By David Cooper
Bartók's Concerto for Orchestra has confirmed to be some of the most popularly winning live performance works of the 20th century. it truly is noticeable by means of its champions as an instance of Bartók's seamless mix of japanese eu folks tune and Western artwork tune, and via its detractors as indicative of the composer's creative compromise. This e-book features a dialogue of the ancient and musical contexts of the piece, its early functionality background and significant reception. it is usually the 1st entire movement-by-movement synopsis of the Concerto, in addition to specific technical information regarding the paintings.
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Additional info for Bartók: Concerto for Orchestra
This opening theme is more closely related to a classical sentence construction than any peasant melody, and can usefully be compared to the first subjects of Beethoven's Op. 2/1 and Op. 10/2 Piano Sonatas. Its completion, in which black-note pentatonic elements dominate (bars 82-93), can be seen as an example of what Schoenberg calls liquidation - the gradual removal of 39 Bartok: Concerto for Orchestra Ex. 11 First subject Allegro vivace Ex. 17 The second part of the thematic group, following a 2/8 bar rest (bar 94), is a lyrical melody played by the upper strings in a chain of open-voiced second-inversion triads - perhaps a late tribute to the influence of Debussy - and presents a more regular and lyrical foil to the previous idea, although allusions to the opening allegro figure appear as contrapuntal asides.
35-50 Introduction part 2 Against a pedal E3 in the timpani, a two-bar ostinato figure using interlocking chains of perfect fourths (an extension of the opening three notes of the first section) is set up in the lower strings. The inner four notes of its first bar (AD-C-F) anticipate the second and third bars of the first theme of the Allegro vivace (compare Ex. 11). At bar 38, this becomes a simple two-part contrapuntal texture which overlays rising and falling renditions of the ostinato in continually changing modal versions.
A fuller discussion of the problems of Lendvai's axis theory will be reserved for the final chapter. 2 This chromaticism results from the superimposition of different modes which share the same fundamental note (a method Bartok describes as 'polymodal chromaticism'):3 it is not the result either of altering scale degrees or of the regular throughput of the twelve pitchclasses of atonal music, and it can produce passages of considerable harmonic and tonal ambiguity. Generally speaking, some caution is required when considering the tonal and formal ramifications of the work, and comparisons with earlier practice, appeals to abstract theory, or even reliance on Bartok's own writings, may sometimes confuse as much as clarify.