Compositions written as homage to or in memory of another composer are a special case of compositional reception: the composer refers overtly to an individual and perceptible personal style and technique of the composer to whom the homage is dedicated. The paper will portray on the one hand representative and recurring types of compositions dedicated to Béla Bartók, on the other hand such works, which highlight an extraordinary aspect of Bartók's oeuvre and are therefore suitable to open new perspectives for musicological analysis, too. The material forming the basis of the examination includes composers from different countries, generations or “schools” and ranges from early examples like István Szelényi's Homage (1947) to latest cases like Peter Eötvös' new concerto CAP-KO (2005).
The major influence on the music of György Kurtág and Péter Eötvös can be seen in Bartók's compositions. Both composers described his music as their ”mother tongue”. Results of an interview with Eötvös, an analysis of his composition ”Kosmos” and sketches of Kurtág, lead to the conclusion that both composers' view of Bartók is heavily influenced by Lendvai's theories. Kurtág's Opus 30a serves as an example for the use of Lendvai's theory at a harmonic level.