Hungarian Folklore Genres in Stage Works by Bela Bartok
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Abstract
The article deals with the genres of Hungarian folklore, implemented in the musical and theatrical compositions of B. Bartók. They are the lament siratóénék, the lullaby bölcsdal, the lyrical song hallgatónóta, the dance genres kanásztánc, cifra, and verbunkos. The typological features of each genre are determined, their distinctive musical properties, which were assimilated by the composer in the opera “Duke Bluebeard՚s Castleˮ, the ballets “The Wooden Princeˮ, “The Wonderful Mandarinˮ. It is noted that folklore genres are interpreted by B. Bartok as a semantic “codeˮ and serve as a certain dramatic device. For example, the implementation of lamentable intonations in the role of Judit indicates the tragic outcome of the fate of the heroine. The use of kanásztánc, cifra dances as a musical characteristic of the Prince in the ballet “Wooden Princeˮ confirms the integrity of the main character՚s image and emphasizes the connection of B. Bartók՚s composition with the traditions of the Hungarian ballet theater. Often the composer rethinks and even transforms genre features, subordinating them to the general concept of the work. In conclusion, it is emphasized that the connection with folklore songs and dances is a constant both in the stage and instrumental works of B. Bartok, and the concretization of genre prototypes underlying his compositions contributes to the accuracy of the performing interpretation and the clarity of the listener՚s apperception.
Keywords: Bartók, opera, balett, folklore genres, lament siratóénék, lullaby bölcsdal, lyrical song hallgatónóta, dance kanásztánc, dance cifra, verbunkos.
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