle coppie 01:15:21 10. Concerto For Orchestra, SZ 116 III Elegia 01:21:53 11. Concerto For Orchestra, SZ 116 IV Intermezzo Interrotto 01:29:06 12. Concerto For Orchestra, SZ 116 V Finale 01:34:01 13. String Quartet No. 1, O 7 SZ 40 I Lento 01:43:04 14. String Quartet No. 1, Op.7 SZ 40 II Poco a poco accelerato 01:53:45 15. String Quartet No. 1, Op.7 Sz 40 III Allegro vivace 02:03:35 16. String Quartet No. 2, Op.17 Sz 67 I Moderato 02:14:12 17. String Quartet No. 2, Op.17 SZ 67 II Allegro molto capriccioso 02:24:23 18. String Quartet No. 2, Op.17 SZ 67 III Lento 02:31:55 19. String Quartet No. 3, SZ 85 I Prima Parte 02:41:35 20. String Quartet No. 3, SZ 85 II Seconda Parte 02:46:32 21. String Quartet No. 3, SZ 85 III Ricapitulazione della prima parte 02:52:15 22. String Quartet No. 3, SZ 85 IV Coda 02:55:18 23. Sonata For Solo Violin, SZ 117 I Tempo di Ciaccona 02:57:19 24. Sonata For Solo Violin, SZ 117 II Fuga 03:06:55 25. Sonata For Solo Violin, SZ 117 III Melodia 03:11:23 26. Sonata For Solo Violin, SZ 117 IV Presto 03:18:19 27. String Quartet No. 4, SZ 91 I Allegro 03:23:23 28. String Quartet No. 4, SZ 91 II Prestissimo con sordino 03:29:25 29. String Quartet No. 4, SZ 91 III Non troppo lento 03:32:25 30. String Quartet No. 4, SZ 91 IV Allegeretto pizzicato 03:38:04 31. String Quartet No. 4, SZ 91 V Allegro molto 03:40:50 32. String Quartet No. 5, SZ 102 I allegro 03:46:39 33. String Quartet No. 5, SZ 102 II Adagio molto 03:54:22 34. String Quartet No. 5, SZ 102 III Scherzo Alle bulgarese 04:00:53 35. String Quartet No. 5, SZ 102 IV Andante 04:05:48 36. String Quartet No. 6, SZ 114 I Mesto pià mosso 04:10:49 37. String Quartet No. 6, SZ 114 II Mesto marcia 04:18:18 38. String Quartet No. 6, SZ 114 III Mesto Burletta 04:26:12 39. String Quartet No. 6, SZ 1114 IV Mesto Molto tranquillo 04:33:17

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Béla Bartók, Music for strings, percussion and celesta (Full)

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Duration: 30:05
Updated: 04 Sep 2014
views: 76738
author: LuxSonica

Béla Bartók (1881-1945) Music for strings, percussion and celesta I Andante tranquillo II Allegro III Adagio IV Allegro molto Philadelphia Orchestra Conducto...

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Bela Bartok: Romanian Folk Dances

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Duration: 6:21
Updated: 04 Sep 2014
views: 11742
author: New England Conservatory

Tessa Lark and Yannick Rafalimanana perform Bela Bartok: Romanian Folk Dances. Recorded December 5, 2013.

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Béla Bartók - "For Children" full (HD)

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Duration: 73:39
Updated: 10 Sep 2014
views: 17

Music: © by Author Photo credit: Massimo Di Marzio | http://www.mdimarzio.com

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Béla Bartók - String Quartet No. 1 in A minor - Takács Quartet

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Duration: 28:30
Updated: 02 Sep 2014
views: 230
author: Johann Sebastian Bach

The String Quartet No. 1 in A minor by Béla Bartók was completed in 1909. The score is dated January 27 of that year. The work was at least in part inspired ...

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Béla Bartók - Evening in the village (Este a székelyeknél)

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Duration: 3:10
Updated: 05 Sep 2014
views: 92092
author: krisztoballit

Credits: Music: Bartók Béla - Evening in the village The tune comes from a folksong, which is called the "ancient Székely anthem". The pictures - except the ...

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Bela Bartok-Violin Concerto No. 2

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Duration: 36:30
Updated: 27 Aug 2014
views: 66782
author: viool7

Isaac Stern: violin-New York Philharmonic-Leonard Bernstein: conductor-1958.

