The Appearance of the “Ideal” and Other Topoi in Bartók’s Two Sonatas for Violin and Piano nos. 1–2

Abstract The early Violin Concerto (1907–1908) dedicated to the young violinist, Stefi Geyer, is regarded as one of most personal compositions by Béla Bartók. transparent structure, and ethereal, unearthly tone first movement, probably inspired Geyer’s playing, belongs warmest intimate used composer. Presumably, its re-emergence in certain passages two Violin-Piano Sonatas (1921 1922) was not chance. It might have been composer’s reaction Jelly d’Arányi’s violin playing that evoked memory concerto source inspiration. However, despite their similarities “ideal” same Concerto. still recognisable, but it has a different, perhaps more mature character and, furthermore, within material surrounding it, we can detect kernel those Bartókian types which gain definite form only his 1926 emblematic piano pieces, for instance some elements “night music” type, mourning song characteristic traits “chase” music. In present article, besides following process transformation “ideal,” I make an attempt identify newly developed musical types, find explanation all these changes.