Suite, Op 14. Bela Bartok
Suite, Op 14. marked a change in Bartok’s music from compositions in more conventional form and based on Eastern European folk tunes to more atonal music that breaks away from previous classical styles of composition. In an interview about the piece Bartok says,
The Suite op. 14 has no folk tunes. It is based entirely on original themes of my own invention. When this work was composed I had in mind the refining of piano technique, the changing of piano technique, into a more transparent style. A style more of bone and muscle opposing the heavy chordal style of the late, latter romantic period, that is, unessential ornaments like broken chords and other figures are omitted and it is more a simpler style.
Bartok definitely, like many of our contemporary artists, gets down and portrays his deep emotion without any unnecessary elements, which even fits Ezra Pound’s view of Imagism where he calls for “a direct treatment of the thing.” Here’s how it sounds.
No comments:
Post a Comment