Bartok on Guitar
Transcription for guitar and played: Jozsef Eotvos
Guitar: Karl-Heinz Römmich, GERMANY, 2004
Recorded: Dobogókő 2004, HUNGARY
Recording and mastering: Sandor Szabo
Tracks:
Romanian Folk Dances
An Evening in the Village
Bear Dance
Allegro Barbaro
For Children:
Book 1. - 2.
1. Játszó gyermekek
2. Gyermekdal
3. Quasi Adagio
4. Párnatánc
5. Játék
6. Balkéztanulmány
7. Játékdal
9. Dal
11. Lento
13. Ballada
14. Allegretto
15. Allegro moderato
16. Regi magyar dallam
18. Katonadal
19. Allegretto
21. Allegro robusto
22. Allegretto
25. Parlando
27. Tréfa
28. Kórusdal
29. Ötfokü dallam
30. Gúnydal
Book 3. - 4.
2. Andante
3. Allegretto
6. Körtánc
7. Bánat
8. Táncdal
9. II. Körtánc
10. Temetésre szól az ének
13. Allegro
18. Gúnydal
31. Betyárnota
33. Andante tranquillo
39. Halotti ének
Meeting after 70 Years
József Eötvös Connects Bartók and the Guitar
The famous Hungarian composer Bela Bartók had no opportunity to meet the guitar. It was neither a folk instrument in Hungary nor were there any guitarists around Bartók during any period of his career. What might have happened if Bartók had been touched by the voice of this plucked instrument? Most likely, he would have used it creatively in many different chamber ensembles and been inspired by the historical originality of this folk instrument so loved by the latin nations. Originality – this is a key word in understanding Bartók. He looked for it all the time, discovering it in music as well as in nature – in everything. He took folk music as he had found it in the ”clear springs” (as the Cantata profana says) and transferred it to the concert platform – one old tradition to another, newer one – instinctive music-making to composed, artistic music. He wanted the people of the cities to understand the feelings of people of the villages and found that the most effective way was through the strong influence of folk art on music history. Bartók arranged folk songs, wrote piano pieces using folk songs without words, and composed instrumental music using the form and other elements of folk music, often without a single note of an existing folk tune. But, alas, nothing for the guitar… The late László Szendrey-Karper, the first significant guitar player in Hungarian musical history, arranged some pieces from Bartók’s famous educational cycle, For Children, for guitar. Now Jozsef Eötvös, another superb Hungarian guitarist, has been so brave as to ”translate” more of Bartók’s music to this instrument which is near to the piano in sound but requiring completely different technical abilities. (It is terribly difficult to express on its 6 strings what is clearly evident on the 88 keys of the piano!) Moreover, Mr. Eötvös has transcribed some pianistically quite difficult pieces here, searching for musical beauty and expression, not ease of playing. These arrangements are for solo guitar, not for two guitars, which could have made the expression of intensity easier, but would have changed the character of these solo pieces. This skilled transcriber/player has stayed with the powerful singleminded message of the solo artist, like the explorer deciding to cross the ocean in a handmade rowboat rather than the removed comfort of a steamship. This is not the first ”expedition” of this kind by Mr. Eötvös: think of his heroic and beautiful transcriptions of the Goldberg Variations and The Art of Fugue by Bach, the Hungarian Dances by Brahms, and a great number of piano pieces by Chopin (the last technically easier but still extremely pianistic in nature). This choice of technical challenges does not come from a need to appear the virtuoso, though the playing certainly demands a high level of virtuosity, but comes from the same deep musical roots as all of Mr. Eötvös’ work: this is an artist and guitarist who prefers music to guitar music, an artist who is truly loves and understands his chosen instrument. He has never been satisfied with performing well-known, extant guitaristic works. It is clear that Mr. Eötvös always seeks to play, with joy, from the greatest heights of music history, sharing his favorite and beloved instrument as well. Mr. Eötvös is introducing Mr. Bartók to the guitar 60 years after the death of the composer. I am sure Mr. Bartok and Mr. Szendrey-Karper are smiling, as will all who give this a listen with their hearts.
Nothing is impossible in music.
Nothing seems impossible for such a musician.
Máté Hollós
