' 5:? SD n “FL-F" I’L’J “I! ABSTRACT STRUCTURAL SIGNIFICANCE OF THE MOTIVE IN THE STRING QUARTETS OF BELA BARTOK by Leta N. Thomason Contemporary music is faced with its own problems of unity, just as music of any other period. The forms de- veloped in the eighteenth century whose terminologies still dominate the analytical process were dependent on traditional tonality with its dominant and tonic relationships. While a certain segment of twentieth century music still adheres to these older tonal principles, and while another type finds its unity in a tone row, some music, although not atonal, is expressed in less rigid tonal controls. The six string quar- tets of Bela Bartok (1881-1945) have been selected as repre- sentatives of contemporary-~yet tonal--music. They also serve to illustrate the compositional technique of Bartok since they span almost his entire creative career. The prob- lem is to ascertain the unifying factor or factors which have the most significance in these works. The position held is that the content of the melodic motives manifests itself in other elements of the quartets so that it becomes the most Leta N. Thomason important factor. In proving this thesis, melodic-rhythmic motives from each movement of the quartets were isolated and traced throughout their respective manifestations. Vertical usages of the intervallic elements of these motives were then traced and compared to the melodic motives. These same intervals were compared to the progress of tonal centers within each movement and between movements of each quartet. Relation- ships both within the individual movements and between.move- ments were illustrated. It was found that the melodic-rhythmic motives are economical; often an entire quartet can be shown to be de- rived from one or two short motives, such as the six-note motive of the Fourth Quartet. This technique was found to be embryonic in the First Quartet and to have reached its fullest conclusion in the cyclic theme of the gixth. Motivic development is achieved in these works largely through inter- vallic expansion and compression, augmentation, and imitation, often employing the mirror inversion. The devices of retro- grade and retrograde inversion rarely appear, the Eifth_ Quartet being the only one in which they can be readily per- ceived. The harmonic structures correspond almost precisely to the intervals of the melodic motives in all six quartets, Leta N. Thomason sometimes using the same notes. Thus melodic themes con- structed largely in fourths will appear over quartal harmony, melodies in seconds are usually accompanied by clusters, and tertian melodic intervals are set with tertian harmony. In addition the shifts of tonal centers were often found to re- flect the same melodic and harmonic intervals, both within a single movement, and between the movements of a single quartet. Bartbk is often said to be a traditionalist in the matter of form, since his music so often resembles the out- lines of eighteenth century molds. While this is largely true, these older forms were constructed on the principles of tonic and dominant relationships, a kind of tonality which Bartok seldom employs. In the absence of this tradi- tional unifying factor, the melodic, harmonic, and tonal cor- respondence provides a subtle but firm coherence. The struc- tural significance of the motivic correspondence was thus found to be of central importance to the unity of the Bartok string quartets. STRUCTURAL SIGNIFICANCE OF THE MOTIVE IN I / THE STRING QUARTETS OF BELA BARTOK By la Leta NflThomason A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1965 Copyright by IETA NELLE THOL'IAS ON 1966 (With the exception of previously copyrighted materials) ACKNOWLEDGMENTS The author wishes to thank her guidance committee, Dr. H. Owen Reed, Dr. Russell Friedewald, Dr. Walter Hodgson, rm. Edgar Kirk, Dr. Richard Klausli, and especially the thesis adviser, Dr. mees Niblock for their most valuable assistance in preparing this work. ‘ Special gratitude is extended to Dr. Eloy Fominaya (flTNortheast Louisiana State College, who copied the musical examples used in this thesis, and to Dr. Jack Guerry of Inuisiana State University,who assisted greatly in editing. Boosey and Hawkes, Inc., furnished its kind permis- sion to reproduce portions of the string quartets. In addition, the author is aware that a work of this tYpe would not be completed without the cooperation and under- Stending of family and friends. Warmest appreciation is ex- tended to all who endured it. 11 ACKNOWIEDGRENTS IJST OF ILLUSTRATIONS Chapter I. II. III. IV. V. VI. VII. VIII. INTRODUCTION STRING STRING STRING STRING STRING STRING QUART ET QUART ET QUART ET QUARTET QUARTET QUART ET CONCLUSION . BIBLIOGRAPHY NUI‘VIBER NUMBER ‘0 b OSUIIF-Cfiml-J 111 TABLE OF CONTENTS OPUS 7 OPUS 17 Page ii iv 22 61 108 161 253 504 370 376 Figure 12. 13. 14. 15. 16. 17. 18. 19. 20 LIST OF ILLUSTRATIONS First Quartet, I Movement . First Quartet, II Movement . First Quartet, III Movement First String Quartet . . . . Second Quartet, I Movement . Second Quartet, II Movement Second Quartet, III Movement Second String Quartet . . . . Third Quartet, Prima Parte . Third Quartet, Seconda Parte Third Quartet, Ricapitulazione Parte . . . . . . . . . . Third Quartet, Coda . . . . . Third Strigg Quartet . . . . Fourth Quartet, I Movement . Fourth Quartet, II Movement Fourth Quartet, III Movement Fourth Quartet, IV Movement . Fourth Quartet, V Movement . Fourth StringQQuartet . . . . Fifth Quartet, I Movement . . iv Page 24 36 5O 59 64 81 94 106 111 128 Figure Page 21. Fifth Quartet, II Movement . . . . . . . . 252 22. Fifth Quartet, III Movement . . . . . . . . 262 25. Fifth Quartet, IV Movement . . . . . . . . 276 24. Fifth Quartet, V Movement . . . . . . . . 287 25. Fifth String Quartet . . . . . . . . . . . 302 26. Sixth Quartet, I Movement . . . . . . . . . 507 27. Sixth Quartet, II Movement . . . . . . . . 524 28. Sixth Quartgt, III Movement . . . . . . . . 539 29. Sixth Quartet, IV Movement . . . . . . . . 354 50. Sixth String Quartet . . . . . . . . . . . 