Béla Bartók's friendship with violinists Joseph Szigeti and Zoltán Székely allowed him to acquire an in-depth knowledge of the violin that informed his writing. Both Rhapsodies for violin and piano are structured in two parts, a Lassú and a Friss - a Moderato followed by an Allegro. The First Rhapsody draws on Bartok's ethnological studies in it's use of Romanian folk dances, while the Second is a more enigmatic work. The Violin Sonata No. 1 is an earlier piece full of atmospheric drama and grandiose gestures, impressionistic in places and concluding with rich Hungarian folk motifs.
Béla Bartók's friendship with violinists Joseph Szigeti and Zoltán Székely allowed him to acquire an in-depth knowledge of the violin that informed his writing. Both Rhapsodies for violin and piano are structured in two parts, a Lassú and a Friss - a Moderato followed by an Allegro. The First Rhapsody draws on Bartok's ethnological studies in it's use of Romanian folk dances, while the Second is a more enigmatic work. The Violin Sonata No. 1 is an earlier piece full of atmospheric drama and grandiose gestures, impressionistic in places and concluding with rich Hungarian folk motifs.
Béla Bartók's friendship with violinists Joseph Szigeti and Zoltán Székely allowed him to acquire an in-depth knowledge of the violin that informed his writing. Both Rhapsodies for violin and piano are structured in two parts, a Lassú and a Friss - a Moderato followed by an Allegro. The First Rhapsody draws on Bartok's ethnological studies in it's use of Romanian folk dances, while the Second is a more enigmatic work. The Violin Sonata No. 1 is an earlier piece full of atmospheric drama and grandiose gestures, impressionistic in places and concluding with rich Hungarian folk motifs.