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Bartók’s later works from the years 1939–1945 present an impressive synthesis of his musical innovations. Beginning with the Divertimento and Sixth String Quartet (both composed in 1939), the Hungarian composer starts with a freely tonal, neo-Classical foundation. Above this initial compositional level he then superimposes Beethovenian formal structures gleaned from the latter’s opp. 53 and 135, in addition to a prominent Stravinsky quotation from The Rite of Spring, part two. In both works Bartók achieves an impressive large-scale cyclical unity, frequently through wholetone scalar integration.
The Concerto for Orchestra (1943) blends pervasive quotation techniques with analogous cyclical intervallic patterns, such as major third cells on F–A–D4. One is again distinctly reminded of the F Major Divertimento. Like the latter work, the Concerto is especially notable for its expansive codas, which function in the manner of Beethovenian second developments. Similarly, the Sonata for Solo Violin (1944) fuses neo-Bachian counterpoint with the expansive forms of the Concerto for Orchestra. Finally, the interrelated last two Concertos for piano and viola (both penned in 1945) present a cumulative synthesis of Bartókʼs later style, emphasizing the tertial (and modal) degrees of VI and flattened VI. Here, too, we encounter elaborate quotational systems that distantly recall the 1910s and 1920s music of French composers as Debussy, Ravel and Satie.
One of the most striking features of Ligeti's late style is the composer's engagement with musical sources from outside the Western classical tradition. Ligeti's comments about his compositions from the 1982 Horn Trio onward, contain references to a
Summary
The first part of this monographic study was published in vol. XLIV (2003) of Acta Historiae Artium. This part focuses mainly on the problems of artistic origin. The sculptor could be identified as a follower of the late style of Hans Multscher and therefore coming perhaps of the Ulm region. Concerning the relationship of the Leutschau retable to the shrine figures of the Benedictine Abbey Church in Garamszentbenedek (Sv. Beňadik nad Hronom) the Author argues for its higher artistic quality which seems to exclude that the latter was an earlier work of the same artist. The panel painting was perhaps mainly influenced by the art of the Master of the Schottenstift in Vienna. The architectural arrangement of the retable may also go back to Ulm constructions, such as the High altar of Ulm Münster, documented by his preparatory drawing.
Karl Goldmark (1830–1915) was undoubtedly one the most influential composers of the Austro-Hungarian Empire, and through his first opera – The Queen of Sheba – he was also very well-known abroad. This opera, with its very fashionable oriental subject, was first performed in Vienna in 1875 and was one of the greatest successes of the period. After Merlin (1886) and The Cricket on the Hearth (1896), a “song-opera” strongly influenced by the Biedermeier-period, Goldmark wrote three operas over the next ten years. A Prisoner of War (libretto E. Schlicht, premiered in 1899 in Vienna) was based on one episode of the Iliad. In this short opera the composer tried to express the change of Achilles’ soul, but he mostly failed due to a relatively weak and conventional libretto and vague musical style. In the following opera, Götz von Berlichingen (libretto A. M. Willner, premiered 1902) the libretto is also the weakest element of the work and the whole opera reminds one of Meyerbeer ’s operas. The composer found a renewed inspiration during the work on his last opera – The Winter’s Tale (libretto by Alfred Maria Willner after Shakespeare, premiered in 1907 in Vienna). This fairy tale opera is full of interesting musical moments and elements written in Goldmark’s late style and is still attractive for the opera-going public.
works of a particular composer (Dohnányi) and thus complements other studies of late works, a repertory Edward Said theorizes in On Late Style: Music and Literature against the Grain (New York: Pantheon Books, 2006). Like its siblings on Beethoven
Affections. Conversation with Endre Bálint from 1964] , Művészet , 18 ( 1977 : 6 ) 2 – 7 . Edward W . SAID : On Late Style. Music and Literature Against the Grain , London – Berlin – New York – Sidney : Bloomsburry , 2006 . Edit SASVÁRI – Sándor
building it from a superimposition of triads. As for the Bartók concerto (BB 117), it has been customary to see in it, since Bence Szabolcsi, the beginning of a mellower, “warmly melodic” style – a “late style” for Bartók, as it were. 2
Social Change, Dress and Identity
Observations on the Disintegration of Peasant Culture as Exemplified by Rural Women’s Clothing in Hungary from the First World War to the End of the Kádár Era Socialism
, characteristic regional late styles evolved (Kalocsa, Sióagárd, the Galga river valley near Budapest), out of which Kalocsa gained the greatest tourist fame. 29 ( Figure 3 ) Figure 3 Peasant family in Sióagárd (Tolna county), second half of the 1930s