367 CHAPTER I INTRODUCTION The Problem Music as an aural art must make its form apparent to the listener by means of auditory unifying factors. The problem of making music sound unified has occupied composers of all ages. The solution found by the masters of the six- teenth century, however successful, did not apply to the ma- terial with which the eighteenth century composers were work- ing. Each age, or rather each style of music, poses a dif- ferent formal problem and requires a different solution. Until recent times one of the primary unifying factors in music has been tonality. The major-minor system with its dominant and sub-dominant relationships was a powerful cohe- sive force, one which was able to pull together seemingly di- vergent material. This primary factor of tonality suffered a decline in the nineteenth century by the expansion of chromaticism. Whether this was evolution or revolution, the result was a richer musical texture within the older limitations and a search for new directions in which composers could express 2 new musical ideas. The single momentous change was that tra- ditional tonality no longer played its dominant role in unify- ing music. From the standpoint of'tonality, contemporary music divides itself into three categories. At the two extremes are (1) those works which have adhered to the basic princi- ples of traditional tonality, and (2) those which have seem- ingly discarded those same principles altogether. Between these two extremes is the third category in which certain principles of tonality govern music, but the traditional re- lationship of tonic to dominant and the singular force of that relationship no longer have the same meaning. The in- trinsic factor of motivic structure began to play a larger role. At the start of this century it would seem that com- posers were beginning to realize that the rather rigid molds of the eighteenth century had been developed to fit a certain type of content, and that they could not successfully contain any and all styles of music. David Cherniavsky said in an article for the Musical Times in 1952 that one cannot construct a skeleton first and than merely hang flesh of the living or- ganism.on the anatomical structure, but that "Skeletons must grow up within the organism to which it belongs."1 This is 1David Cherniavsky, "The Essence of Form," Musical Times, XCIII (March and April, 1953), 110-12, 160-62. 3 the problem with which the composer must struggle. Those twentieth century composers who still adhere to traditional tonality have fewer new problems to solve in the matter of unity. Their concern is primarily for expres- sion of fresh material within older limitations. At the op- posite extreme the atonalists have devised entirely new methods of composition, organized on the principles of seri- alization. The solution becomes less definite in the music of those composers who are working in new directions but are still adhering to certain principles of tonality. These com- posers do not choose to belong to a specific "school" of com- position, but rather prefer to express their musical thoughts in more individualistic manners. The music of these composers deserves close scrutiny. 851a Bartgk (1881-1945) has been chosen as a repre- sentative of this group. Since he was almost totally silent about his own compositional techniques, the only clues to his compositional principles are to be found in a study of his music. Even limiting the study to Bartgk can result in an un- wieldy document for he was a prolific composer. The problem, then, is to select works that are representative of his com- positional techniques. The six String Quartets of Bartgk extend over almost all his entire creative career, the first having been written in 1908 and the sixth in 1939. As such they represent a key 4 to his musical thinking. Through a study of the quartets one can see changes in style, in idiom, and in his approach to the problem of unity.2 In addition Matyas Seiber believes that the compactness of the string quartet medium inspired Bart6k to put his essential expression into it. "It is in his Chamber music [especially the string quartets] that he works with the greatest concentration, economy and clarity of detail, that he utters his most profound thoughts."3 Many who write about Bart6k's music, and especially about the string quartets, make a brief point concerning the motivic unity pervading all his work. This unity is espe- cially evident in the Sixth String Quartet in which the same theme introduces each movement except the last, where an ex- pansion of the theme becomes the movement itself. Cursory study reveals only this most obvious usage of thematic unity. More careful investigation, however, discloses tighter and more subtle relationships. Rudolph Reti, in his book, The Thematic Process in Music, believes that the creative process is centered on the subject of motivic structure, not only in the most recent 2Everett Helm, "The Music of Bela Bart6k," European Music in the Twentieth Century, ed. Howard Hartog (New York: Frederick A. Praeger, 1957), p. 15. 3Matyas Seiber, "Bela Bartok's Chamber Music," 351a BartokL A Memorial Review (New York: Boosey and Hawkes, Inc., 1950), p. 24. '1 5 composers, but in music from the late seventeenth century through the current era. Reti states that he does not wish to confirm nor to contradict any prevailing system of analy- sis, but believes that this is an area that has been too long neglected by the theorist.4 He builds an impressive case, citing numerous examples from Bach, Haydn, Mozart, Beethoven, Brahms, and other composers from the eighteenth and nine- teenth centuries. If motivic unity plays an important role in traditionally tonal music, then it should play an even more important part in music with less rigid tonal controls. Based on the assumptions that motivic structure must necessarily play a larger unifying role in the music of BartBk, and that the string quartets give an accurate picture of his creative process, this study will investigate the motivic structure as a unifying factor in the string quartets of Bartok. Biography In order to understand better the composer Bartsk, some of the conditions of his life should be briefly examined, Particularly the circumstances surrounding the composition of the string quartets. A complete biography will not be at- tempted here, for full treatments of his life are readily 4Rudolph Reti, The Thematic Process in Music (New York: Macmillan Co., 1951), pp. 5-4. l‘ 6 available, especially in the biography written by Halsey Stevens.5 As a man he was often described as having been quiet and mild of manner, almost shy. Agatha Fassett quoted his second wife, Ditta, as having said that she believed that Bart6k's extremely poor health as a child affected him deeply, and especially the several years of struggle with a severe skin eruption. He spent much of his childhood alone or with his mother, because he was either too embarrassed to be seen by other children or too ill to associate with them.6 As an adult he lacked the aggressiveness to push his work forward. In March of 1921 the Vienna Musikafitter des Anbruch published a special issue marking the fortieth birth- day of Bartsk. The Berlin critic, Oscar Bie, participated in this issue by writing an open letter to Bart6k, chastising him for not putting his new works forward through associa- tions with people. But it was simply not in his personality to do so.7 Since Bart6k studied composition with Hans Koessler his early works were heavily influenced by Germanic styles, 5Halsey Stevens, The Life and Music of Bela Bart6k (New York: Oxford University Press, 1955). aAgatha Fassett, Béla Bart6k's Last Years: The Naked Face of Genius (London: Victor Gallancz, Ltd., 1958), p. 154. 