With these three studies Bartók quite deliberately aimed to leave his mark on New Music in 1918. The first study is a kind of super-charged, motorically vehement Allegro barbaro, while the second, with its effervescent waterfallsof sound, seems redolent of an elegy inspired by Debussy. In the third, by contrast, Schönberg's influence is recognizable. The latter's Private Musical Performances in Vienna were also among the few occasions in the 1920s whereBartók's supremely demanding cycle - for pe