1.- «Kossuth» 0:50; 2.- «Mi bu nehezedik a lelkedre, edes ferjem?» 2:33 («Why are you so grieved, my dear husband?» / «¿Por qué estás tan apenado, amado marido?»); 3.- «Veszelyben a haza» 3:55 («The fatherland is in danger!» / «¡La madre patria está en peligro!»); 4.- «Hajdan jobb idoket eltunk» 5:05 («Formerly we had a better life...» / «Antes se vivía mejor…»); 5.- «Majd rosszra fordult sorsunk…» 6:45 («Then our fate changed for the worse...» / «Entonces nuestra suerte cambió a peor…»); 6.- «Harcra fel!» 8:07 («Up and fight them!» / «¡Luchemos contra el enemigo!»); 7.- «Jojjetek, jojjetek! Szep magyar vitezek, aranyos leventek!» 9:05 («Come, come! You splendid lads, you valiant Hungarian warriors!» / «¡Adelante, adelante! ¡Jóvenes extraordinarios, valerosos guerreros húngaros!»); 8.- cím nélkül 13:00 / without title / sin título; 9.- «Mindennek vege» 18:45 («All is over!» / «¡Todo se ha acabado!»); 10.- «Csondes minden, csondes» 22:47 («Everything is quiet, very quiet...» / «Todo está silencioso, muy silencioso…»)
This early work is very melodic and recalls the styles of Liszt and Richard Strauss, used very effectively to produce an exciting and enjoyable composition. I understand that Bartok was inspired to write it after hearing Strauss' "Also Sprach Zarathustra". And I did notice a variant of a theme in Liszt's "Hungarian Rhapsody No. 2". But Bartok's originality is also clearly already in evidence here, as in the touching melody at 5:05 and the impressive dramatic buildup from 8:07 (the 4th and 6th sections mentioned by Antonio NG). The FRSO gets a workout with its full, somewhat dense orchestration, and as always does a magnificent job!
Without disagreeing, personally I hear many similarities to the works of some of the better Hollywood composers of the era (I'm certainly not referring to well-known themes, but the more fully-developed music within the scores), particularly Steiner - perhaps a case of composers drawing on the same influences.
thank you very much! I've read this and several comments of yours and I must say they are quite helpful (esp. with time indications, like here). Don't stop, please.
@@bryangl1 Rather, it refers to the late romantic school of Hollywood composers. Bartók wrote this work in 1903, anything were not yet composed in Hollywood.
@@laszlo-bencsik Thank you for giving this date. So, as I suggested, it makes one wonder if those Hollywood composers developed their styles in part from the influences of much the same composers who may have influenced the early work of Bartok. (And thank you for reminding me of this work - it had slipped my mind, so I enjoyed returning to it.)
This is one of the first scores of Bartok. We should note the quality of the orchestra and the firm drawing of themes. Well, we are at he beginning, we cannot expect harsh harmonies and counterpoints of the mature time.
Le jeune Bartok a subi l'influence de Liszt et Richard Strauss :CQFD. Ex : certains passages au début rappellent Don Juan. Un allegro est comme un hommage à Mazeppa
Ki volt ő a zenekarban? (Elnézést a tájékozatlanságomért.) - Egyébként nagyon örültem, hogy műsorra tűzték ezt a korai, de érdekes darabot, amitől Kacsóh Pongrác annak idején annyira el volt ragadtatva. Btw, Orozco-Estrada is a prominent Bartók-conductor, see the full Mandarin version with him and hr-team, gorgeous interpretation!
The visual director does not know the score - frequently cueing brass that are not playing not catching horns that are playing and yet completely missing out a novel instrument - the bass trumpet.
Superb performance of a rarely heard work
Shatteringly powerful interpretation of a masterpiece by Béla Bartók.
