Bartok - Kodaly - Ligeti

Available in Audiophile 96kHz/24bit

Buy Album
Album Name Length Format Sample Rate Price
Bartok - Kodaly - Ligeti 1:16:49 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Lento - Maestoso 5:29 96/24 Album only
2 Allegretto moderato 2:55 96/24 Album only
3 Allegro con moto, grazioso 1:39 96/24 Album only
4 Allegro 2:59 96/24 Album only
5 Allegro vivace 3:46 96/24 Album only
6 No. 1. Egy idealis (One Ideal) 10:03 96/24 Album only
7 No. 2. Egy torz (One Grotesque) 2:22 96/24 Album only
8 I. Kezdodik a mese (The Fairy Tale Begins) 3:04 96/24 Album only
9 II. Becsi harangjatek (Viennese Musical Clock) 2:08 96/24 Album only
10 III. Dal (Song) 5:43 96/24 Album only
11 IV. Napoleon csataja (The Battle and Defeat of Napoleon) 3:51 96/24 Album only
12 V. Kozjatek (Intermezzo) 5:09 96/24 Album only
13 VI. A csaszari udvar bevonulasa (Entrance of the Emperor and his Court) 3:02 96/24 Album only
14 I. Lassu: Moderato 4:51 96/24 Album only
15 II. Friss: Allegro moderato 5:28 96/24 Album only
16 I. Andantino 2:24 96/24 Album only
17 II. Allegro vivace 1:26 96/24 Album only
18 III. Adagio ma non troppo 3:19 96/24 Album only
19 IV. Molto vivace - Presto 6:08 96/24 Album only

Price as configured: $17.98

* Required Fields

℗ © 2010 PentaTone

Béla Bartók (1881-1945): Deux Portraits (Két arckép), Sz. 37 (Op. 5)
Zoltán Kodály (1882-1967): 
Dances from Galánta for Orchestra; Háry János Suite
György Ligeti (1923-2006): 
Concert Românesc (Romanian Concerto)

Orquestra Gulbenkian, orchestra
Lawrence Foster, conductor

In 1859, Franz Liszt published a book about gypsy music, entitled “Des Bohémiens et de leur musique”, in association with Princess Caroline von Sayn-Wittgenstein. In this book, the authors contend that Hungary cannot claim any authentic folk music of its own, and that the roots of the country’s folk- lore tradition lie in gypsy music. “The Magyars adopted the gypsies as their national musicians,” Liszt wrote, “They completely identified with the proud, belligerent enthusiasm, with the deep pain issuing from these sounds, that engulfed them with such intensity.” It goes without saying that this incorrect postulation did not go down well with many Hungarians. After all, the travelling gypsies were not held in high esteem. But Liszt was apparently single-minded in his efforts to create a national style of music in Hungary based on folk roots.

Liszt also exerted a major influence on the younger generation of composers. Thus, his style of music – alongside that of Brahms, Dohnányi and Wagner – was a determining factor in the direction taken by the young Béla Bartók. However, contrary to the claims made by Liszt, Bartók had never believed that authentic Hungarian folk music was based on gypsy, and decided to carry out his own research. Bartok undertook a serious study of authentic folk music, together with his friend, Zoltán Kodály.

Armed with sheets of music paper and a phonograph that worked with wax cylinders, the two of them travelled to the tiniest villages in the country in order to record the songs of the peasants. The result of these journeys – the first fieldwork carried out in the area of ethnomusicology – was a huge collection of no less than 16.000 recordings of not only Hungarian, but also Romanian and Slovak folk melodies. Furthermore, Kodály, who was also an eminent musicologist, wrote a dissertation on the strophic structure of Hungarian folk songs. Often, Kodály based his own music on Hungarian themes, mainly employing original folk melodies and rhythms as a kind of couleur locale, embedded in a predominantly Western idiom.

In the Concert Românesc by György Ligeti one can also hear Romanian folk music, the contrasting of the lassú and the friss, and the style of village bands. Ligeti grew up in the Hungarian-speaking part of Transylvania, and soon came across both the folk music and its corresponding instruments, such as the Alpine horn, violin and bagpipes.

Recorded live in November 2009 at the Grande Auditório of the Calouste Gulbenkian Foundation in Lisbon, Portugal.

Producer: Job Maarse
Recording engineers: Erdo Groot and Carl Schuurbiers
Editing engineer: Roger de Schot