Professional Documents
Culture Documents
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained
prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in
the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/journals/mtpl.html.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic
journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers,
and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take
advantage of advances in technology. For more information regarding JSTOR, please contact support@jstor.org.
http://www.jstor.org
Thu Aug 16 18:28:19 2007
b y G. W. Hopkins
Anthony Cross
Portrait of Debussy-2
/
Piano Works
Images, Series 1
Images, Series 2
Children's Corner
Prtludes, Book 1
PrCludes, Book 2
Etudes, Book 1
Etudes, Book 2
..
..
..
..
..
..
..
Vocal Works
Ariettes OubliCes
FCtes Galantes 1
FCtes Galantes I1
Proses Lyriques
..
..
..
..
..
UNITED MUSIC
PUBLISHERS LT
126
Bela Bartok
PIANO MUSIC
Bartok Albums I & I1 each I 5 Four plano pleces I g/Fourteen bagatelles, opus 6 I o I l'lano method (Ed. Reschofskc ) I 5 Rhapsody, opus I ( T w o pianos) I 7 b
Scherzo ( T w o pianos) 25:Seten sketches, opus 9b 716
Ten eas) plano pleces 7 I6
The toung Rartok (orr. Dllle) Book I1 I 7 '6
Ioung people at the plan0 Kooks 1 & 11
each 7 , 6
INSTRUMENTAL
MUSIC
Bagpiper, Oboe and piano
616
Harp 4 6
I2
'6
(.hi.. L a t h u r c r ~ k ~ . )
and piano
I 2
:b
(.lrr. Liebner)
01-
6 6
6 6
POCKET SCORES
1)ances of Transyl\ania HPS 596 7
Ilungar~anplctures HPS 595 I 5 Kosruth-sqrnphonlc poem HPS 79 2
T\zo portraltu HPS 599 I 5 -
London W I
5 -
Debussy Claude
FEART ROSE
hangversenyenekesn6 6s a
WALDBAUER-KERPELY
vonbsnegves larsas6s k8zrernlik6dcsevei.
MOSOR
1.
Childrens Corner.
I. Doctor gradus ad ~arnarsuan
$1.Jlmbo'6 Lullaby
111.Serenade lor the doll.
IV. The S n o w i s dancing
V. The 1110e ihephcrd.
? I . Ooll~uogp', rake-urlk.
3. Vonosnegyes.
I . Anln~ecl t r t ~decld4
Ii A s l r r v t i r ! blcn ryfhn~e.
111. ~ n d a n t liovrcmen~
l ~ ~
rxpreir.i
IW. Ti13 nloderr
Elladia r
Waldbauer-K~vpely ~ e n e ~ n , , ~ : ~ ~
Irrraib? l i n a l ~ r ~ i l li d a 9, lapom
P. koltemenyei.)
D,
b, Fantochei.
dc lune
i~ clalr
d,
oreen
Srevrd
zungoiak~icrekerneilcf!
anchi, peart
DP. roii
Szvrra zongorak~rercten,ei~:t,
i,lokll F4zn Rose.
il En sourdlnc
I1
5. a) Pagodes.
b) Romrnage b Rameau.
c) Jardins sous la pluie.
A O o i c n d d r h r . r o n g e r l CHA$iL Pr f i b r i , r r k . . . ~ ~ d c ls?i:liid
li
2ongor#lrrrne'bdt
~aid.
OXFORD
UNIVERSITY
PRESS
Bartok. One might possibly detect a French influence in the second of the Two Elegies (1909) but
if so it is that of Ravel rather than Debussy. Bartok
had apparent!^ bought a copy of Gaspard shortly
before composing this piece. Occasional features of
the later piano works, such as the bravura writing
of the Studies op 18, are also slightly reminiscent of
Ravel. In his maturity Bartok created, in pieces like
the Night Music from the collection Out of Doors
and Melody in the Mist (Mikrokosmos),anequivalent
to Debussy's impressionism, but this is untypical of
Bartok's piano music as a whole. With Debussy
rhythm is frequently reduced to a continual vibration (Mouvement) or to a uniform pulse as in the
opening bars of La carh6drale engloutie, to permit,
as it were, the realization of timbre effects9 (a
favourite performance direction of Debussy is
doucemenf timbre). The opposite however is true of
Bartok, the timbre-quality of a particular chord
being placed at the service of rhythm. It is fruitful
in this respect to compare Bartok's Study in Alternating Thirds (Mikrokosmos V) with that of Debussy (Preludes 11) (Ex 3).
*
'Debussy hat mir viele Einsichte gegeben', Bartok
once remarked. Such insights especially in matters
of harmonic and tonal organization no doubt enabled Bart6k to clarify his ideas at a time when his
own language had already begun to evolve in a
similar direction. It is doubtful whether, unlike the
influence of folksong however, these insights were
decisive and there is no reason to suppose, dangerous though such speculation is, that his later development would have been essentially different had
Debussy never lived. On the other hand, Bartok's
individual impressionistic vein was almost certainly
initially inspired by Debussy's example, and the
very fact that his first adoption of this technique
coincides with his only excursion into Debussy's
harmonic territory supports this view. Nevertheless,
any attempt to define precisely the extent of Debussy's influence is clearly fraught with difficulties
since Bartok-like Debussy-showed an astonishing
ability to make entirely his own whatever he
*For a detailed appraisal of this aspect of Debussy's language
see Quelques a s p c t s de l3unii.erssonor de Debussy b y S . Jarocinski in Debussy et I'Pvolution de la nlusique au XXienle sibcle,
CNRS Paris 1965
Bluebeard's Castle
(complete opera) o c t a v o score
Piano Concerto N o 2
(miniature score)
String Quartet N o 5
(miniature score)
UNIVERSAL
2 , 3 F A R E H A M S T R E E T (DEAN S T R E E T )
LONDON PI 1
Mme Ditta BartOk-Pasztory and Szigeti are among the professors at the Bartok Seminar, July 20-August 4; details.
Budapest Bureau of International Music Competitions, Budapest VI, Liszt Ferenc ter 8, Hungary.
The Royal Philharmonic Orchestra comes of age on Sept 15.
An anonymous birthday gift of500 will be used to commission
a piano concerto from Richard Arnell.
Priaulx Rainier's new work for the Cheltenham Festival,
commissioned by the BBC, is Aequora Lunae (Srar of rAe
.Moon), for orchestra, percussion, and wind solos.
Elisaheth Lutyens's new work, commissioned by the BBC to
open their first Chamber Music Concert in the Elizabeth Hall,
is called and suddenly ir's evening for tenor (Robert Tear) and
members of the BBC Symphony.
by Eric Sams
And twenty more such names and men as these
Which never were. nor no man ever saw.
(Shakespeare)
What's in a name? (ibid)
'ERLER, H.
%LATER, F .