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Concerto for Orchestra (Bartók)

January 01, 1970

The Concerto for Orchestra, Sz. 116, BB 123, is a five-movement orchestral work composed by Béla Bartók in 1943. It is one of his best-known, most popular, and most accessible works.[1]

Concerto for Orchestra
by Béla Bartók
The composer in 1927
CatalogueSz. 116, BB 123
Composed1943 rev. 1945
DurationAbout 38 minutes
MovementsFive
ScoringOrchestra
Premiere
Date1 December 1944 (1944-12-01)
LocationSymphony Hall, Boston
ConductorSerge Koussevitzky
PerformersBoston Symphony Orchestra

The score is inscribed "15 August – 8 October 1943". It was premiered on December 1, 1944, in Symphony Hall, Boston, by the Boston Symphony Orchestra conducted by Serge Koussevitzky. It was a great success and has been regularly performed since.[1]

It is perhaps the best-known of a number of pieces that have the apparently contradictory title Concerto for Orchestra. This is in contrast to the conventional concerto form, which features a solo instrument with orchestral accompaniment. Bartók said that he called the piece a concerto rather than a symphony because of the way each section of instruments is treated in a soloistic and virtuosic way.[2]

Composition edit

The work was written in response to a commission from the Koussevitzky Foundation (run by the conductor Serge Koussevitzky) following Bartók's move to the United States from his native Hungary, which he had fled because of World War II. It has been speculated that Bartók's previous work, the String Quartet No. 6 (1939), could well have been his last were it not for this commission, which sparked a small number of other compositions, including his Sonata for Solo Violin and Piano Concerto No. 3.[1]

Bartók revised the piece in February 1945, the biggest change coming in the last movement, where he wrote a longer ending. Both versions of the ending were published, but the revised ending is almost universally performed.[citation needed]

In 1943, while Bartok was in hospital, suffering from what would later be discovered to be leukemia,he was visited by Serge Koussevitzky who wanted to inform him of the commission for him to write the work which would become this concerto.[3]

Instrumentation edit

The piece is scored for the following instrumentation.[4]

Musical analysis edit

The piece is in five movements:

  1. Introduzione. Andante non troppo – Allegro vivace
  2. Presentando le coppie. Allegro scherzando
  3. Elegia. Andante non troppo
  4. Intermezzo interrotto. Allegretto
  5. Finale. Presto

Bartók makes extensive use of classical elements in the work;[1] for instance, the first and fifth movements are in sonata-allegro form.

The work combines elements of Western art music and eastern European folk music, especially that of Hungary, and it departs from traditional tonality, often using non-traditional modes and artificial scales.[1] Bartók researched folk melodies, and their influence is felt throughout the work. For example, the second main theme of the first movement, as played by the first oboe, resembles a folk melody, with its narrow range and almost haphazard rhythm. The drone in the horns and strings also indicates folk influence (see example).[1]

 
The second theme of the first movement (measure 155). The harp is not shown.

I. Introduzione edit

The first movement, Introduzione, consists of a slow introduction, presenting the main material (consecutive intervals of fourths, scale fragments, mirror ideas etc. leading to an allegro with numerous fugato passages. The quick part is in sonata-allegro form.[2]

II. Presentando le coppie edit

The second movement is called "Game of Pairs" (but see note below). Its main part consists of five sections, each thematically distinct from the others, with a different pair of instruments playing together in each section.[2] In each passage, a different interval separates the pair—bassoons are a minor sixth apart, oboes are in minor thirds, clarinets in minor sevenths, flutes in fifths, and muted trumpets in major seconds.[4] The movement prominently features a side drum that taps out a rhythm at the beginning and end of this part. In fact this main part is played twice. Careful listening will reveal some small differences when it is played the second time. In between the first and second playing of this part there is a short interlude which to some listeners (including some who write cover notes for recordings of this work) suggests a kind of marriage ceremony. So one can imagine that, when the main part is played a second time, the five couples that appeared earlier are now married.

