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Szerző/Author: Vikárius László (Bartók Archives, Budapest)
E-mail: vikarius.laszlo@abtk.hu
Rövid életrajz/Bio: László Vikárius, PhD is head of the Bartók Archives at the Institute for Musicology, Research Centre for the Humanities, and is professor of music at the Liszt Ferenc University of Music in Budapest where he is director of the PhD programme in musicology. He studied musicology at the Liszt Academy and at the Musikwissenschaftliches Institut in Basel. He is editor-in-chief of the Béla Bartók Complete Critical Edition (founded by László Somfai), whose first volume, a comparative edition of the two versions of For Children for piano, was edited by him, in collaboration with Vera Lampert (Munich: Henle Verlag and Budapest: Editio Musica Budapest, 2016).
How to cite: Theatron Vol. 15, No. 4. (2021): 54–61.
Cím/Title (ENG): Bartók’s Hungarian Musical Avant-Gardism

According to Lajos Kassák’s recollections in 1961, Bartók found elements in his poetry that lay close to his own experiments in music. In a 1926 interview, however, in which he emphasized the closeness of his art to that of poet Endre Ady, Bartók unambiguously stated that the idea of Kassák and his circle to link his music with their journal was founded on a mistake. Was Bartók then really close to those few representatives of Hungarian avant-garde in the later 1910s when his art was enthusiastically propagated in the periodical MA [Today]? Bartók’s changing attitude to musical modernism and the meaning of a “Rembrantian concept,” almost casually mentioned in the same 1926 interview and obviously meant to refer to an idea markedly different from that of the so-called “activists,” are discussed in the essay with reference to the composer’s public and private writings as well as the stylistic development of his music especially between 1908 and 1926.