The violin often evoked a special connection in Bartók's music, a blend of lyrical depth, brilliance, and creativity. This relationship stems in part from the instrument's central role in folk music, which Bartók so deeply valued. Bartók was also fortunate to collaborate with exceptional violinists: he wrote his two sonatas for violin and piano for the Hungarian virtuoso Yelly d'Aranyi between 1921 and 1922. He dedicated the two violin rhapsodies of 1928, conceived as a complementary pair, to his compatriots and friends József Szigeti and Zoltán Székely.
Szigeti and Székely were not only virtuosos but also contributed significantly to the development of Bartók's music with their artistic skills and ingenuity. Székely, in particular, suggested transcribing Romanian folk dances for piano, an idea that later inspired Bartók to perform several concertos. Bartók generally divided his music into two categories: arrangements of folk melodies and original compositions that embody the spirit of folk music. The Romanian Folk Dances from 1915 are an excellent example of the first category.
The six dances offer fascinating insights, with most of the information provided by Bartók's students. The variety ranges from a stick dance, in which sticks are decorated with flowers, to flute dances and Gypsy melodies. Szigeti and Székely also contributed to the Violin Rhapsodies, which are based on Gypsy music from Transylvania. Bartók considered the rhapsodies to be arrangements of folk tunes that showcased his own creative vision and combined diverse cultural influences. The musical contrasts arose from Szigeti's imagination and collaborations with other musicians, such as the jazz clarinetist Benny Goodman.
A particularly noteworthy work by Bartók is the solo sonata, composed during his illness-plagued period in the USA. With these final compositions, which also include the Third Piano Concerto, Bartók brought his creative output to a close. The solo sonata, composed for violin, presented a significant creative challenge. Bartók collaborated closely with Yehudi Menuhin, who gave a remarkable premiere performance of the work in 1944. Despite his health difficulties, Bartók completed his musical legacy shortly before his death in 1945.