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Bartók’s American estate dates its origins to 1943, when he entrusted his music manuscript collection to the care of two fellow Hungarian emigrés, Gyula Báron and Victor Bator, both then living in the United States. After his death in 1945 the estate devolved into their care, in accord with the legal provisions of the will. For the next 22 years it was carefully managed by Bator, a lawyer and businessman who lived in New York City for the rest of his life. The onset of Cold War politics in the late 1940s presented numerous challenges to the estate, out of which emerged the tangled thicket of rumor, litigation, misunderstanding, confusion, and personal animosity that has been the American Bartók estate’s unfortunate legacy since the 1950s.As one of Hungary’s most significant cultural assets located outside the country’s borders, the American Bartók estate has since 1981 been under the control and careful supervision of Peter Bartók, now the composer’s only remaining heir. All but forgotten is the role Victor Bator played in managing the estate during the difficult years after World War II, when its beneficiaries became separated by the Iron Curtain, setting in motion legal and emotional difficulties that no one in the immediate family could have predicted. Equally overlooked is the role he played in enhancing the collection to become the world’s largest repository of Bartók materials.A considerable amount of Bator’s personal correspondence related to the early years of the Bartók estate has recently come to light in the U.S. Together with U.S. court documents and information gleaned from recent interviews with Bator’s son, Francis Bator, still living in Massachusetts, and the late Ivan Waldbauer, we can now reconstruct with reasonable accuracy the early history of Bartók’s estate. A strikingly favorable picture of Bator emerges. Bartók, it turns out, chose his executors wisely. A cultivated and broadly learned man, by the late 1920s Victor Bator had gained recognition as one of Hungary’s most prominent legal minds in the field of international business and banking law. His professional experience became useful to the Bartók estate as the Communist party gradually took hold of Hungary after World War II, seizing assets and nationalizing property previously belonging to individual citizens. His comfort in the arena of business law also thrust him into prominence as a public advocate for increased fees for American composers in the late 1940s - a matter of tremendous urgency for composers of serious music at the time. By reconstructing Bator’s professional career prior to 1943 his actions as executor and trustee become more understandable. We gain new insight into a figure of tremendous personal importance for Bartók and his family.

Senior editors

Editor(s)-in-Chief: Péter BOZÓ (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

Review Editor: Lynn HOOKER (Purdue University, West Lafayette, USA)

Assistant Editor(s):
Martin ELEK (University of Oxford, Oxford, GB)
Belinda ROBINSON (University of Cambridge, GB)
Viktória OZSVÁRT (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
Patrick DEVINE (Maynooth University, Maynooth, IRL)

Editorial Board

  • Anja BUNZEL (Institute of Art History, Czech Academy of Sciences, CZ)
  • William A. EVERETT (Conservatory University of Missouri-Kansas City, USA)
  • Márta GRABÓCZ (University of Strasbourg, Strasbourg, F)
  • Denis HERLIN (Centre National de la Recherche Scientifique, Paris, F)
  • János KÁRPÁTI (professor emeritus, Liszt Academy of Music, Budapest, H)
  • Katalin KOMLÓS (professor emerita, Liszt Academy of Music, Budapest, H)
  • Valeria LUCENTINI (University of Bern, CH)
  • Tatjana MARKOVIĆ (Österreichische Akademie der Wissenschaften, Wien, A)
  • Pál RICHTER (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László SOMFAI (Institute for Musicology, Research Centre for the Humanities, Budapest, H)
  • László VIKÁRIUS (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

 

Editorial Secretary

  • István Csaba NÉMETH (Institute for Musicology, Research Centre for the Humanities, Budapest, H)

STUDIA MUSICOLOGICA
Address: H–1250 Budapest, PO Box 9, Hungary
Fax: +36 1 375 9282
E-mail: studia@btk.mta.hu

Indexing and Abstracting Services:

  • Arts & Humanities Citation Index
  • International Bibliographies IBZ and IBR
  • JSTOR
  • Music Indev
  • RILM
  • SCOPUS

 

2020  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
5/56=0,1
Scopus
Cite Score Rank
Music 118/147 (Q4)
Scopus
SNIP
0
Scopus
Cites
11
Scopus
Documents
0
Days from submission to acceptance 112
Days from acceptance to publication 413

 

2019  
Scimago
H-index
3
Scimago
Journal Rank
0,100
Scimago
Quartile Score
Music Q4
Scopus
Cite Score
1/66=0
Scopus
Cite Score Rank
Music 122/142 (Q4)
Scopus
SNIP
0,000
Scopus
Cites
4
Scopus
Documents
0

 

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Studia Musicologica
Language English
French
German
Size B5
Year of
Foundation
2007 (1961)
Publication
Programme
2020 Volume 61
Volumes
per Year
1
Issues
per Year
4
Founder Magyar Tudományos Akadémia
Founder's
Address
H-1051 Budapest, Hungary, Széchenyi István tér 9.
Publisher Akadémiai Kiadó
Publisher's
Address
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Responsible
Publisher
Chief Executive Officer, Akadémiai Kiadó
ISSN 1788-6244 (Print)
ISSN 1789-2422 (Online)