7Stevens, pp. 59-60. 7 especially Brahms. He made an attempt to arrive at a style for himself by studying Liszt and Wagner, and although he ad- mitted to discovering interesting things in these scores, he was not able to find his path in that direction. During his student years at the Academy of Music in Budapest, a force began building, however, that was to have the most profound influence on his music--nationalism. His feelings on the sub- ject which led him to numerous folksong studies were strong as early as 1905 when he wrote in a letter to his mother: "As regards myself my whole life, in every field, always and in every way, is at the service of one supreme purpose, the good of the Hungarian nation and fatherland."8 He was already anti-German, for in the same letter he severely upbraided his mother and sister for speaking German at home, when they did not have to do so. The folksong research he began in those years with Zoltan Kodaly is well-known. He received world-wide recog- nition for these efforts long before his own compositions had wide appeal. It is natural that this intensive research should affect his style. In a later article he outlined three ways in which peasant music could influence modern xnusic. First, a peasant melody could be taken over unchanged 8Serge Moreux, Bela Bart6k, trans. G. S. Fraser and IErik de Mauny (London: Harvill Press, 1955), pp. 58-41. 8 or slightly varied and an accompaniment written for it (this, according to Bartgk, is similar to Bach's treatment of cho- rales); second, a composer could invent his own imitation of a peasant melody; third, the idiom of peasant music could be absorbed so thoroughly by a composer that neither peasant melodies nor imitations of peasant melodies could be found in his music, but it is pervaded by the atmosphere of peasant music. "He masters it as completely as a poet masters his mother tongue."9 It was also during this time that problems of religion and philosophy were occupying his mind. In 1905 he wrote a letter expressing his observations about the Bible and reli- gion. He declared that God had not created man, but rather that man had created God, that the soul was not immortal but that the body was, and that the priest and actor were alike in that they both preached fables. These feelings were ex- pressed again in 1907 in another letter. At the same time he found himself predestined to a lonely existence. "My mother . . . encouraged me by saying I should have a brilliant fu- ture-AYes, but suppose that it comes too 1ate?"10 Thus by the time of the writing of the First Striug 9Béla Bart6k, "The Influence of Peasant Music on Ifiodern Music," BEla Bart6k,A Memorial Review (New York: IBoosey & Hawkes, Inc., 1950), pp. 72-74. 10Stevens, p. 52. 9 Quartet Bart6k had assimilated and largely repudiated Germanic ‘mueical techniques, had struggled with the idea of God and had begun his folksong study. Hence, musical and personal influences were profound. Barthk accepted a position on the faculty at the Academy of Music in Budapest in 1907. The next few years were occupied with that position and with new compositions for piano. In addition the folksong research was intensified and Bart6k was making a conscious effort to incorporate the things he had learned from it into his own music. According to his autobiographical note, his works were received in Buda- pest with animosity. He felt that a large contributing factor to this rejection on the part of the public was the lack of understanding and virtuosity of the performers.11 In 1911 there were heated controversies in the Buda- pest Musical world involving Bart6k, Kodaly, and others. In an effort to further national music they formed the New Hungarian Musical Union, having as its aim the establishment of an orchestra for the purpose of performing both old and rmw music. The venture died because of lack of support. This was a great personal disappointment for Bart6k and he :retired from public life and returned to folklore with renewed 11Bela Bart6k, "The Life of Béla Bart6k," Bela Bart6ki .A meorial Review (New York: Boosey & Hawkes, Inc., 1956), p. 9. 10 enthusiasm. The first world war restricted his travel and put a stop to his research, so he devoted some time to the classification of the material previously gathered. He also had time to continue his own composition. The Second String Quartet was completed in 1917. There is a stylistic gap between the Figgt and Second Quartet. The folksong influence is stronger in the latter work, for he had scarcely begun the work of research during the writing of the First Quartet. The intervening years also brought a world war, a sobering influence at best. II'he Second Quartet is less romantic and simultaneously less impression— istic than the E3535. It is probably the most-performed of all the quartets today. More than its predecessor it contains the seeds for practically all his later practices; it could have been written at any succeeding point in his career.12 The year 1917 marked a change in the attitude of the Budapest public to Barték's music. Two of his stage works, The Wooden Prince and Prince Bluebeard's Castle, received good performances. Then 1918 saw a political and economic breakdown, and the next year and a half were not conducive to serious work by the sensitive Bartok.15 The non-productive 12erlm, p. 17. 133618 Bartsk, "The Life of 1361a Bartgk," B61a Bart6k, ,A.Memorial Review (New York: Boosey & Hawkes, Inc., 1950), Eh 9. l1 ll interlude was fortunately short, however, and the political climate was gradually improving. He began a series of Euro- pean concert tours in the 1920's appearing as a pianist and composer. These travels enabled him to see other cultural centers and to meet composers such as Ravel and Stavinsky. Not only were these tours personally broadening, but they were successful. For the first time BartSk found himself generally well-received. During these years several major compositions ap- peared. Musically they seemed to be moving toward more com- plex chords and a contrapuntal texture. Kodgly said that Bart6k.began to emphasize melody again after its long sub- servience to harmony. .The more dissonant trend of this pe- riod, according to Kodaly, is largely due to the melodic origin of the linear counterpoint of Bartc/Jk.l4 In 1927 Bart6k was in the United States on a concert tour and at that time entered his Third StringgQuartet in a competition sponsored by the Musical Fund Society of Phila- delphia. The concert tour was generally a success. He had been heralded before his arrival as a revolutionary and a heretic, and the public seemed surprised to find such a mild- mannered man.15 A year later the success was reinforced when l4Zoltan Kodaly, "Bela Bart6k," Bart6k, Sa Vie et Son (Deuvzg,58d. Bence Szabolsci (Budapest: Corvina Press, 1956), pp. "' 0 15Stevens, p. 71. 