1.- «Kossuth» 0:50;
2.- «Mi bu nehezedik a lelkedre, edes ferjem?» 2:33 («Why are you so grieved, my dear husband?» / «¿Por qué estás tan apenado, amado marido?»);
3.- «Veszelyben a haza» 3:55 («The fatherland is in danger!» / «¡La madre patria está en peligro!»);
4.- «Hajdan jobb idoket eltunk» 5:05 («Formerly we had a better life...» / «Antes se vivía mejor…»);
5.- «Majd rosszra fordult sorsunk…» 6:45 («Then our fate changed for the worse...» / «Entonces nuestra suerte cambió a peor…»);
6.- «Harcra fel!» 8:07 («Up and fight them!» / «¡Luchemos contra el enemigo!»);
7.- «Jojjetek, jojjetek! Szep magyar vitezek, aranyos leventek!» 9:05 («Come, come! You splendid lads, you valiant Hungarian warriors!» / «¡Adelante, adelante! ¡Jóvenes extraordinarios, valerosos guerreros húngaros!»);
8.- cím nélkül 13:00 / without title / sin título;
9.- «Mindennek vege» 18:45 («All is over!» / «¡Todo se ha acabado!»);
10.- «Csondes minden, csondes» 22:47 («Everything is quiet, very quiet...» / «Todo está silencioso, muy silencioso…»)
I never heard this Bartók's work before. It's very interesting! Thank you for this upload!
Sehr internationale Kombination des Komponisten, des Dirigenten und des Orchesters. Das Ergebnis ist erstaunlich farbenreich und echt wunderschön!
This early work is very melodic and recalls the styles of Liszt and Richard Strauss, used very effectively to produce an exciting and enjoyable composition. I understand that Bartok was inspired to write it after hearing Strauss' "Also Sprach Zarathustra". And I did notice a variant of a theme in Liszt's "Hungarian Rhapsody No. 2". But Bartok's originality is also clearly already in evidence here, as in the touching melody at 5:05 and the impressive dramatic buildup from 8:07 (the 4th and 6th sections mentioned by Antonio NG). The FRSO gets a workout with its full, somewhat dense orchestration, and as always does a magnificent job!
Without disagreeing, personally I hear many similarities to the works of some of the better Hollywood composers of the era (I'm certainly not referring to well-known themes, but the more fully-developed music within the scores), particularly Steiner - perhaps a case of composers drawing on the same influences.
thank you very much! I've read this and several comments of yours and I must say they are quite helpful (esp. with time indications, like here). Don't stop, please.
@@bryangl1 Rather, it refers to the late romantic school of Hollywood composers. Bartók wrote this work in 1903, anything were not yet composed in Hollywood.
@@laszlo-bencsik Thank you for giving this date. So, as I suggested, it makes one wonder if those Hollywood composers developed their styles in part from the influences of much the same composers who may have influenced the early work of Bartok. (And thank you for reminding me of this work - it had slipped my mind, so I enjoyed returning to it.)
Magnifique interprétation de cette oeuvre peu connue de Bartok !
This is one of the first scores of Bartok. We should note the quality of the orchestra and the firm drawing of themes. Well, we are at he beginning, we cannot expect harsh harmonies and counterpoints of the mature time.
happy to heard it for the first time !
it's a good ( début ) composition.
Just fyi, Bartok has been publishing compositions since he was 9, this is perhaps his first "major" adult work
I like.
danke!
starts at 0:48
*"the Composition- a Béla Bartók* *Composition.*
*the Style - a Richard*
*Strauß Style".*
Strauss, never Strauß. It's not a waltz.
Nice
Le jeune Bartok a subi l'influence de Liszt et Richard Strauss :CQFD. Ex : certains passages au début rappellent Don Juan. Un allegro est comme un hommage à Mazeppa
Bravo Balázs!!!!!
Ki volt ő a zenekarban? (Elnézést a tájékozatlanságomért.) - Egyébként nagyon örültem, hogy műsorra tűzték ezt a korai, de érdekes darabot, amitől Kacsóh Pongrác annak idején annyira el volt ragadtatva.
Btw, Orozco-Estrada is a prominent Bartók-conductor, see the full Mandarin version with him and hr-team, gorgeous interpretation!
The visual director does not know the score - frequently cueing brass that are not playing not catching horns that are playing and yet completely missing out a novel instrument - the bass trumpet.
1979年第一次聽巴托的管玄樂與小提琴協奏曲時覺得聽不懂他的曲風好難懂,直到2012年再從德布西的音樂與布魯克納,馬勒的交響曲聽孰了現在覺得慕索斯基,史特拉汶斯基,巴托,杜提耶等作曲家的音樂蠻不錯的
Lejos Kossuth
Defendió la independencia de Hungría.