This chromatic passage from the Intermezzo interrotto movement of Béla Bartók | Bartók's Concerto for Orchestra ( Bartók ) | Concerto for Orchestra requires the timpanist to use the pedals to play all the pitches.

31, British premieres, including Berg's Wozzeck and Three Movements from the Lyric Suite, and world premieres, including Vaughan Williams's Symphony No. 4 in F minor and Bartók's Concerto for Two Pianos and Orchestra.

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.

The mood of the first part is quite bleak, contrasting with the second part which is livelier and provides evidence of the inspiration Bartók's drew from Hungarian folk music, with dance-like melodies to the fore.

The work is even more harmonically adventurous and contrapuntally complex than Bartók's previous two string quartets and explores a number of extended instrumental techniques, including sul ponticello ( playing with the bow as close as possible to the bridge ), col legno ( playing with the wood rather than the hair of the bow ), glissandi ( sliding from one note to another ) and the so-called Bartók pizzicato ( plucking the string so that it rebounds against the instrument's fingerboard ).

The piece is widely considered to be the most tightly constructed of Bartók's six string quartets, the whole deriving from a relatively small amount of thematic material integrated into a single continuous structure.

His music draws from many styles and traditions, most notably the barbarism of Stravinsky's early ballets, the unique rhythms and textures of Bartók's music and the floating and mystic moods of Debussy and Ravel's music-always underpinned by idioms derived from Norwegian folk-music.

65 Troisième recueil de chants ; Béla Bartók's " Barcarolla " from Out of Doors ; several examples by Anton Rubinstein, Mily Balakirev, Alexander Glazunov, Edward MacDowell, and Ethelbert Nevin ; and the collection of thirteen for solo piano by Gabriel Fauré.

Returning to the United States from Jerusalem in 1963, he made his debut with the New York Philharmonic, playing Bartók's Piano Concerto No. 2.

0: 27 clip from the first movement of Béla Bartók's Sonata for two pianos and percussion demonstrating timpani glissandos.

1-14 ) of Béla Bartók's " Boating " from Mikrokosmos right and left hand pitch collections, respectively.

Bartók's Concerto for Orchestra ( 1943 ) features the appearance ( followed by a trombone raspberry ) of a theme from Shostakovich's Leningrad Symphony.

Bartók's Viola Concerto took two or three years of Serly's efforts to compile from sketches into a performable piece.

Lack of local interest, combined with Bartók's extended battle with leukemia and a general sense of discomfort in the American atmosphere prevented Bartók from composing a great deal in his early years in America.

Béla Bartók's composition " Bagpipe ," from Volume 5 of Mikrokosmos, is a piano piece that imitates the sound of the duda.

Troyanos sang in concert performances of operas ranging from Handel's Deidamia and Mozart's Mitridate to Donizetti's Roberto Devereux and Bartók's Bluebeard's Castle ( performing the latter, in the original Hungarian, under Pierre Boulez, Georg Solti, and Rafael Kubelik ), in addition to concert works by Mozart, Beethoven, Brahms, Berlioz, Verdi, Ravel, Mahler, Prokofiev, Schoenberg, Berg and others.

*" The Barbarian ", a piece from Emerson, Lake & Palmer ( album ), after Béla Bartók's Allegro barbaro

In 1926 he made acquaintance with Béla Bartók ; from which a lively contact arose until Bartók's emigration to the United States in 1940.

Bartók's economic difficulties during his first years in America were mitigated by publication royalties, teaching and performance tours.

Bartók's large-scale orchestral works were still in the style of Johannes Brahms and Richard Strauss, but he wrote a number of small piano pieces which showed his growing interest in folk music.

Bartók's style in his art music compositions was a synthesis of folk music, classicism, and modernism.

Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony that had served composers for the previous two hundred years ( Griffiths 1978, 7 ); and the revival of nationalism as a source for musical inspiration, a trend that began with Mikhail Glinka and Antonín Dvořák in the last half of the 19th century ( Einstein 1947, 332 ).

The third movement, called Elegia by Bartók, is another slow movement, typical of Bartók's so-called " Night music ".

