In addition to his compositional activities and folk music research, Bartók's career unfolded amid a bustling schedule of teaching and performing. The great success he enjoyed as a concert artist in the 1920s was offset somewhat by difficulties that arose from the tenuous political atmosphere in Hungary, a situation exacerbated by the composer's frank manner. As the specter of fascism in Europe in the 1930s grew ever more sinister, he refused to play in Germany and banned radio broadcasts of his music there and in Italy. A concert in Budapest on October 8, 1940, was the composer's farewell to the country which had provided him so much inspiration and yet caused him so much grief. Days later, Bartók and his wife set sail for America.
In his final years Bartók was beleaguered by poor health. Though his prospects seemed sunnier in the final year of his life, his last great hope -- to return to Hungary -- was dashed in the aftermath of World War II. He died of leukemia in New York on September 26, 1945. The composer's legacy included a number of ambitious but unrealized projects, including a Seventh String Quartet; two major works, the Viola Concerto and the Piano Concerto No. 3, were completed from Bartók's in-progress scores and sketches by his pupil, Tibor Serly.
From its roots in the music he performed as a pianist -- Mozart, Beethoven, Chopin, Brahms -- Bartók's own style evolved through several stages into one of the most distinctive and influential musical idioms of the first half of the twentieth century. The complete assimilation of elements from varied sources -- the Classical masters, contemporaries like Debussy, folk songs -- is one of the signal traits of Bartók's music. The polychromatic orchestral textures of Richard Strauss had an immediate and long-lasting effect upon Bartók's own instrumental sense, evidenced in masterpieces such as Music for Strings, Percussion, and Celesta (1936) and the Concerto for Orchestra (1945). Bartók demonstrated an especial concern with form in his exploitation and refinement of devices like palindromes, arches, and proportions based on the "golden section." Perhaps above all other elements, though, it is the ingenious application of rhythm that gives Bartók's music its keen edge. Inspired by the folk music he loved, Bartók infused his works with asymmetrical, sometimes driving, often savage, rhythms, which supply violent propulsion to works such as Allegro barbaro (1911) and the Sonata for Two Pianos and Percussion (1937). If a single example from Bartók's catalogue can be regarded as representative, it is certainly the piano collection Mikrokosmos (1926-1939), originally intended as a progressive keyboard primer for the composer's son, Peter. These six volumes, comprising 153 pieces, remain valuable not only as a pedagogical tool but as an exhaustive glossary of the techniques -- melodic, harmonic, rhythmic, formal -- that provided a vessel for Bartók's extraordinary musical personality.