12 he learned that the Third Quartet had won the competition. In this period two widely divergent influences were playing a strong role in Bart6k's development. As a piano teacher he had edited several editions of pre-Bach piano music. In an interview he stated that his close work with this period as well as the influence of peasant music was responsible for freeing him from the techniques of Debussy. These forces, according to Bart6k, led him to incorporate more melodic and contrapuntal interest in his music.16 Al- though it is true that the Third Quartet is primarily contra- puntal, this probably could not totally explain his increas- ingly dissonant style. It is more likely that the school of SchUnberg had begun to play a part in Bart6k's music. In 1928, only one year after the completion of the Third Quartet, he said, "It is true that during a certain time I have ap- proached a certain category of 'dodecaphonic music.'"l7 Be- cause of the dissonance of this period, this statement prob- ably referred to a few works which immediately preceded this statement. Certainly the Third Quartet contained some harsher sounds than he had used before. In spite of the fact that lsIbid. 17Bence Szabolsci, "La Vie de Bela Bart6k," :Sa Vie et Son Oeuvre, ed. Bence Szabolsci (Budapest: (Servina Press, 1956), p. 29. Bart6kI 15 many of these dissonances came about as a result of contra- puntal movement between the parts, some critics had trouble accepting the sounds. Ernest Newman wrote that the score looks good, that "particles form themselves into patterns of obedience to vibrational energy, but then when they are re- moved from the abstract and put into actual sound the ear must pronounce the effects repulsively ugly."18 This is only one of the many similar criticisms that Barfgk received during this period. Each of the Quartets has its own particular solution to its unity. The inner construction or motivic relation- ships will be discussed at length later, but it might be ap- propriate to comment that the outer mold of the Third Quartet departed somewhat from the normal. Instead of being written in separate movements, it is limited to one movement with separate parts, cast in a large A B A Coda form. Bart6k was experimenting with the form of this quartet. The Fourth Quartet is part of this same experimentation but in a differ- ent direction. There is only one year between the Thi§g_and Fourth Quartets, the Fourth having been written in 1928. In com- positional techniques they could almost be considered ‘ 18Ernest Newman, More Essays from the World Of Music (New'York: Coward-McCann, Inc., 1958), pp. 59-40. l4 extensions of the same musical thought. If there is a differ- ence in harmonic style, the Fourth would probably be considered more dissonant. The greatest difference lies in the area of form. The so-called "arch" form of the Fourth Quartet is well known. It hardly requires comment here except to note that its immediate predecessor was cast into a single movement, and that this one is in five intricately related movements. This is not really so much of a change, for the Fourth Quartet is regarded by some to be a large sonata-allegro form in its entirety.19 Allen Forte's article describing the Fourth String Quartet as a "serial" composition often inspires violent de- nials from Bart6k scholars. Considering, however, Bart6k's own statement concerning dodecaphonic influences in his mu- sic, Forte's article is not an unreasonable thesis. Forte does make the point that his use of the word "serial" does not necessarily imply atonality, nor does he imply that BartSk's technique is imitative of the Schonberg techniques. Bart6kfls techniques are entirely individual and "the third movement of the Fourth Quartet stands as an extraordinary demonstration of his ability to employ diverse and seemingly contradictory procedures without sacrificing either the _-¥ 9 Moreux, p. 158. 15 integrity or the unique characteristics of his music."20 The years between the Fourth and Fifth Quartets show a gradual increase of tangible signs of acceptance of Barthk's music. He was widely recognized as an ethno-musicologist, and was made a Chevalier of the Legion of Honor in 1950 for his work in this field. Compositions appearing around this period include several folksong settings, Cantata Profana, and the Second Piano Concerto. Bartgk's association with the International Society for Contemporary Music proved advan- tageous, for they were responsible for many of the first per- formances of his music. In 1954 the Elizabeth Sprague Coolidge Foundation in Washington commissioned the Fifth String Quartet._ It is also cast in the "arch" form like the Fourth, with the difference that the middle movement of the Fourth is a slow movement surrounded by two scherzos while the keystone of the EEEEE.1S a Bulgarian scherzo enclosed by two slow movements. Styl- istically it perhaps represents a retreat from the extreme position that he had reached with the Third and Fourth Quar- tets. The style is still predominantly contrapuntal, if any- thing even more so than the Fourth, but the resulting sounds are not as harsh as the earlier work. One biographer writes 20Allen Forte, "Bart6k's 'Serial' Composition," Prob- lems of Modern Music, ed. Paul Henry Lang, Princeton Seminar in Advanced Musical Studies (New York: W. W. Norton, Inc., 1962), p. 95. 16 that Bart6k's development can be summarized as a fight for tonality.21 Bart6k was never seriously in danger of losing such a battle, but the Fifth Quartet shows him gaining a more secure mastery of it. From 1954 to 1959 Bart6k produced what many believe to be his greatest works. The year 1956 saw the Music for String§,_Percussion and Celestg, and 1957 the Sonatas fgg Two Pianos and Percussion. In these years the synthesis of his folksong research and his classical training with his pedagogical knowledge in piano resulted in the Mikrokosmos. In 1958 the Concerto for Violin and Orchestra appeared and in 1959 the Divertimento for Strings and Orchestra was writ- ten. Also in 1959 Barthk went to the United States for a concert tour with Joseph Szigeti and Benny Goodman, perform- ing the work known as Contrasts. The rise of Nazi Germany during these years was a source of great disturbance to Bart6k. Hungary's regent, Admiral Horthy, was a Nazi sympathizer and Bart6k became in- creasingly disturbed by the state of affairs. Writing in La Review Musicale in tribute to Ravel, Bartgk said that Hungary had long suffered from its proximity to Germany. In 1957 and 1958 the Reich Music Chamber investigated his and 2 1Emil Haraszti, Bela Bartok, His Life and werks, trans. Emil Haraszti and Dorothy Swainson (Paris: The Lyre- 'bird Press, 1958), p. 91. 