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Product Identifiers
PublisherOxford University Press, Incorporated
ISBN-100195156900
ISBN-139780195156904
eBay Product ID (ePID)5911836
Product Key Features
Number of Pages240 Pages
Publication NameBartok's Viola Concerto : the Remarkable Story of His Swansong
LanguageEnglish
SubjectHistory & Criticism, Genres & Styles / Classical, Printed Music / Strings
Publication Year2004
TypeTextbook
Subject AreaMusic
AuthorDonald Maurice
SeriesStudies in Musical Genesis, Structure, and Interpretation Ser.
FormatHardcover
Dimensions
Item Height0.9 in
Item Weight18.7 Oz
Item Length6.3 in
Item Width9.4 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN2003-026914
Reviews"Maurice's study opens a window into the deeper levels of Bartok's musicalprocesses and thought. Its strength also lies in its detailed documentation andmusical insight into the problems surrounding the accurate determination of thecompositional parameters as well as the publication and performance rights ofsuch a work left incomplete by the composer...Donald Maurice's book is animportant addition to the field of Bartok research. It can be recommended to allwho deal with the multiplicity of issues related to Bartok studies, generalmusicological studies of the compositional process (sketches, drafts,revisions), performance practice, history of the concerto genre, and otherissues pertaining to practical and scholarly questions." --Music andLetters, "Maurice's study opens a window into the deeper levels of Bartok's musical processes and thought. Its strength also lies in its detailed documentation and musical insight into the problems surrounding the accurate determination of the compositional parameters as well as the publication and performance rights of such a work left incomplete by the composer...Donald Maurice's book is an important addition to the field of Bartok research. It can be recommended to all who deal with the multiplicity of issues related to Bartok studies, general musicological studies of the compositional process (sketches, drafts, revisions), performance practice, history of the concerto genre, and other issues pertaining to practical and scholarly questions." --Music and Letters "Devoted entirely to the Bartk Viola Concerto, Donald Maurice's rich and fascinating book, Bartk's Viola Concerto, is the result of more than 20 years of research and study."--Strings "Thoroughly researched and fascinating book"--The Strad "I will tell you now that Maurice's book on the Bartk Viola Concerto is the most important work pertaining to the viola since the 1998 release of The Anthology of British Viola Players compiled by John White. This book in essence is the synthesis of Donald Maurice's eighteen years research on every meaningful aspect of the concerto he could identify."--Dwight Pounds, Journal of the American Viola Society "Violists and music scholars have reason to be greatly indebted to Dr. Maurice and to Oxford University Press for an intriguing and definitive revelation of the genesis of the world's most performed viola concerto. After twenty years of research the author presents information hitherto unknown about the concerto itself, a surprising revelation about its true first performance, and his meticulous analytical comparison of the three editions...Bartk's Viola Concerto holds an appeal and fascination for a wide range of readers. The benevolent treatment of all personalities provides interest for the humanist; the perceptive and highly analytical comparisons of the three current versions of the concerto (Serly, Erdlyi and Maurice) should enlighten and intrigue the theoretician; and the generous references and facsimiles of correspondence will inform the musicologist."--Ralph Aldrich, Journal of the Canadian Viola Society, "Maurice has provided a service for violists and Bartok aficionados--andfor composers, the book can serve as a cautionary tale about the fate ofunfinished works."--BBC Music, "Violists and music scholars have reason to be greatly indebted to Dr. Maurice and to Oxford University Press for an intriguing and definitive revelation of the genesis of the world's most performed viola concerto. After twenty years of research the author presents information hitherto unknownabout the concerto itself, a surprising revelation about its true first performance, and his meticulous analytical comparison of the three editions...Bartok's Viola Concerto holds an appeal and fascination for a wide range of readers. The benevolent treatment of all personalities provides interestfor the humanist; the perceptive and highly analytical comparisons of the three current versions of the concerto (Serly, Erdelyi and Maurice) should enlighten and intrigue the theoretician; and the generous references and facsimiles of correspondence will inform the musicologist."--Ralph Aldrich,Journal of the Canadian Viola Society, "Violists and music scholars have reason to be greatly indebted to Dr.Maurice and to Oxford University Press for an intriguing and definitiverevelation of the genesis of the world's most performed viola concerto. Aftertwenty years of research the author presents information hitherto unknown aboutthe concerto itself, a surprising revelation about its true first performance,and his meticulous analytical comparison of the three editions...Bartok's ViolaConcerto holds an appeal and fascination for a wide range of readers. Thebenevolent treatment of all personalities provides interest for the humanist;the perceptive and highly analytical comparisons of the three current versionsof the concerto (Serly, Erdelyi and Maurice) should enlighten and intrigue thetheoretician; and the generous references and facsimiles of correspondence willinform the musicologist."