The third movement is generally considered to be the most typical of Bartók's mature style, including early evidence of his interest in Hungarian folk music.

The two slow movements, the second Adagio molto and the fourth Andante are great examples of Bartók's Night music style: eerie dissonances, imitations of natural sounds, and lonely melodies.

The third movement includes a great example of Bartók's night music style.

Heseltine had publicised Bartók's music for several years, but his friendship with the composer appears not to have survived beyond the Wales visit.

The TFC has also collaborated with Seiji Ozawa and the Boston Symphony Orchestra on numerous recordings, including Mahler's Second, Third, and Eighth symphonies, Strauss's Elektra, Schoenberg's Gurre-Lieder, and Bartók's The Miraculous Mandarin, on Philips ; Mendelssohn's complete incidental music to A Midsummer Night's Dream, on Deutsche Grammophon ; and Berlioz's Requiem and La damnation de Faust, Fauré's Requiem, and Tchaikovsky's The Queen of Spades, on RCA Victor Red Seal.

Rostal played a wide variety of music, but was a particular champion of contemporary works such as Béla Bartók's Violin Concerto No. 2.

Examples include Richard Strauss ' Sinfonia Domestica, which calls for a baritone saxophone in F ; Béla Bartók's The Wooden Prince ballet music ; Charles Ives ' Symphony No. 4, composed in 1910-16 ; and Gershwin's Rhapsody in Blue and An American in Paris.

He is considered one of the best players of Bartók's music.

He made great efforts to make Bartók's music more accessible, by arranging selected works for combinations of instruments, but this brought him more attention than did his own compositions.

She was a noted interpreter of Bartók's music, and performed his third piano concerto only a few days after its world premiere by György Sándor.

It was a significant, if not altogether popular style, and some of its influences can be seen in Béla Bartók's opera Bluebeard's Castle ( 1911 ), with its emphasis on psychological drama represented in music.

It is an example of Bartók's " night music " idiom.

Further examples include ethnomusicological notation of oral traditions of folk music, such as Béla Bartók's and Ralph Vaughan Williams ' collections of the national folk music of Hungary and England respectively.

The second movement starts slow and mysterious, similar to Béla Bartók's " night music ".

Bartók's family reflected some of the ethno-cultural diversities of the country.

Bartók's last work might well have been the String Quartet No. 6 but for Serge Koussevitzky's commission for the Concerto for Orchestra.

Concerto for Orchestra quickly became Bartók's most popular work, although he did not live to see its full impact.

The most famous modern Hungarian opera is Béla Bartók's Duke Bluebeard's Castle.

It also features prominently in Béla Bartók's 1936 Music for Strings, Percussion and Celesta.

They also gave the premiere of Béla Bartók's Concerto for Orchestra, which had been commissioned by the Koussevitzky Foundation at the instigation of Fritz Reiner and Joseph Szigeti.

Due to Steinberg's illness, DG recorded the BSO with Rafael Kubelik in Beethoven's Symphony No. 5, Ma Vlast by Bedrich Smetana and in Béla Bartók's Concerto for Orchestra as well as with Eugen Jochum conducting Symphony No. 41 by Wolfgang Mozart and Franz Schubert's Symphony 8.

They returned to RCA Victor in 1968 and made their first digital recording, Bartók's Concerto for Orchestra, in 1979.

* May 30 – Béla Bartók's Violin Concerto No. 1 is premiered in Basel, 50 years after it was composed

* February 8 – Béla Bartók's Piano Concerto No. 3 is premiered posthumously by György Sándor with Eugene Ormandy conducting the Philadelphia Orchestra

* February 19 – UK première of Béla Bartók's still-unpublished Third String Quartet, by The Hungarian String Quartet at the Wigmore Hall, London.

* July 1-Béla Bartók's Piano Concerto No. 1 is premiered in Frankfurt, with the composer at the piano and Wilhelm Furtwängler conducting.

* January 21 – Paul Sacher conducts the world première of Béla Bartók's Music for Strings, Percussion and Celesta in Basel.

* January 20 – Béla Bartók's String Quartet No. 6 is premièred in New York City.