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Some Observations on Bartók's Third Piano Concerto

Published online by Cambridge University Press:  04 February 2010

Benjamin Suchoff
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Extract

In the correspondence between Bartók and his publisher, Ralph Hawkes, a letter to the composer, dated 22 August 1940, contains what is apparently the first mention of the Third Piano Concerto:

I do not know whether you have developed any ideas for new works during the last few months, quite possibly not, but I would like to remind you of your promise of the orchestral version of the Two Pianos and Percussion work, also to advise you that I shall expect the Third Piano Concerto by the summer of 1941. My reason for saying this is that you will be wanted as soloist with this work for the New York Philharmonic during its Centennial Season 1941–42.

Type
Research Article
Information
Tempo , Issue 65: Bartók and the Piano , Summer 1963 , pp. 8 - 10
Copyright
Copyright © Cambridge University Press 1963

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References

1 For further information concerning this correspondence, see Bator, Victor, The Béla Bartok Archives: History and Catalogue, New York, Bartok Archives Publication No. 1, 1963.Google Scholar

2 The MSS. are available for study purposes at the Béla Bartók Archives, 28 East 72nd St., New York, N.Y.

3 The chord construction of the first beat in bar 759 of the Sketch, however is markedly different from that of the Final Copy and published versions.

4 See Fassett, Agatha, The Naked Face of Genius (Boston, 1958, p. 300f.)Google Scholar

5 A parallel can be found in the MS. of Vol.3 (Texts) of Bartók's study Rumanian Folk Music, in the form of this equally unique entry on p. LXVII:‘Torockó, New York,’ 1908 11 1945 Google Scholar, marc. 30.

6 Note also that the orchestral treatment of the first theme—strings and B flat clarinet—is the same as was used by Bartók in the orchestral transcription of the second dirge ( Hungarian Sketches, No.3, ‘Melody’, 1931).Google Scholar