Notes
Notes 251 The following abbreviations are used throughout the notes: BBCsaL Bartók Béla családi levelei (Béla Bartók’s Family Letters), ed. Béla Bartók, Jr., and Adrienne Gombocz-Konkoly (Budapest: Zenemúkiadó, 1981) BBE Béla Bartók Essays, ed. Benjamin Suchoff (New York: St. Martin’s Press, 1976; reprint ed. Lincoln: University of Nebraska Press, 1994) BBÍ/1 Bartók Béla írásai (Béla Bartók’s Writings), vol. 1: Bartók Béla önmagáról, múveiról, az új magyar zenéról, múzene és népzene viszonyáról (Béla Bartók on His Life, His Works, the New Hungarian Music, the Relationship of Art Music and Folk Music), ed. Tibor Tallián (Budapest: Zenemúkiadó, 1989) BBL Béla Bartók Letters, ed. János Demény (London and Budapest: Faber and Faber and Corvina, 1971) BBLev Bartók Béla levelei (Béla Bartók’s Letters), ed. János Demény (Budapest: Zenemúkiadó, 1976) BBÖÍ Bartók Béla összegyújtött írásai (Béla Bartók’s Collected Writings), ed. András Szóllósy (Budapest: Zenemúkiadó, 1966) DocB 1–4 Documenta Bartókiana, ed. Denijs Dille, vols. 1–4 (Budapest: Akadémiai Kiadó; Mainz: Schott’s Söhne, 1964–70) DocB 5–6 Documenta Bartókiana, ed. László Somfai, vols. 5–6 (Budapest: Akadémiai Kiadó; Mainz: Schott’s Söhne, 1977–81) Zt 3 Zenetudományi tanulmányok 3: Liszt Ferenc és Bartók Béla emlékére (Studies in Musicology 3: In Memory of Franz Liszt and Béla Bartók), ed. Bence Szabolcsi and Dénes Bartha (Budapest: Akadémiai Kiadó, 1955) Zt 7 Zenetudományi tanulmányok 7: Bartók Béla 1914–1926; Liszt Ferenc hagyatéka (Studies in Musicology 7: Béla Bartók 1914– 1926; Franz Liszt’s Legacy), ed. Bence Szabolcsi and Dénes Bartha (Budapest: Akadémiai Kiadó, 1959) Zt 10 Zenetudományi tanulmányok 10: Bartók Béla emlékére (Studies in Musicology 10: In Memory of Béla Bartók), ed. Bence Szabolcsi and Dénes Bartha (Budapest: Akadémiai Kiadó, 1962) Introduction The epigraphs are from Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, rev. ed. (New York: Verso, 1991), 204, and Béla Bartók, “The Influence of Peasant Music on Modern Music [1931],” BBE, 340. 1. For Debussy’s comments about these composers see Debussy on Music: The Critical Writings of the Great French Composer, collected and introduced by François Lesure, trans. and ed. Richard Langham Smith (Ithaca, NY: Cornell University Press, 1977). For Janáçek’s relationship to Dvorák and Smetana see Michael Beckerman, “In Search of Czechness in Music,” 19th-Century Music, 10, no. 1 (1986): 61–73 (especially 66–67). 2. Anderson, Imagined Communities, 204. 3. Personal communication, February 2003. 4. Hans Kohn, “Western and Eastern Nationalisms,” in Nationalism, ed. John Hutchinson and Anthony D. Smith (Oxford: Oxford University Press, 1994), 164. 5. Anthony D. Smith, National Identity (London: Penguin Books, 1991), viii. 6. John Lukacs describes Munkácsy’s funeral in Budapest 1900:A Historical Portrait of a City and Its Culture (New York: Grove Weidenfeld, 1988), 3–4. Susan Gal describes Bartók’s reburial in “Bartók’s Funeral: Representations of Europe in Hungarian Political Rhetoric,” American Ethnologist 18: 440–58. Rákóczi’s return is documented in the October 1906 issues of the Vasárnapi Újság (Sunday Newspaper). 7. See István Hargittai,“Some Experiences beyond Chemistry of the 2004 Nobel Prize in Chemistry,” www.crookedtimber.org/archives/002639.html (accessed 22 November 2004). 8. Judit Frigyesi, “Béla Bartók and the Concept of Nation and Volk in Modern Hungary,” Musical Quarterly 78, no. 2 (1994): 255–87; and Peter Sugar, “Nationalism in Eastern Europe,” in Nationalism, ed. John Hutchinson and Anthony D. Smith (Oxford: Oxford University Press, 1994), 171–77. 9. Bartók uses the phrase “brotherhood of peoples” in a letter to the Romanian writer, diplomat, and music historian Octavian Beu, 10 January 1931, BBL, 201. (See my discussion of this letter in ch. 5.) 10. In an excellent essay on Bartók’s nationalism David Cooper reaches a similar conclusion when he characterizes Bartók’s compositions as a reconstruction of Hungarian nationalism. See “Béla Bartók and the Question of Race Purity in Music,” in Musical Constructions of...
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