--Ralph Aldrich, Journal of the Canadian ViolaSociety, "I will tell you now that Maurice's book on the Bartok Viola Concerto isthe most important work pertaining to the viola since the 1998 release of TheAnthology of British Viola Players compiled by John White. This book in essenceis the synthesis of Donald Maurice's eighteen years research on every meaningfulaspect of the concerto he could identify."--Dwight Pounds, Journal of theAmerican Viola Society, Maurice not only presents us with a very clearly documented account of this important work, but evokes warm, human glimpses of all the protagonists ... This fascinating book will stir violists from their habitual mindset and encourage them to look at this canon of their repertoire with new eyes., "Maurice's study opens a window into the deeper levels of Bartok's musical processes and thought. Its strength also lies in its detailed documentation and musical insight into the problems surrounding the accurate determination of the compositional parameters as well as the publication and performance rights of such a work left incomplete by the composer...Donald Maurice's book is an important addition to the field of Bartok research. It can be recommended to all who deal with the multiplicity of issues related to Bartok studies, general musicological studies of the compositional process (sketches, drafts, revisions), performance practice, history of the concerto genre, and other issues pertaining to practical and scholarly questions." --Music and Letters"Devoted entirely to the Bartók Viola Concerto, Donald Maurice's rich and fascinating book, Bartók's Viola Concerto, is the result of more than 20 years of research and study."--Strings"Thoroughly researched and fascinating book"--The Strad"I will tell you now that Maurice's book on the Bartók Viola Concerto is the most important work pertaining to the viola since the 1998 release of The Anthology of British Viola Players compiled by John White. This book in essence is the synthesis of Donald Maurice's eighteen years research on every meaningful aspect of the concerto he could identify."--Dwight Pounds, Journal of the American Viola Society"Violists and music scholars have reason to be greatly indebted to Dr. Maurice and to Oxford University Press for an intriguing and definitive revelation of the genesis of the world's most performed viola concerto. After twenty years of research the author presents information hitherto unknown about the concerto itself, a surprising revelation about its true first performance, and his meticulous analytical comparison of the three editions...Bartók's Viola Concerto holds an appeal and fascination for a wide range of readers. The benevolent treatment of all personalities provides interest for the humanist; the perceptive and highly analytical comparisons of the three current versions of the concerto (Serly, Erdélyi and Maurice) should enlighten and intrigue the theoretician; and the generous references and facsimiles of correspondence will inform the musicologist."--Ralph Aldrich, Journal of the Canadian Viola Society, "Maurice's study opens a window into the deeper levels of Bartok's musical processes and thought. Its strength also lies in its detailed documentation and musical insight into the problems surrounding the accurate determination of the compositional parameters as well as the publication and performance rights of such a work left incomplete by the composer...Donald Maurice's book is an important addition to the field of Bartok research. It can be recommended to all who deal with the multiplicity of issues related to Bartok studies, general musicological studies of the compositional process (sketches, drafts, revisions), performance practice, history of the concerto genre, and other issues pertaining to practical and scholarly questions." --Music and Letters "Devoted entirely to the Bartók Viola Concerto, Donald Maurice's rich and fascinating book, Bartók's Viola Concerto, is the result of more than 20 years of research and study."--Strings "Thoroughly researched and fascinating book"--The Strad "I will tell you now that Maurice's book on the Bartók Viola Concerto is the most important work pertaining to the viola since the 1998 release of The Anthology of British Viola Players compiled by John White. This book in essence is the synthesis of Donald Maurice's eighteen years research on every meaningful aspect of the concerto he could identify."--Dwight Pounds, Journal of the American Viola Society "Violists and music scholars have reason to be greatly indebted to Dr. Maurice and to Oxford University Press for an intriguing and definitive revelation of the genesis of the world's most performed viola concerto. After twenty years of research the author presents information hitherto unknown about the concerto itself, a surprising revelation about its true first performance, and his meticulous analytical comparison of the three editions...Bartók's Viola Concerto holds an appeal and fascination for a wide range of readers. The benevolent treatment of all personalities provides interest for the humanist; the perceptive and highly analytical comparisons of the three current versions of the concerto (Serly, Erdélyi and Maurice) should enlighten and intrigue the theoretician; and the generous references and facsimiles of correspondence will inform the musicologist."