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#1301331 - 11/07/09 11:24 PM Bartok Anyone?  
Joined: Nov 2009
Posts: 38
J Christina Offline
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J Christina  Offline
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Joined: Nov 2009
Posts: 38
Georgia
Has anyone studied/played Bartok's Out Doors Suite, also known as En Plein Air?

I'm having some challenges in fingering.

J. Christina

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#1301461 - 11/08/09 07:38 AM Re: Bartok Anyone? [Re: J Christina]  
Joined: Nov 2002
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Kreisler Offline
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Joined: Nov 2002
Posts: 13,837
Iowa City, IA
I've played around with it. Great piece!


"If we continually try to force a child to do what he is afraid to do, he will become more timid, and will use his brains and energy, not to explore the unknown, but to find ways to avoid the pressures we put on him." (John Holt)

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#1301506 - 11/08/09 09:51 AM Re: Bartok Anyone? [Re: Kreisler]  
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pianoloverus Offline
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pianoloverus  Offline
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Joined: May 2001
Posts: 22,927
New York City
I find the section where Bartok imitates insects or sounds of the night(I forgot the exact title) so original that it almost seems impossible to imagine how anyone could think up this music.

#1301512 - 11/08/09 10:02 AM Re: Bartok Anyone? [Re: pianoloverus]  
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Posts: 38
J Christina Offline
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J Christina  Offline
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Joined: Nov 2009
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Georgia
Night Music is the piece that sounds like frogs and insects of the hungarian night. I love that movement too! Truly bartok.

The tricky part is working in the ninths and tenths, in all the other movements. My hand is comfortable with a octave and slightly stretched with a nonth.

I'm thinking of just reworking what's challenging me into seconds.

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#1323187 - 12/11/09 08:28 AM Re: Bartok Anyone? [Re: J Christina]  
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Robert Kenessy Offline
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Robert Kenessy  Offline
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Enebyberg Sweden
Bartók himself suggested the reworking of the ninths into seconds in the ossia in The Chase.
I've play the suite except for Musette. I'd be happy to exchange Ideas, please e-mail me as I am not often on pianoworld anymore my address is a dot kenessey at gmail


Robert Kenessy

.. it seems to me that the inherent nature [of the piano tone] becomes really expressive only by means of the present tendency to use the piano as a percussion instrument - Béla Bartók, early 1927.
#1323295 - 12/11/09 11:57 AM Re: Bartok Anyone? [Re: Robert Kenessy]  
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Nikolas Offline
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Nikolas  Offline
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UK
Even if Bartok himself offered the solution of 2nds, I think that it would feel differently actually... The dissonance would amplify quite a bit, if you were to change a 9th to a 2nd...

(just saying here, since I'm fortunate enough with huge hands and palms and reaching a 10th (C-F#) quite easily... :D)

#1357578 - 01/25/10 09:12 AM Re: Bartok Anyone? [Re: Nikolas]  
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Robert Kenessy Offline
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Robert Kenessy  Offline
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Enebyberg Sweden
By chance my eyes fell yesterday on the first autograph of the first piece of Out Doors ("W/ drums&pipes"). Interestingly, the quite horrendous stretches in the RH in bars 48 and forth are written without the octave distance between the top and bottom voice [in the RH], making it very easy to play. I think I may play it in this variant, as this is for em the only technical hurdle in this piece. In this autograph the melody in the LH is doubled in octaves. I'm happy to mail the article which includes the two pages that make up the first autograph in PDF format.

Last edited by Robert Kenessey; 01/25/10 09:20 AM.

Robert Kenessy

.. it seems to me that the inherent nature [of the piano tone] becomes really expressive only by means of the present tendency to use the piano as a percussion instrument - Béla Bartók, early 1927.

Moderated by  Brendan, Kreisler 

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