17 Kodély's "Aryanism." Although he refused to complete their questionnaires, Bart6k wrote his mother in a grimly humorous tone that according to his dictionary he was not actually Aryan, but rather Finno-Ugric, and perhaps racially Northern Turk. The 1958 questionnaire had ended with the question, "When and where were you wounded?" Bart6k said to his mother, "March 11, 12, 13, 1958, in Vienna!"22 In another article entitled "Racial Purity in Music," Bart6k spoke of the concern in those days about racial purity, and proposed to go to the music of the peasants for help in the question. He concluded from his extensive research that racial purity in.music led to dullness, and that "racial im- purity" was most beneficial.25. These outspoken attacks on the Germans could not have helped his situation. Bart6k fi- nally strictly forbade that his music be played on any radio station that could be heard in Germany or Italy. In 1957 he was ill with bronchitis and would have been helped by Italy's warm climate, but he firmly refused to set foot in the coun— try. These years were full of illness and frustration, but were, nevertheless, productive ones. The political situation A ZZStevens, pp. 81-85. (March 11, 12, and 15 are the dates of the Austrian Anschluss.) 25Be1a Bartok, "Rassenreinheit in der Musik, " Bela Bart6k, Eigene Schriften und Errinerungen der Freunden, ed. Willi Reich (Stuttgart: Benno Schawbe und Co. Verlag, 1958), pp 0 41-45 0 18 was climaxed by the Anschluss with Austria in March of 1958. Bart6k knew that he could not remain in the country much longer, for he realized that he would not be able to work in such circumstances. He considered emigration but was loathe to leave as long as his mother was alive, and also felt that he would be equally unable to work in a foreign country. Only one ray of light was discernible in this crisis: Ralph Hawkes of Boosey and Hawkes in London got in touch with Bart6k and Kodgly shortly after the Anschluss and a fortunate association was begun. The Sixth String Quartet seems incongruous against this background of turmoil and illness. One might have ex- pected Bart6k's music of this period to be harsh and disso- nant. There is a definite air of melancholy and despair about the Sixth String_Quartet, but it is couched in a har- monic and formal idiom more easily assimilated than most of the earlier quartets. It carries the concept of cyclical form to a more obvious conclusion than any of the other five. Each movement is introduced with a folk-like rubato melody, the texture thickening with each statement, until finally the melody is expanded and furnishes the material for the entire last movement. The expression is lyrical, as in the Figgt Quartet. The technique is contrapuntal, as in the middle quartets. The Sixth, then, is a logical successor to his early works, rather than a return, as is popular to believe, 19 to the mode of expression of the First Quartet. It is tempting to make a case for an arch form for all six of Bart6k's String Quartets, but to do so is to ig- nore the continuous development of his techniques and style. Even if the arch is present in some considerations, it must be quite accidental, for there is no evidence that Bart6k intended it to be his last quartet. In fact, Ralph Hawkes says that at his last meeting with Bart6k in December of 1944 he commissioned a Seventh String Quartet.24 It would probably have been written if there had been time. The story of Bart6k's last years is partly legendary now. He came to the United States in 1940 and settled in New York. The years were not happy ones because of homesickness and financial difficulty, and the relentless illness that fi- nally overcame him--1eukemia. He was not penniless at his death as is often said, but the war situation made it impos- sible to get his royalties out of Europe, and his music was still not widely accepted in this country. He did have an income from several sources, although it was not commensurate with his creative and scholastic gifts. He held a research position for some time at Columbia University transcribing the Parry collection of Yugoslavian folk music, and he and 24Raéph Hawkes, "Bela Bart6k, A Recollection by His Publisher," la Bart6k, A Memorial Review (New York: Boosey & Hawkes, Inc., 1950), p. 17. 20 his wife, Ditta, played several concerts before he became too ill to continue. In addition, although Bart6k was never a member, ASCAP took upon itself many of his medical expenses. Some commissions, given him partly from charity, increased both his financial status and the field of music; the Concerto for Orchestra, commissioned by Serge Koussevitzky, is consid- ered by many to be his masterpiece. In 1945 he was frantically trying to finish a Third Piano Concerto and a Viola Concerto when he was taken to the hospital for the last time. He died in the West Side Hospital in New Yerk on September 26, 1945. The years since Bart6k's death have produced many more performances and recordings of his music than he could have imagined possible. This is sadly often true with composers of stature. Assessing the reason would involve conjecture and would certainly not change the fact. In any case, the volume of Bart6k's music now being performed is significant. Bart6k's music is a body of literature which should be investigated in light of its importance. His solution to the problem of contemporary form is at least significant enough to have influenced many who came after him. The six String_Quartets, as the representative of Bart6k's entire output, hold importance to the twentieth century musician. Just what is it that holds these works together? This study will propose that the motive is the most important structural factor. 