--Ralph Aldrich, Journal of the Canadian Viola Society, "Devoted entirely to the Bartok Viola Concerto, Donald Maurice's rich andfascinating book, Bartok's Viola Concerto, is the result of more than 20 yearsof research and study."--Strings, "Devoted entirely to the Bartok Viola Concerto, Donald Maurice's rich and fascinating book, Bartok's Viola Concerto, is the result of more than 20 years of research and study."--Strings, "Maurice's study opens a window into the deeper levels of Bartok's musical processes and thought. Its strength also lies in its detailed documentation and musical insight into the problems surrounding the accurate determination of the compositional parameters as well as the publication and performance rights of such a work left incomplete by the composer...Donald Maurice's book is an important addition to the field of Bartok research. It can be recommended to all who deal with the multiplicity of issues related to Bartok studies, general musicological studies of the compositional process (sketches, drafts, revisions), performance practice, history of the concerto genre, and other issues pertaining to practical and scholarly questions." --Music and Letters "Devoted entirely to the Bart k Viola Concerto, Donald Maurice's rich and fascinating book,Bart k's Viola Concerto, is the result of more than 20 years of research and study."--Strings "Thoroughly researched and fascinating book"--The Strad "I will tell you now that Maurice's book on the Bart k Viola Concerto is the most important work pertaining to the viola since the 1998 release ofThe Anthology of British Viola Playerscompiled by John White. This book in essence is the synthesis of Donald Maurice's eighteen years research on every meaningful aspect of the concerto he could identify."--Dwight Pounds,Journal of the American Viola Society "Violists and music scholars have reason to be greatly indebted to Dr. Maurice and to Oxford University Press for an intriguing and definitive revelation of the genesis of the world's most performed viola concerto. After twenty years of research the author presents information hitherto unknown about the concerto itself, a surprising revelation about its true first performance, and his meticulous analytical comparison of the three editions...Bart k's Viola Concertoholds an appeal and fascination for a wide range of readers. The benevolent treatment of all personalities provides interest for the humanist; the perceptive and highly analytical comparisons of the three current versions of the concerto (Serly, Erd lyi and Maurice) should enlighten and intrigue the theoretician; and the generous references and facsimiles of correspondence will inform the musicologist."--Ralph Aldrich,Journal ofthe Canadian Viola Society, "I will tell you now that Maurice's book on the Bartok Viola Concerto is the most important work pertaining to the viola since the 1998 release of The Anthology of British Viola Players compiled by John White. This book in essence is the synthesis of Donald Maurice's eighteen years research onevery meaningful aspect of the concerto he could identify."--Dwight Pounds, Journal of the American Viola Society, "Maurice's study opens a window into the deeper levels of Bartok's musical processes and thought. Its strength also lies in its detailed documentation and musical insight into the problems surrounding the accurate determination of the compositional parameters as well as the publication and performance rights of such a work left incomplete by the composer...Donald Maurice's book is an important addition to the field of Bartok research. It can be recommended to all who deal with the multiplicity of issues related to Bartok studies, general musicological studies of the compositional process (sketches, drafts, revisions), performance practice, history of the concerto genre, and other issues pertaining to practical and scholarly questions." --Music and Letters "Devoted entirely to the Bartók Viola Concerto, Donald Maurice's rich and fascinating book, Bartók's Viola Concerto , is the result of more than 20 years of research and study."-- Strings "Thoroughly researched and fascinating book"-- The Strad "I will tell you now that Maurice's book on the Bartók Viola Concerto is the most important work pertaining to the viola since the 1998 release of The Anthology of British Viola Players compiled by John White. This book in essence is the synthesis of Donald Maurice's eighteen years research on every meaningful aspect of the concerto he could identify."--Dwight Pounds, Journal of the American Viola Society "Violists and music scholars have reason to be greatly indebted to Dr. Maurice and to Oxford University Press for an intriguing and definitive revelation of the genesis of the world's most performed viola concerto. After twenty years of research the author presents information hitherto unknown about the concerto itself, a surprising revelation about its true first performance, and his meticulous analytical comparison of the three editions... Bartók's Viola Concerto holds an appeal and fascination for a wide range of readers. The benevolent treatment of all personalities provides interest for the humanist; the perceptive and highly analytical comparisons of the three current versions of the concerto (Serly, Erdélyi and Maurice) should enlighten and intrigue the theoretician; and the generous references and facsimiles of correspondence will inform the musicologist."