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Published online by Cambridge University Press: 22 January 2016
By mid-1940 Bartók had decided to live in the United States. For how long and under what conditions, he did not really know. But, from his short tour of April and May 1940, he had come to believe that the prospects for his performing, compositional and ethnomusicological work werebrighter in New York than in Hungary, where a Nazi take-over seemed only a matter of time. The Bartóks' departure from their homeland was an unhappy affair, not just because of the myriad hassles of arranging visas and boxing up a lifetime's work, but also because of a lastminute quarrel with Kodály over unexpected directions which Bartók had taken in their joint project on Hungarian folk music. The two would, in fact, never again directly communicate.
2 This position was then extended for various terms into 1944.
3 See, further, http://www.uemusic.co.at/history.html.
4 See my ‘Bartók's Last Concert?’, Music and Letters, 78 (1997), 92–100 CrossRefGoogle Scholar.
5 Interview, Gillies with Hans Heinsheimer, 28 November 1990.
6 (New York: Doubleday, 1952), pp.112–13.
7 8 December 1941. The letter, which remains in Peter Bartok's collection, was probably not posted because of the suspension of postal services with Hungary. On that day the United States declared war on Japan, and three days later joined the war in Europe.
8 6 December 1940. These B&H royalties were significant, especially to the impecunious Bartóks: £178 of European royalties and £173 of various British, Australian, Americanand Irish broadcasting royalties for periods of 1938–40.
9 See Hawkes, Ralph, ‘Béla Bartók: A Recollection by his Publisher’, in Béla Bartók: A Memorial Review (New York: Boosey & Hawkes, 1950), pp.14–19 (p.18)Google Scholar.
10 The Theater initially wanted the score by 11 February 1944, so as to start preparations for a performance early in its 1944/45 season. The performance was postponed until late 1945, and then cancelled.
11 (New York: Columbia University Press, 1951), with Albert B. Lord.
12 17 June 1943.
13 Arrangements of Nos 6–12 and 14–15 of the Fifteen Hungarian Peasant Songs for piano (1914–18).
14 See Gillies, Malcolm and Gombocz, Adrienne, ‘The “Colinda” Fiasco: Bartók and Oxford University Press’, Music ani Letters, 69 (1988), 482–94Google Scholar.
15 To Heinsheimer, 17 June 1943.
16 Boosey & Hawkes (New York) finalized the terms of this responsibility in a letter to Bartok of 22 May 1944.
17 Ed. Benjamin Suchoff (The Hague: Martinus Nijhofi)..
18 Hawkes himself died prematurely in 1950, when in his early fifties. Heinsheimer left Boosey & Hawkes in 1947 to join the New York publishers G. Schirmer, of which he became Vice-President in 1972. He died in 1993.