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Béla Bartók - Music for Strings

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Duration: 8:06
Updated: 30 Aug 2014
views: 261096
author: ElMiusikman

Béla Bartók (Nagyszentmiklós, Hungría -actualmente Sânnicolau Mare, Rumanía-, 25 de marzo de 1881- Nueva York, 26 de septiembre de 1945) fue un compositor, p...

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Béla Bartók - The Miraculous Mandarin

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Duration: 31:17
Updated: 18 Sep 2015
views: 5

- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945) - Orchestra: New York Philharmonic - Conductor: Pierre Boulez - Year of recording: 1971 The Miraculous Mandarin, pantomime in 1 act, Sz. 73, BB 82 (Op. 19), written in 1918-1919. 00:00 - 01. Opening – The girl and three tramps 03:07 - 02. First seduction game: the shabby old rake 06:52 - 03. Second seduction game: the young student 09:55 - 04. Third seduction game 11:37 - 05. The Mandarin enters and remains immobile in the doorway 14:01 - 06. The girl begins a hesitant dance… 19:54 - 07. The Mandarin stumbles – the chase becomes even more passionate 20:36 - 08. The three tramps leap out, seize the Mandarin and tear him away from the girl 22:42 - 09. Suddenly the Mandarin's head appears between the pillows and he looks longingly at the girl 25:42 - 10. The terrified tramps discuss how they are to get rid of the Mandarin 27:03 - 11. The body of the Mandarin begins to glow with a greenish blue light 28:52 - 12. She resists no longer – they embrace Béla Bartók’s pantomime The Miraculous Mandarin stands at the head of a group of works (including the Four Orchestral Pieces, the two violin sonatas, and ballet The Wooden Prince) that effectively bring to a close the first half of his career. Defining in Bartók’s early career was the experience, in 1903, of hearing Richard Strauss’ Also Sprach Zarathustra. Consequently, the most important orchestral scores of Bartók’s early years feature striking colouristic effects and a highly complex internal counterpoint inherited from Strauss, though with Bartók’s own stylistic and rhetorical profile. This work represents the zenith of this stylistic trend. Based on a play by Menyhert (Melchior) Lengyel, The Miraculous Mandarin tells the sordid (but “beautiful,” to use Bartók’s term) story of three urban toughs who force a girl to lure men to their lair, where they will then be attacked and robbed. Among those ensnared is a wealthy and otherworldly Mandarin, whose desire for the girl inures him against the robbers’ attempts to kill him by using a variety of methods. Only when the girl submits to the Mandarin’s desires is he finally able to die from his wounds. Writing to his first wife, Bartók described the unforgettable opening bars as “an awful clamor, clatter, stampeding and blowing of horns.” Swirling strings and blaring winds depict the chaotic urban street scene, from which we are transported into the robbers’ lair. Bartók is at his most dissonant here, his Expressionistic chromaticism pushing close to the border of atonality. The girl’s seductive call is represented by a snaky clarinet theme, which is answered first by a poor student, then a shabby old man. The robbers toss both of the unlikely prospects down the stairs. The appearance of the Mandarin is underscored by an imposing wall of timbres over a low pedal point, with frightening emphasis from the organ. The girl hesitantly dances with the Mandarin to a sinuous and unsettling waltz, but his lust turns the pas de deux into a frantic chase. Bartók here translates his “Allegro barbaro” style into an expressionistic sequence of impressive skill and excitement (the concert suite ends with the climax of the chase). The robbers’ attempts to kill the Mandarin are graphically depicted, with low, muffled music for the smothering and sharp orchestral sforzandi accompanying each stab of the sword. When the girl takes pity on the Mandarin, her gestures are accompanied by an eerie variant of the waltz theme. The death of the Mandarin is among the most terrifying music ever written: an offstage chorus keens wordlessly on a rocking minor third, while a cold cantabile in the strings is punctuated by dissonant clusters from winds and percussion depicting the Mandarin’s horrible death spasms. Bartók’s original version of the score was tied closely to the dramaturgy of pantomime, with long sections of recitative-style music to mirror the stage action. Subsequent revisions brought the score into a more symphonic shape. At some points the 4-hand reduction was different from the recording of the orchestral version; I had to black out some parts, and also used a few sheets from the orchestral version.

