Черты фовизма в фортепианной музыке Белы Бартока на примере цикла «Шесть румынских народных танцев»

Abstract

The research objective is to characterize piano music of Béla Bartók (1881-1945), an outstanding Hungarian composer, pianist, teacher, ethnographer and musicologist. The paper describes the prerequisites for the emergence of the musical style "Fauvism" in the late 19th and early 20th centuries and Fauvism in piano music, identifying the Béla Bartók’s role in the development of musical Fauvism style; defines the specifics of the composer’s piano style on the basis of the analysis of his works. The research novelty lies in substantiating the uniqueness of Bela Bartok's piano handwriting defined by the focus of his composer’s language on the authentic Hungarian folklore. As a result, the main features of Bela Bartok's piano style are revealed: minimization of textured layers and the use of a limited number of structural elements; rejection of sound sensuality; the special role of accentuation; contrasting use of extreme registers of an instrument; grotesque scherzo motility.