--Ralph Aldrich, Journal of the Canadian Viola Society, "Maurice's study opens a window into the deeper levels of Bartok's musical processes and thought. Its strength also lies in its detailed documentation and musical insight into the problems surrounding the accurate determination of the compositional parameters as well as the publication andperformance rights of such a work left incomplete by the composer...Donald Maurice's book is an important addition to the field of Bartok research. It can be recommended to all who deal with the multiplicity of issues related to Bartok studies, general musicological studies of the compositionalprocess (sketches, drafts, revisions), performance practice, history of the concerto genre, and other issues pertaining to practical and scholarly questions." --Music and Letters, "Maurice has provided a service for violists and Bartok aficionados--and for composers, the book can serve as a cautionary tale about the fate of unfinished works."--BBC Music
Dewey Edition22
IllustratedYes
Dewey Decimal784.2/73
SynopsisWhen Bela Bartók died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story of how the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here in Bartók's Viola Concerto:The Remarkable Story of His Swansong. After Bartók's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it for publication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiere performance with the Minneapolis Symphony Orchestra. For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter Bartók, released a revision, opening the way or an intensified debate on the authenticity of the multiple versions. This debate continues as violists and Bartók scholars seek the definitive version of this final work of Hungary's greatest composer. Bartók's Viola Concerto tells the story of the genesis and completion of Bartók's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities., When Bela Bartók died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story of how the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here in Bartók's Viola Concerto: The Remarkable Story of His Swansong. After Bartók's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it for publication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiere performance with the Minneapolis Symphony Orchestra. For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter Bartók, released a revision, opening the way or an intensified debate on the authenticity of the multiple versions. This debate continues as violists and Bartók scholars seek the definitive version of this final work of Hungary's greatest composer. Bartók's Viola Concerto tells the story of the genesis and completion of Bartók's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities., Tells the intriguing story of Bela Bartok's viola concerto, a work left unfinished at his death in 1945. Drawing on interviews and documents that reveal previously unavailable information, it discusses the commission, the reconstruction by Tibor Serly, events leading up to the premiere, its reception over the second half of the twentieth century, the revisions, and future possibilities., When Bela Bartók died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story of how the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here inBartók's Viola Concerto:The Remarkable Story of His Swansong. After Bartók's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it forpublication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiere performance with the Minneapolis Symphony Orchestra. For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter Bartók, released a revision,opening the way or an intensified debate on the authenticity of the multiple versions. This debate continues as violists and Bartók scholars seek the definitive version of this final work of Hungary's greatestcomposer. Bartók's Viola Concerto tells the story of the genesis and completion of Bartók's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities., When Bela Bart k died in September of 1945, he left a partially completed viola concerto commissioned by the virtuoso violist William Primrose. Yet, while no definitive version of the work exists, this concerto has become arguably the most-performed viola concerto in the world. The story of how the concerto came to be, from its commissioning by Primrose to its first performance to the several completions that are performed today is told here in Bart k's Viola Concerto: The Remarkable Story of His Swansong. After Bart k's death, his family asked the composer's friend Tibor Serly to look over the sketches of the concerto and to prepare it for publication. While a draft was ready, it took Serly years to assemble the sketches into a complete piece. In 1949, Primrose finally unveiled it, at a premiere performance with the Minneapolis Symphony Orchestra. For almost half a century, the Serly version enjoyed great popularity among the viola community, even while it faced charges of inauthenticity. In the 1990s, several revisions appeared and, in 1995, the composer's son, Peter Bart k, released a revision, opening the way or an intensified debate on the authenticity of the multiple versions. This debate continues as violists and Bart k scholars seek the definitive version of this final work of Hungary's greatest composer. Bart k's Viola Concerto tells the story of the genesis and completion of Bart k's viola concerto, its reception over the second half of the twentieth century, its revisions, and future possibilities.
LC Classification NumberML410.B26
