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BELA BARTOK Music for Strings, Percussion and Celeste Béla Viktor János Bartók (March 25, 1881 – September 26, 1945) was a Hungarian composer and pianist. He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology. According to Bartok’s mother, he could distinguish between different dance rhythms before he learned to speak in complete sentences. From 1899 to 1903, Bartók studied at the Royal Academy of Music in Budapest. There he met Zoltán Kodály, who influenced him greatly and became his lifelong friend and colleague. Early influences included Richard Strauss, whom he met in 1902, and folk music, to which he was first exposed when visiting a holiday resort in the summer of 1904. From 1907, he also began to be influenced by the French composer Claude Debussy, whose compositions Kodály had brought back from Paris. Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony that had served composers for the previous two hundred years; and the revival of nationalism as a source for musical inspiration. In his search for new forms of tonality, Bartók turned to Hungarian folk music, as well as to other folk music of the Carpathian Basin and even of Algeria and Turkey; in so doing he became influential in that stream of modernism which exploited indigenous music and techniques. One characteristic style of music is his Night music, which he used mostly in slow movements of multi-movement ensemble or orchestral compositions in his mature period. It is characterised by "eerie dissonances providing a backdrop to sounds of nature and lonely melodies" Music for Strings, Percussion and Celesta, Sz. 106, BB 114 is one of Bartok’s best-known compositions. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated September 7, 1936. The first movement is a slow fugue based around the note A, on which the movement begins and ends. It begins on muted strings, and as more voices enter, the texture thickens and the music becomes louder until the climax. Material from the first movement can be seen as serving as the basis for the later movements, and the fugue subject recurs in different guises at points throughout the piece. The second movement is quick, marked with loud syncopic piano and percussion accents in a whirling dance, evolving in an extended pizzicato section, with a piano concerto-like conclusion. The third movement is slow, an example of what is often called Bartók's "Night music". It features timpani glissandi, which was an unusual technique at the time of the work's composition, as well as a prominent part for the xylophone. The last movement, which begins with notes on the timpani and strummed pizzicato chords on the strings, has the character of a lively folk dance.