Part 1. Part 2. Part 3. Part 4. Though of course subjective, the natural Kierkegaardian immediacy of the music is instantly on show. Several sections of brooding along these themes can be read almost as seductions, with the build-ups working easily as well as the seduction segments from The Miraculous Mandarin. The pairs of strings that seem to roll over each other as they begin … Continue reading Eroticism in the Music of Béla Bartók – Part 5 (Post-Modern Pulp).
Part 1. Part 2. Part 3. Kierkegaard’s Erotic Immediacy and the Atonal Manifestation of Complex Erotic Identity in Music for Strings, Percussion and Celesta. “Sensuous immediacy has its absolute medium in music, and this also explains why music in the ancient world did not become properly developed but is linked to the Christian world.” – Kierkegaard (1843, p.71). Unlike the other pieces of music by … Continue reading Eroticism in the Music of Béla Bartók – Part 4 (Kierkegaard’s Immediacy)
Part 1. Bartók as a Post-Wagnerian Composer and The Confronting of Eroticism in The Miraculous Mandarin. “Thus, at first, there came a weariness of the productions of the Romantic Period, and then, as a consequence of this weariness, a search for points of departure which represented the greatest possible contrast to those of the Romantic mode of expression.” – Bartók (1976, p.331) In the context … Continue reading Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).