While the printed score titles the second movement "Giuoco delle coppie" or "Game of the couples", Bartók's manuscript had no title at all for this movement at the time the engraving-copy blueprint was made for the publisher. At some later date, Bartók added the words "Presentando le coppie" or "Presentation of the couples" to the manuscript and the addition of this title was included in the list of corrections to be made to the score. However, in Bartók's file blueprint the final title is found, and because it is believed to have been the composer's later thought, it is retained in the revised edition of the score.[5]

The original 1946 printed score also had an incorrect metronome marking for this movement. This was brought to light by Sir Georg Solti as he was preparing to record the piece with the Chicago Symphony Orchestra in 1980:

When preparing ... for the recording I was determined that the tempi should be exactly as Bartók wrote and this led me to some extraordinary discoveries, chief of which was in the second movement.... The printed score gives crotchet equals 74, which is extremely slow, but I thought that I must follow what it says. When we rehearsed I could see that the musicians didn't like it at all and in the break the side drum player (who starts the movement with a solo) came to me and said "Maestro, my part is marked crotchet equals 94", which I thought must be a mistake, since none of the other parts have a tempo marking. The only way to check was to locate the manuscript and through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page, which not only clearly showed crotchet equals 94, but a tempo marking of "Allegro scherzando" (the printed score gives "Allegretto scherzando"). Furthermore Bartók headed it "Presentando le coppie" (Presentation of the couples), not "Giuoco delle coppie" (Game of the couples). I was most excited by this, because it becomes a quite different piece. The programme of the first performance in Boston clearly has the movement marked "Allegro scherzando" and the keeper of the Bartók archives was able to give us further conclusive evidence that the faster tempo must be correct. I have no doubt that thousands of performances, including my own up to now, have been given at the wrong speed![6]

Despite Solti's assertion that thousands of earlier performances had been played at the wrong speed, both of Fritz Reiner's recordings – his 1946 recording with the Pittsburgh Symphony Orchestra (the first recording of the work), as well as his 1955 recording with the Chicago Symphony Orchestra (the same orchestra whose side drum player called the matter to Solti's attention) – had been played at the speed (crotchet equals 94) that Solti later recommended. Reiner had known Bartok since 1905, when they were fellow students at the Budapest Academy. And years later, in 1943, it was Reiner, along with Joseph Szigeti, who persuaded Serge Koussevitsky to commission Bartok to write the Concerto for Orchestra.[7]

III. Elegia edit

The third movement, "Elegia", is another slow movement, typical of Bartók's so-called "Night music". The movement revolves around three themes which derive primarily from the first movement.[2]

IV. Intermezzo interrotto edit

The fourth movement, "Intermezzo interrotto" (literally "interrupted intermezzo"), consists of a flowing melody with changing time signatures, intermixed with a theme that quotes the song "Da geh' ich zu Maxim" from Franz Lehár's operetta The Merry Widow,[8] which had recently also been referenced in the 'invasion' theme of Dmitri Shostakovich's Symphony No. 7 "Leningrad".[9][10][11] Whether Bartók was parodying Lehár, Shostakovich, or both has been hotly disputed, without any clinching evidence either way. The theme is itself interrupted by glissandi on the trombones and woodwinds.

 
 
Timpani excerpt
Excerpt from the fourth movement. The timpanist plays a chromatic bass line, requiring using the pedal to change pitches.
Problems playing this file? See media help.

In this movement, the timpani are featured when the second theme is introduced, requiring 10 different pitches of the timpani over the course of 20 seconds. The general structure is "ABA–interruption–BA."[2]

V. Finale edit

The fifth movement, marked presto, consists of a whirling perpetuum mobile main theme competing with fugato fireworks and folk melodies. This is also in sonata-allegro form.[2]

Recordings edit

The following are only a small selection of the numerous available recordings.

Piano reduction edit

In 1985, Peter Bartók, son of the composer, discovered a manuscript of a piano, two-hands reduction of the score, in the large body of material which had been left to him upon his father's death. This version had been prepared for rehearsals of a ballet interpretation of the Concerto, to be performed by the Ballet Theatre in New York. This performance never took place, and the piano score was shelved. Soon after the discovery of this manuscript, Peter Bartók asked the Hungarian pianist György Sándor to prepare the manuscript for publication and performance. The world premiere recording of this edited reduction was made by György Sándor in 1987, on CBS Masterworks: the CD also includes piano versions of the Dance Suite, Sz. 77 and Petite Suite, Sz. 105, which was adapted from some of the 44 Violin Duos.[19]

