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Béla Bartók was one of the most significant composers of the 20th century. His musical oeuvre is the shared treasure of both Hungarian and universal culture. His art and scientific works represent a landmark, and his impact lasts well beyond his own era, his works belonging to the most invaluable pieces of universal music history. His folk music research, the use of traditional motifs in modern compositions set a completely novel path in the early 1900s. His works are regularly performed by prominent orchestras, instrumental performers or chamber ensembles all over the world. Bartók’s name is closely connected to Hungarian music: wherever his compositions are played, their Hungarian roots never fade, yet their universality simultaneously prevails.


With musician partners

It is the duty of the fortunate few who were privileged to come under his influence, either as partners in chamber music or as pupils (or as conductors, when he played his concerti) to try to recapture and conserve memories of his “music-making”, as distinct from his essential destiny of music-creating. […] The instrument, whether his own or ours, kept its hold on him right to the last; it meant a great deal to him. […] When I say that “the instrument” (whether his own or ours) meant much to him, I am thinking of our rehearsals, of our talks together, of his interest in instrumental know-how, of his pleasure when (in Davos in the Summer of 1927) I jotted down for him some unorthodox, violinistic “possibilities”, harmonics, pizzicato effects and the like. […] And above all, I am thinking of his playing, of its nervous, sinuous, rhythmic resilience. Of the lyricism that he evoked in Evening in the Country, of the humor of his rubato in Un peu gris […]

(Joseph Szigeti, making music with Bartók, 1953)


Motto

"… he observes every minute vibration of the world with unprecedented alertness and sensitivity, and forms within himself the new sound of the changing and evolving universe, travailing humanity."

(Bence Szabolcsi)

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