21 Method of Analysis For the purpose of this study, a motive will be con- sidered.to contain one musical idea. Each motive may, how- ever, contain several separate intervals or rhythmic pat- terns. A theme may contain more than one motive, although occasionally the several motives within a theme may be de- rived from a common source. The plan of the analysis will be to isolate rhythmic and melodic motives from each movement and then discuss their growth and combinations. Vertical structures are found to be made of the same intervals as the horizontal line too frequently to be ignored. Harmonic analysis is often complicated by the predominance of linear counterpoint, but significant analyses can be made at important accentual points and in primarily homophonic pas- sages. These sonorities will then be correlated to the hori- zontal structure. The movements of tonal centers represent a more subtle manifestation of motivic unity, but can be found to be almost entirely consistent with melodic and harmonic intervals. These relationships will be outlined. It is a central point to this study that the traditional forms can no longer be literally applied to much contemporary music. There are, however, no satisfactory new terms. Therefore, for the purpose of coherent discussions, the over-all form of each movement Will'be compared to forms for which there is an existing termi- nology. CHAPTER II STRING QUARTET NUMBER 1, OPUS 7 General Traits The First Quartet is often said to be a logical suc- cessor to the late quartets of Beethoven. This is apparently accurate, at least in the matter of form and development of ‘material. Everett Helm compares its opening fugato section to the Beethoven quartet, opus 151.1 The comparison ends, however, with the harmonic style. Although.most of the quar- tet is firmly rooted in tonality and most of the harmonies are based on the tertian principle, the use of harmony and tonality varies greatly with the traditional usages. The opening fugal theme is not quite atonal, but the writing is so chromatic and the tonality fluctuates so rapidly that there is little sense of key. This quartet is in three movements which are inter- related by the use of the same or related thematic material in each movement. According to Métygh Seiber, here is the first appearance of a typically Bart6kian trait.2 Stevens compares this technique to Franck's method of cyclical l 2 Helm, p. 15. Seiber, p. 25. 22 25 construction, saying that Bart6k's result is a dynamic one rather than the static effect of Franck. Bart6k's themes are allowed to grow throughout his composition rather than being simply stated as a fait accompli. His motives, frequently of two or three notes only, are in a continuous state of regeneration. They grow or- ganically; they proliferate; the evolutionary process is kinetic. No doubt many motivic manipulations which seem carefully calculated were brought about intuitively; the line between reason and intuition is never sharply defined, but the compact thematic logic cannot be de- nied.3 Helm agrees with Stevens that the line between reason and intuition cannot be determined, but he goes further to say that it is not important.4 It is, however, important to recognize that a guiding principle to Bart6k's form is the constant development and variation of motivic material to produce new material. First Movement The over-all form of the first movement is ternary and the texture primarily contrapuntal. The tempo is 93239. Figure 1 shows the source motives for the first movement, the outline of the form, and the tonal shifts. The two source motives, both extracted from the first theme, serve as the basis for the movement. The main tonal shifts are within the realm of traditional tonality although the rapid fluctuations within each section indicate contemporary techniques. SStevens, p. 175. 4Helm, p. 16. 24 Source Motives Motive "a" Motive "b" A B A Form Section Motives Used Measures Main tonalities A "a" l - 10 F (minor) ".u 11 - 24 Indeterminate "a" (and "b") 25 - 35 Eb B "a" and "b" 56 - 52 Begins on C variants A largely "a" 55 - 71 F Fig. l.--String_Quartet No. l, op. 7, I Movement 25 The opening theme is presented in a fugato treatment. It is quoted here in full; basic motives for the entire quartet may be traced to it. (Motive "c," labeled in the fifth measure of the example below will become important in the second movement.) Example 1,5 mm. 1-7 fiM"”' ' j l {-1 \ a m P I [If A I n 11 1\'1 11 1 Lf L T 4 f : I WI L (in, A \ _ /’15 .L““L,1 h 1 /“ I 1‘ I I I -I l 4 H A deb - ..,.. “n “A? we ms Melodic and Rhythmic Motives This main theme or fugato subject, quoted above, contains the prominent intervals of the descending major sixth, the descending semitone, and the descending and ascend- ing perfect fifth. Motive "a" contains the fifth, semitone 5Reprinted by permission of Boosey & Hawkes, Inc., Sole Agents for "Kultura" (Hungarian Trading Company in the U. S. A0). 26 and the sixth. The over-all contour is a leisurely descent with a more rapid ascent in the last measure of the subject. The entire compass of the subject as quoted is an octave plus a sixth. The fugal entries outline the traditional fifth relationship, F, C, C, and F. The most striking rhythm of this theme is the synco- pation, taking the forms of? J 5’, m and J A 3 . The ties across the bar-lines should also be noted, for they tend to destroy the accentual value of the bar-line, giving freer rein to a type of agogic accent of pitch and duration. The first motive to be developed is the conjunct mo- tion expressed in the rhythm of the sixteenth-note syncopa- tion. This motive is labeled "b," and can be found in the second measure of the fugato subject. It is immediately mir- rored in the 'cello and second violin. Example 2, m. 11 27 This syncopated motive first undergoes intervallic expansion until it encompasses ninths and sevenths. Example 3, mm. 15-16 'The rhythmic growth continues until it becomes six- teenth notes with ties across the beats and half-beats. Example 4, mm. 21-22 4 on“. «.an - - - " if The syncopation leads into the falling sixth, the beginning of motive "a." From there to the end of the sec- tion (measure 32) there are no significant motivic varia- tions. A pedal C and G in the 'cello leads into the second section of the movement. The contrasting theme appears above the double pedal. The beginning of this theme is derived from motive "a" without the first note. The motive is 28 expanded into a theme by means of a sequential treatment of the descending semitone, three times expanded to a tone. Example 5, mm. 33-55 no”. %?.§u°n‘% I rimfi' ~ __. .r 1‘? v 4'1 1‘ 3:4 > > .2 7 "’P 4‘ "mu ”an i - J ‘H L‘ H r l I I Y A %F . #1 Pi¥ 4 V l I gr I‘an The falling semitone and the rising perfect fifth of the first and second measures of motive "a" have become here a falling semitone and a rising diminished fifth. Its rhythmic properties are the syncopation of both motives "a" and "b" and its subsequent development into sixteenth notes. The countermelody in the first violin at measure 56 also has its roots in motive "b." The relationship of this countermelody to motive “b" becomes more apparent with the introduction of the rhythmic syncopation in the fourth measure of Example 6. 