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Bela Bartok - Op. 6; 14 Bagatelles for Solo Piano (Score & Audio)

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Duration: 24:51
Updated: 06 Sep 2014
views: 39931
author: George N. Gianopoulos

Bartók wrote these words about the Bagatelles for the 1945 Boosey & Hawkes publication: In these, a new piano style appears as a reaction to the exuberance o...

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BARTOK - CONCIERTO PARA ORQUESTA - PIERRE BOULEZ & BERLIN PHILARMONIC -- 2003

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Duration: 38:09
Updated: 05 Sep 2014
views: 4117
author: ARCHIVOS BOESMI - ARTE Y CULTURA

EURO KONZERT 2003 - MOSTEIRO DOS JERONIMOS LISBOA - PORTUGAL - 1° DE MAYO DE 2003.

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Béla Bartók, Viola concerto (Full)

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Duration: 21:26
Updated: 04 Sep 2014
views: 43490
author: LuxSonica

Béla Bartók (1881-1945) Viola Concerto I Moderato II Adagio religioso III Allegro vivace Tabea Zimmermann, Viola Symphonieorchester des Bayerischen Rundfunks...

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Béla Bartók - Mikrokosmos, Volume I, 1-17

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Duration: 9:32
Updated: 05 Sep 2014
views: 83416
author: pelodelperro

Mikrokosmos, progressive pieces for piano in 6 volumes, Sz. 107, BB 105 (1926-1939) Claude Helffer, piano Haakon Austbö, second piano Mikrokosmos was origina...

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Bela Bartok: Sonata for Two Pianos and Percussion - La Jolla Music Society's SummerFest

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Duration: 31:43
Updated: 02 Sep 2014
views: 10337
author: University of California Television (UCTV)

Visit: http://www.uctv.tv/) Bela Bartok's Sonata for Two Pianos & Percussion grew out the composer's interest in the piano as a percussive rather than a lyr...

wn.com/Bela Bartok Sonata For Two Pianos And Percussion La Jolla Music Society's Summerfest

Béla Bartók - Music for Strings, Percussion and Celesta, III

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Duration: 8:02
Updated: 03 Oct 2010
views: 135122

Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Chicago Symphony Orchestra James Levine Bartók wrote some of his finest music for the Swiss conductor Paul Sacher, in whom he found a particularly sympathetic champion. Music for Strings, Percussion and Celesta, written for Sacher in 1936, explores with great refinement and mastery the musical concepts that Bartók had been developing since the mid-'20s. In the Piano Concerto No. 1, Bartók explored the percussive elements of the piano, coupling it effectively with percussion only in the introduction to the concerto's slow movement. In Music for Strings, Percussion and Celesta, Bartók ingeniously sets the piano with the percussion instruments, where its melodic and harmonic material functions in support of the two string choirs. Since the early '30s, Bartók had also incorporated elements of Baroque music into his compositions, inspired partly by his exploration of pre-Classical keyboard composers such as Scarlatti, Rameau and Couperin. In reflection of this, Music for Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments. The work's prosaic title was actually just a working title which was subsequently allowed to stand. The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement. Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com] Art by Victor Brauner

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Bela Bartok (documentary/biography) - Part 1

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Duration: 9:33
Updated: 02 Sep 2014
views: 12561
author: nnwahler

Mid-80s biography of the great Hungarian composer. Please excuse the substandard video quality.

wn.com/Bela Bartok (Documentary Biography) Part 1

Janine Jansen - Concerto for Violin No. 1 - Béla Bartók

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Duration: 2:42
Updated: 23 Sep 2015
views: 355

Full concert here http://www.medici.tv/#!/andris-nelsons-shostakovich-bartok-jansen Subscribe to our channel for more videos http://ow.ly/ugONZ Béla Bartók - Concerto for Violin No. 1, Sz. 36 Janine Jansen violin and the Royal Concertgebouw Orchestra conducted by Andris Nelsons Concert recorded at the Het Concertgebouw Amsterdam (Amsterdam, Netherlands), on September 17 2015. © MUSEEC / medici.tv | Like us on Facebook : https://www.facebook.com/medicitv | Follow us on Twitter : https://twitter.com/medicitv Medici.tv is the first classical music digital channel, offering a catalogue of over 1 500 concerts, operas, ballets and documentaries in VOD, as well as 100 live concerts each year.