References edit

  1. ^ a b c d e f Cooper, David (1996). Bartók: Concerto for Orchestra. Cambridge: Cambridge University Press. ISBN 978-0-521-48505-0.
  2. ^ a b c d e f Bartók, Béla. "Explanation to Concerto for Orchestra," for the Boston premiere at Symphony Hall.[full citation needed]
  3. ^ . Gustavo Dudamel. Archived from the original on 2022-11-16.
  4. ^ a b Bartók, Béla (2004). Concerto for Orchestra (Score). New York: Boosey & Hawkes. ISBN 978-0-85162-189-0.
  5. ^ Peter Bartók, "Preface to the Revised Edition, 1993", in Béla Bartók, Concerto for Orchestra: Full Score, revised edition, [iii–v] (London, New York, Bonn, Sydney, Tokyo: Boosey & Hawkes, 1993). The citation is on p. iv.
  6. ^ Sir Georg Solti, Liner notes from London LP LDR 71036, Bartók Concerto for Orchestra and Dance Suite, Chicago Symphony Orchestra, recorded January 1980.
  7. ^ Morgan, Kenneth (2005). Fritz Reiner, Maestro and Martinet, p. 120. University of Illinois Press, Champaign. ISBN 0252029356.
  8. ^ . BBC. 23 May 2006. Archived from the original on 19 August 2016.
  9. ^ Griffiths, Paul (February 22, 1999). "A Peacetime Hearing of the Shostakovich 'Leningrad,' Forged in War". The New York Times. Retrieved 30 March 2010.
  10. ^ Hibberd, Kristian. . London Shostakovich Orchestra. Archived from the original on 16 May 2011.
  11. ^ Mostel, Raphael. "The Merry Widow's Fling With Hitler", TabletMag.com, 30 December 2014, accessed 11 November 2016
  12. ^ Recorded on 14 February 1954
  13. ^ Recorded on 22 October 1955
  14. ^ Recorded on 11–12/15 November 1956
  15. ^ Recorded on 1 November 1958
  16. ^ Recorded in September 1962
  17. ^ Recorded on 15–16 January 1965
  18. ^ Clements, Andrew (May 8, 2012). "Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta – review". The Guardian. Retrieved May 20, 2015.
  19. ^ György Sándor, Liner notes to the cited recording (MK 44526)

Further reading edit

  • Fosler-Lussier, Danielle (2000). "Bartók's Concerto for Orchestra in Postwar Hungary: A Road Not Taken." International Journal of Musicology, vol. 9, pp. 363–383.
  • French, Gilbert G. (1967). "Continuity and Discontinuity in Bartók's Concerto for Orchestra." The Music Review, vol. 28, pp. 122–134.
  • Móricz, Klára (1993-1994). "New Aspects of the Genesis of Béla Bartók's 'Concerto for Orchestra': Concepts of 'Finality' and 'Intention.'" Studia Musicologica Academiae Scientiarum Hungaricae, T. 35, Fasc. 1/3, pp. 181–219.
  • Parker, Beverly Lewis (1989). "Parallels between Bartók's 'Concerto for Orchestra' and Kübler-Ross's Theory about the Dying." The Musical Quarterly, vol. 73, no. 4, pp. 532–556.
  • Suchoff, Benjamin (2000). "Background and Sources of Bartók's Concerto for Orchestra." International Journal of Musicology, vol. 9, pp. 339–361.