29 Example 6, mm. 56-41 ”Us OfPIvONOHUO '0‘“ V I —1 fl] xi '1 11 1 If if ['1 l V T i This motivic variation is itself developed by being placed in a modified inversion, which furnishes a slow-moving countermelody to the three upper parts. Example '7, mm. 45-48 W “i“ P; . i 5 he“. urn“. :=-'=—-< 3 mm «Vt». >- #- m; V -1+ «de- 11? “F? 50 This section comes to an abrupt halt at a fermata over a bar—line. A two-measure transition leads to a return of the first fugal section, beginning in the first violin an octave higher than before. This time the pattern of the fugal entries is F, C, F, and C. From here to the close of the movement there is a total of nineteen measures, as compared with thirty-two measures which were allotted to the develop-l ment of the same material in its first appearance. This re- veals a typical twentieth—century formal device, the abbrevia- tion of repetitive materials. Harmonic Materials The harmony of this movement is primarily tertian. It is possible to find dissonances of major and minor seconds 'but they are transient and come about as a result of moving melodic lines. Furthermore such dissonances rarely appear in this movement without traditional preparations and resolu- tions. It is apparent that Bartok was not regarding the sec- ond as an important factor in this quartet. Parallel movement in thirds can be found in numerous places in this movement. For example, motive "b" in its six- teenth note expanded form is duplicated a major third below by the second violin, although it is occasionally notated as a diminished fourth. The main melodic interval at this point is the third (cf. Ex. 4). 31 Example 8, mm. 21-22 —_ *____,, i__, V 5' <' Mada-fro - ‘— _ _ — :s's : The contrasting theme constructed from an inversion of "a" appears in parallel sixths at measure 58. Example 9, m. 38 These are only two examples of numerous occurrences of move- ment in parallel thirds and sixths. There are two passages in which complete triads and seventh chords are present in an obvious manner. The first appears in the three upper parts above the 'cello's modified inversion of the countermelody material of the middle sec— tion. These measures reveal similar motion in the first and 52 second violin and viola, forming a succession of triads in the root position, first and second inversion. The device begins in measure 44, but only measure 45 will be quoted here for the purpose of demonstration. Example 10, m. 45 f «rm ' There is one passage of two measures which occurs in the last section of the movement that is almost entirely chordal in origin. Its function seems to be the achievement of a climax by reducing the rhythmic and contrapuntal activ- ity. These chords may be analyzed mainly as major seventh chords. There are two augmented chords and one diminished- minor seventh chord. 53 Example 11, mm. 65-66 Taste 3 . If. This passage is striking because it is the only one of this character. It is successful in reducing the motion, and the movement comes to a close within the next five meas- ures, reducing the texture until the last sonority is A flat and 0 flat in the second and first violins, respectively. It confirms the tertian harmonic structure, reflecting the melodic sixth of motive "a." Tonal Structure This entire quartet is said to be in the key of A zninor, and the first movement is often analyzed as having a 34 center of A. Mark'Walker, in his analysis of the quartets, concurs with this, saying that even though the tonality fluc- tuates, it centers around A.6 Halsey Stevens says that the opening is indeterminate because of the chromatic character of the fugal section, but that the close on A flat and C flat might be interpreted as an enharmonic spelling of G sharp and B, or the upper third of the E major triad, the dominant of A.'7 The material does not justify this analysis. The open- ing interval of F to A flat, the fugal entries on F and C, and the seemingly dominant pedal on C all contribute to a prevailing F minor tonality for the first section. The main shifts for the remainder of the movement were outlined in Figure l. The first indication of an A tonality comes with the second movement. A third relationship is then created between the first movement and the other two movements. This is a plan often followed by Bartok, and one which is especially appropriate to this quartet because of the motivic emphasis on the third. Second Movement Certain elements of sonata-allegro form.may be found 6Mark Fesler Walker, "Thematic, Formal, and Tonal Structure of the Bartok String Quartets" (unpublished Ph .D. dissertation, Dept. of Music, University of Indiana, 1955), ;p. 75. VStevens, p. 172. 55 in the structure of the second movement. There are presenta- tions of themes and developments of these themes, but whether or not there is a recapitulation and, if so, where it begins, are disputed points. The process of development is continuous throughout the movement, and it is difficult to isolate one part or another to affix the traditional labels of exposition, development, and recapitulation. Certainly the assistance of tonality is no longer available to determine the sections. The important unifying feature becomes the interrelationship of the motive structure, and it seems incongruous to call the movement by a name that has its basic principles in dominant to tonic relationships. In the absence of new terms, however, land in the interest of more direct communication, this move- ment has been compared to a sonata-allegro form with a re- versed recapitulation.8 Figure 2 shows the source motives for this movement in the order in which they are utilized, the outline of the form and the principal tonal shifts. Most of the tonal shifts are in thirds, with the movement ending a step higher than it began. The procedure of reversing the order of themes as well as their proportions will be seen again in later quartets. Melodic and Rhythmic Motives An introductory theme is stated in parallel thirds in 8Walker, p. 81. {| Motive "b" 36 Source Motives Section Introductory lst theme 2d theme Closing section Development 2d theme Transition lst theme Closing section Coda Motive Sonata-Allegro Form Motives Used "b” variant "a'" and "a" variant "c" variant Elements of ”a," Measures 1-17 18-72 73-102 103-159 nag," "b," "an Largely "a" II" c variant "b" variant 140-212 213-275 276-304 "a" and "a" variant 505-515 (as above) Elements of "b" and "a” 316-546 347-367 Fig. 2.