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Béla Bartók - String Quartet No. 6

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Duration: 29:25
Updated: 18 Sep 2015
views: 6

- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945) - Performers: Hungarian String Quartet - Year of recording: 1961 String Quartet No. 6 in D major, Sz. 114, BB 119, written in 1939. 00:00 - I. Mesto - Piu mosso, pesante - Vivace 07:31 - II. Mesto - Marcia 15:23 - III. Mesto - Burletta 22:30 - IV. Mesto - Molto tranquillo Bartók's last completed quartet exemplifies the composer's continuing search for new forms, even as he sought to distill and clarify his mode of expression. The form he devised for the String Quartet No. 6 is ingenious: each movement is preceded by an introductory section marked "Mesto" ("sadly"), with increasing complexity at each appearance. The "mesto" theme functions both as a motto and as the source of much of the quartet's thematic substance. In the fourth movement, rather than giving way to a lively finale (the original plan as indicated by Bartók's sketches), the motto continues on to become the conclusion itself. - The sad introductory theme is played first by solo viola, whose last notes are the germ for a unison statement by all four instruments in peremptory three-note phrases that will return later, as a sort of subsidiary motto. The first theme is in quick triplets that are chromatically sinuous. The second theme is a folk-like melody, with a prominent "Scotch snap" rhythm. The first theme dominates the development, which is fairly strenuous and darker in mood. After a brief appearance of the second theme, the movement ends simply with a reprise of the first theme, now detached and musing. - The "mesto" introduction to the second movement is in two-part counterpoint, the cello stating the melody accompanied by upper strings in a tremolando counter-melody. The subsequent Marcia is bitter and ironic, and the "Scotch snap" rhythm is prominent. The appearance of the second theme is ingenious: the march rhythm continues as an accompaniment to the rising glissandi of the new tune. The middle section suspends the propulsive march as the cello rhapsodizes, cadenza-like, on a variation of the second theme. This is accompanied by high trills from the violins and harsh, guitar-like strumming on the viola. The return of the march is bizarre, with extremely high octave doubling from the first violin and a filling out of the implied triadic harmonies which create an ironic, hallucinatory effect. - For its third appearance, the "mesto" ritornello is in three-part harmony; it leads to a rude "Burlesca," with vulgar stamping rhythms and a melody reminiscent of the "teasing songs" prevalent in Eastern European folk music. The second theme moves within a narrow intervallic range, evoking the Arabic melodies Bartók collected in North Africa. In the central part, the "Scotch snap" theme from the first movement is mused upon before the burlesque returns, this time entirely in pizzicato. At the conclusion, an attempt to sound the "Scotch snap" theme is shouted down by angry chords. - In the slow finale, the "mesto" melody, now in four parts, continues on to become the entire movement, and the second theme recalls the unison motto of the first movement. The triplet theme is also recalled, now in a setting of profound desolation, and the "Scotch snap" tune makes a wistful appearance. Ghostly tremolandi accompany the return of the "mesto" theme; there is a moment of half-hearted protest that dwindles to resignation. The cello ends it all with a question mark, plucked chords based on the "mesto" motto. The string quartet is dedicated to the Kolisch Quartet.

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Béla Bartók - Divertimento (1939)

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Duration: 26:23
Updated: 01 Sep 2014
views: 21798
author: ArcosOrchestra

Béla Bartók - Divertimento (1939) I - Allegro non troppo (0:00) II - Molto adagio (08:30) III - Allegro assai (18:08) Arcos Orchestra John-Edward Kelly, Cond...

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"Sonata for Two Pianos and Percussion" -Béla Bartók

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Duration: 27:45
Updated: 31 Aug 2014
views: 3841
author: Adele Dusenbury

Bartók's Sonata is performed by pianists Matthieu Cognet and Michael Smith, and percussionists Piero Guimaraes and Josh Perry. Stony Brook University, New Yo...

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Béla Bartók - Concerto for Orchestra [Antal Dorati, London Symphony Orchestra]

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Duration: 37:16
Updated: 18 May 2014
views: 856
author: obiwan88

Recorded July 1962, Great Britain No copyrights infringements intended. Mvt 02: http://www.youtube.com/watch?v=wJLH4JGmVNE&t;=9m36s Mvt 03: http://www.youtube...

wn.com/Béla Bartók Concerto For Orchestra Antal Dorati, London Symphony Orchestra