External links edit

January 01, 1970
concerto, orchestra, bartók, concerto, orchestra, five, movement, orchestral, work, composed, béla, bartók, 1943, best, known, most, popular, most, accessible, works, concerto, orchestraby, béla, bartókthe, composer, 1927cataloguesz, 123composed1943, 1945durat. The Concerto for Orchestra Sz 116 BB 123 is a five movement orchestral work composed by Bela Bartok in 1943 It is one of his best known most popular and most accessible works 1 Concerto for Orchestraby Bela BartokThe composer in 1927CatalogueSz 116 BB 123Composed1943 rev 1945DurationAbout 38 minutesMovementsFiveScoringOrchestraPremiereDate1 December 1944 1944 12 01 LocationSymphony Hall BostonConductorSerge KoussevitzkyPerformersBoston Symphony Orchestra The score is inscribed 15 August 8 October 1943 It was premiered on December 1 1944 in Symphony Hall Boston by the Boston Symphony Orchestra conducted by Serge Koussevitzky It was a great success and has been regularly performed since 1 It is perhaps the best known of a number of pieces that have the apparently contradictory title Concerto for Orchestra This is in contrast to the conventional concerto form which features a solo instrument with orchestral accompaniment Bartok said that he called the piece a concerto rather than a symphony because of the way each section of instruments is treated in a soloistic and virtuosic way 2 Contents 1 Composition 2 Instrumentation 3 Musical analysis 3 1 I Introduzione 3 2 II Presentando le coppie 3 3 III Elegia 3 4 IV Intermezzo interrotto 3 5 V Finale 4 Recordings 5 Piano reduction 6 References 7 Further reading 8 External linksComposition editThe work was written in response to a commission from the Koussevitzky Foundation run by the conductor Serge Koussevitzky following Bartok s move to the United States from his native Hungary which he had fled because of World War II It has been speculated that Bartok s previous work the String Quartet No 6 1939 could well have been his last were it not for this commission which sparked a small number of other compositions including his Sonata for Solo Violin and Piano Concerto No 3 1 Bartok revised the piece in February 1945 the biggest change coming in the last movement where he wrote a longer ending Both versions of the ending were published but the revised ending is almost universally performed citation needed In 1943 while Bartok was in hospital suffering from what would later be discovered to be leukemia he was visited by Serge Koussevitzky who wanted to inform him of the commission for him to write the work which would become this concerto 3 Instrumentation editThe piece is scored for the following instrumentation 4 Woodwinds 3 flutes one doubling piccolo 3 oboes one doubling cor anglais 3 clarinets one doubling bass clarinet 3 bassoons one doubling contrabassoon Brass 4 horns 3 trumpets 3 trombones 1 tuba Percussion Timpani Side drum Bass drum Cymbals Triangle Tam tam Strings Violins I II Violas Cellos Double basses 2 harpsMusical analysis editThe piece is in five movements Introduzione Andante non troppo Allegro vivacePresentando le coppie Allegro scherzandoElegia Andante non troppoIntermezzo interrotto AllegrettoFinale Presto Bartok makes extensive use of classical elements in the work 1 for instance the first and fifth movements are in sonata allegro form The work combines elements of Western art music and eastern European folk music especially that of Hungary and it departs from traditional tonality often using non traditional modes and artificial scales 1 Bartok researched folk melodies and their influence is felt throughout the work For example the second main theme of the first movement as played by the first oboe resembles a folk melody with its narrow range and almost haphazard rhythm The drone in the horns and strings also indicates folk influence see example 1 nbsp The second theme of the first movement measure 155 The harp is not shown I Introduzione edit The first movement Introduzione consists of a slow introduction presenting the main material consecutive intervals of fourths scale fragments mirror ideas etc leading to an allegro with numerous fugato passages The quick part is in sonata allegro form 2 II Presentando le coppie edit The second movement is called Game of Pairs but see note below Its main part consists of five sections each thematically distinct from the others with a different pair of instruments playing together in each section 2 In each passage a different interval separates the pair bassoons are a minor sixth apart oboes are in minor thirds clarinets in minor sevenths flutes in fifths and muted trumpets in major seconds 4 The movement prominently features a side drum that taps out a rhythm at the beginning and end of this part In fact this main part is played twice Careful listening will reveal some small differences when it is played the second time In between the first and second playing of this part there is a short interlude which to some listeners including some who write cover notes for recordings of this work suggests a kind of marriage ceremony So one can imagine that when the main part is played a second time the five couples that appeared earlier are now married While the printed score titles the second movement Giuoco delle coppie or Game of the couples Bartok s manuscript had no title at all for this movement at the time the engraving copy blueprint was made for the publisher At some later date Bartok added the words Presentando le coppie or Presentation of the couples to the manuscript and the addition of this title was included in the list of corrections to be made to the score However in Bartok s file blueprint the final title is found and because it is believed to have been the composer s later thought it is retained in the revised edition of the score 5 The original 1946 printed score also had an incorrect metronome marking for this movement This was brought to light by Sir Georg Solti as he was preparing to record the piece with the Chicago Symphony Orchestra in 1980 When preparing for the recording I was determined that the tempi should be exactly as Bartok wrote and this led me to some extraordinary discoveries chief of which was in the second movement The printed score gives crotchet equals 74 which is extremely slow but I thought that I must follow what it says When we rehearsed I could see that the musicians didn t like it at all and in the break the side drum player who starts the movement with a solo came to me and said Maestro my part is marked crotchet equals 94 which I thought must be a mistake since none of the other parts have a tempo marking The only way to check was to locate the manuscript and through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page which not only clearly showed crotchet equals 94 but a tempo marking of Allegro scherzando the printed score gives Allegretto scherzando Furthermore Bartok headed it Presentando le coppie Presentation of the couples not Giuoco delle coppie Game of the couples I was most excited by this because it becomes a quite different piece The programme of the first performance in Boston clearly has the movement marked Allegro scherzando and the keeper of the Bartok archives was able to give us further conclusive evidence that the faster tempo must be correct I have no doubt that thousands of performances including my own up to now have been given at the wrong speed 6 Despite Solti s assertion that thousands of earlier performances had been played at the wrong speed both of Fritz Reiner s recordings his 1946 recording with the Pittsburgh Symphony Orchestra the first recording of the work as well as his 1955 recording with the Chicago Symphony Orchestra the same orchestra whose side drum player called the matter to Solti s attention had been played at the speed crotchet equals 94 that Solti later recommended Reiner had known Bartok since 1905 when they were fellow students at the Budapest Academy And years later in 1943 it was Reiner along with Joseph Szigeti who persuaded Serge Koussevitsky to commission Bartok to write the Concerto for Orchestra 7 III Elegia edit The third movement Elegia is another slow movement typical of Bartok s so called Night music The movement revolves around three themes which derive primarily from the first movement 2 IV Intermezzo interrotto edit The fourth movement Intermezzo interrotto literally interrupted intermezzo consists of a flowing melody with changing time signatures intermixed with a theme that quotes the song Da geh ich zu Maxim from Franz Lehar s operetta The Merry Widow 8 which had recently also been referenced in the invasion theme of Dmitri Shostakovich s Symphony No 7 Leningrad 9 10 11 Whether Bartok was parodying Lehar Shostakovich or both has been hotly disputed without any clinching evidence either way The theme is itself interrupted by glissandi on the trombones and woodwinds nbsp source Audio playback is not supported in your browser You can download the audio file nbsp Timpani excerpt source source Excerpt from the fourth movement The timpanist plays a chromatic bass line requiring using the pedal to change pitches Problems playing this file See media help In this movement the timpani are featured when the second theme is introduced requiring 10 different pitches of the timpani over the course of 20 seconds The general structure is ABA interruption BA 2 V Finale edit The fifth movement marked presto consists of a whirling perpetuum mobile main theme competing with fugato fireworks and folk melodies This is also in sonata allegro form 2 Recordings editThe following are only a small selection of the numerous available recordings Recorded on 4 5 February 1946 with Fritz Reiner conducting the Pittsburgh Symphony Orchestra Columbia Masterworks M 793 78 rpm Columbia Records later released a 12 inch LP recording Columbia ML 4102 monaural New York Columbia In 1953 Columbia Records released a recording with Herbert von Karajan conducting the Philharmonia Orchestra 12 inch LP recording Columbia 33CX 1054 monaural London Columbia Records In 1954 12 Columbia Records released a recording with Eugene Ormandy conducting the Philadelphia Orchestra 12 inch LP recording Columbia ML 4973 monaural New York Columbia In 1958 13 RCA Victor issued a recording with Fritz Reiner conducting the Chicago Symphony Orchestra 12 inch LP recording RCA Victor LSC 1934 In 1956 14 Decca Records released a recording with Ernest Ansermet conducting the Orchestre de la Suisse Romande also including Frank Martin s Concerto for seven winds percussion and string orchestra Decca LXT 5305 London CS 6086 Decca Eclipse stereo London Decca In 1959 15 EMI Records released a recording with Rafael Kubelik conducting the Royal Philharmonic Orchestra also including Bartok s Two Portraits Op 5 12 inch LP recording HMV ASD 312 stereo UK His Master s Voice In 1960 Columbia Records released a recording with Leonard Bernstein conducting the New York Philharmonic Orchestra recorded at St George Hotel Brooklyn New York November 30 1959 12 inch LP recording Columbia MS 6140 stereo New York Columbia Records In 1962 16 RCA Victor released a recording with Erich Leinsdorf conducting the Boston Symphony Orchestra made in Symphony Hall Boston 12 inch LP recording RCA Victor LSC 2643 New York RCA Victor 1963 Czech Philharmonic Orchestra Karel Ancerl Dvorak Hall Prague Supraphon In 1965 17 Columbia Records released a recording with George Szell conducting the Cleveland Orchestra also including Leos Janacek s Sinfonietta 12 inch LP recording Columbia ML 6215 stereo New York Columbia In 1965 Decca Records released a recording with Georg Solti conducting the London Symphony Orchestra 12 inch LP recording Decca SXL 6212 stereo In 1979 RCA Red Seal released the first digital recording of the work with Eugene Ormandy conducting the Philadelphia Orchestra RCA Red Seal ARC1 3421 Recorded in Orchestra Hall Chicago in January 1981 Sir Georg Solti conducting the Chicago Symphony Orchestra Digital recording coupled with Mussorgsky Pictures at an Exhibition orchestrated by Ravel Decca 417 754 2 In 2012 Naxos Records released a recording with Marin Alsop conducting the Baltimore Symphony Orchestra in addition to Bartok s Music for Strings Percussion and Celesta Digital recording Naxos 8 572486 18 Piano reduction editIn 1985 Peter Bartok son of the composer discovered a manuscript of a piano two hands reduction of the score in the large body of material which had been left to him upon his father s death This version had been prepared for rehearsals of a ballet interpretation of the Concerto to be performed by the Ballet Theatre in New York This performance never took place and the piano score was shelved Soon after the discovery of this manuscript Peter Bartok asked the Hungarian pianist Gyorgy Sandor to prepare the manuscript for publication and performance The world premiere recording of this edited reduction was made by Gyorgy Sandor in 1987 on CBS Masterworks the CD also includes piano versions of the Dance Suite Sz 77 and Petite Suite Sz 105 which was adapted from some of the 44 Violin Duos 19 References edit a b c d e f Cooper David 1996 Bartok Concerto for Orchestra Cambridge Cambridge University Press ISBN 978 0 521 48505 0 a b c d e f Bartok Bela Explanation to Concerto for Orchestra for the Boston premiere at Symphony Hall full citation needed Recording Bartok Concerto for Orchestra Gustavo Dudamel Archived from the original on 2022 11 16 a b Bartok Bela 2004 Concerto for Orchestra Score New York Boosey amp Hawkes ISBN 978 0 85162 189 0 Peter Bartok Preface to the Revised Edition 1993 in Bela Bartok Concerto for Orchestra Full Score revised edition iii v London New York Bonn Sydney Tokyo Boosey amp Hawkes 1993 The citation is on p iv Sir Georg Solti Liner notes from London LP LDR 71036 Bartok Concerto for Orchestra and Dance Suite Chicago Symphony Orchestra recorded January 1980 Morgan Kenneth 2005 Fritz Reiner Maestro and Martinet p 120 University of Illinois Press Champaign ISBN 0252029356 Discuss Shostakovich BBC 23 May 2006 Archived from the original on 19 August 2016 Griffiths Paul February 22 1999 A Peacetime Hearing of the Shostakovich Leningrad Forged in War The New York Times Retrieved 30 March 2010 Hibberd Kristian Saturday 18th May 2002 London Shostakovich Orchestra Archived from the original on 16 May 2011 Mostel Raphael The Merry Widow s Fling With Hitler TabletMag com 30 December 2014 accessed 11 November 2016 Recorded on 14 February 1954 Recorded on 22 October 1955 Recorded on 11 12 15 November 1956 Recorded on 1 November 1958 Recorded in September 1962 Recorded on 15 16 January 1965 Clements Andrew May 8 2012 Bartok Concerto for Orchestra Music for Strings Percussion and Celesta review The Guardian Retrieved May 20 2015 Gyorgy Sandor Liner notes to the cited recording MK 44526 Further reading editFosler Lussier Danielle 2000 Bartok s Concerto for Orchestra in Postwar Hungary A Road Not Taken International Journal of Musicology vol 9 pp 363 383 French Gilbert G 1967 Continuity and Discontinuity in Bartok s Concerto for Orchestra The Music Review vol 28 pp 122 134 Moricz Klara 1993 1994 New Aspects of the Genesis of Bela Bartok s Concerto for Orchestra Concepts of Finality and Intention Studia Musicologica Academiae Scientiarum Hungaricae T 35 Fasc 1 3 pp 181 219 Parker Beverly Lewis 1989 Parallels between Bartok s Concerto for Orchestra and Kubler Ross s Theory about the Dying The Musical Quarterly vol 73 no 4 pp 532 556 Suchoff Benjamin 2000 Background and Sources of Bartok s Concerto for Orchestra International Journal of Musicology vol 9 pp 339 361 External links editConcerto for Orchestra Scores at the International Music Score Library Project Retrieved from https en wikipedia org w index php title Concerto for Orchestra Bartok amp oldid 1214538708, wikipedia, wiki, book, books, library,

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