--First Quartet, II Movement Main Tonalities A A (18-53) F# (54-69) Eb (70-72) Eb D# (103-110) c (111-139) Rapidly shifting, mostly C Predomi- nantly C Indeter- minate G F# (316-325) (326-339) G (340-346) Ends on B 37 the 'cello and viola. The relationships to the chromatics of motive ”b" can be seen in the introductory measures of the following example. Example 12, mm. 1-5 vur—- '4’} u-l Ml- i=:'i-—-: ‘ '-'_ 5".W.I Mn 5..” .r ‘ ' This theme is then taken up by the first and second violins, also in parallel thirds. After a brief dialogue with the other pair of instruments, the first violin states a motive encompassing a minor seventh. This motive is to be- come important in this and the last movement. It can be seen that it is from motive "a" with auxiliary notes. It is labeled "a'" in the example below. This motive is immediately converted to eighth notes and serves as an ostinato accompaniment for the principal theme of the sonata-like structure. The new theme employs 58 Example 15, mm. 18-19 the fall of a half step and a perfect fourth. Both its inter- vals and its rhythm can be easily found in the introductory theme of this movement, but the relationship to motive "a" is more direct. These two motives occupy the remainder of this Example 14, mm. 22-25 . “a." Me's“: V 59 section. An apparent punctuation is achieved when the activ- ity halts on two chords of F major. The next section begins on an arpeggiated A major triad in first inversion played in unison by the three lower voices. It is derived from a motive in the first theme of the first movement of the quartet, labeled "c." Example 15, mm. 45-44 The introductory theme appears in a transition between the two themes, beginning in thirds between the viola and sec- ond violin, with a new ostinato below it in the 'cello and a new sustained countermelody above it derived from semitones of motives "a" and "a'." Example 16, mm. 45-48 The pattern of repeated notes and minor seconds in the 'cello later becomes an ostinato. This pitch pattern can be found in the second and third notes of motive "a," and in the first and second notes of motive "a'." Example 17 41 The introductory theme here serves to introduce the second theme of the exposition just as it had for the first theme. It can also be found just before the development sec- tion, in the reversed recapitulation and in the coda. It would seem that a theme of this much structural importance and fre— quency might have a more impressive-sounding label than "intro- ductory." It is apt, however, because its function remains that of an introduction. The 'cello ostinato mentioned above is passed to other parts and developed by melodic expansion. Example 18, mm. 62-64 The ostinato then returns to its original form and accompaniment function with the appearance of the subordinate theme. The movement in semitones which had been prevalent in the other motives is again affirmed in its importance. This theme bears a significant relationship to part of the begin- ning motives of Movement I, especially to motive "c." The first two measures of the example below pivot from the same note as does "c” while the latter part of the example outlines a triad, as does "c." Example 19, mm. 75-78 This section, marked Molto guieto, gradually acceler- ates to a transition-like passage with octave leaps and a falling sixth in the first violin. The following is a com- parison between this and motive "a.” Example 20, mm. 94-95 ) :f ——+ 4:? w ‘ I" ‘EZI .n—q—J _:;_ A K- “H'H 3 e 45 The transition passage leads into a sustained A and C sharp in the viola and second violin, respectively, with a repeated note ostinato in the 'cello. The rhythm of the ostinato is not a recurring pattern, using quarter notes and pairs of eighths in various combinations. Above this a clos- ing theme on the whole tone scale appears in the first violin. This is the first occurrence of successions of whole-tones. It is not derivative of previous material except by interval expansion from motive "b." The rhythm is more closely related to the introductory theme of this movement, itself derived from "b" (of. Ex. 12). Example 21, mm. 105-109 J.\.)..; _k_ The whole-tone passage leads back to the semitone ostinato pattern and thence to the introductory theme, this 44 time used to set off a developmental section. This section begins in measure 140 with the falling-fourth motive of Example 14, but has now become a diminished fourth, accom- panied with the ostinato of the falling sixth. Motives used in this section include the first theme, a derivative of "a" (of. Ex. 14), and both ostinatos. There are no new signifi- cant motivic variations or points of interest until the sec- ond theme appears in measure 215. It is at this point that another formal dilemma arises. Walker calls this the beginning of the reversed recapitula- tion,9 but the passage is developmental in character. If, however, this is considered a part of the development, then there is no real recapitulation until measure 505, and then it is the first theme only. If we assume that the return of the second theme constitutes the start of the recapitulation, then mention must be made that the first theme is almost neg- lected in comparison. In the recapitulation, then, the order of themes and their respective proportions is reversed. The whole-tone scale returns and serves as a transi- tion to the coda, which begins at measure 547. The coda uti- lizes the introductory theme in thirds in the first and second violins in an augmented form. The movement ends with the same material with which it began. 9Walker, p. 81. Example 22, mm. 558-565 .9) ml" ‘P-‘NLJT- 9060 Cf‘“ . InfioJucfirj Thoma M”,_’_i- Harmonic Materials As in the first movement, the harmony is primarily tertian. Unity is further demonstrated by pointing out the relationship between the triadic harmony and the arpeggiated melodies referred to above. Paired voices in thirds have been pointed out several times, and aside from that, there seem to be few examples in which the interest is harmonic rather than melodic. There is one chordal passage of five measures just before the coda begins. The individual parts are based on elements of the second theme from the standpoints of both pitch and rhythm. The resultant harmony alternates between G minor, with an added C, and B major. 46 Example 25, mm. 542-545 This passage again illustrates Bartgk's principle of third relationship. Tonal Structure The tonal shifts of this movement were outlined in Figure 2 as moving primarily in thirds. The interval of the third and its inversion are of central importance to this quartet both vertically and horizontally. The tonal shifts reinforce this importance. 47 Introduzione Melodic and Rhythmic Motives This short section begins with thematic material which is almost entirely new to this quartet. The falling sixth of motive "a" can be found in three places and the first measure outlines a B minor triad, showing a relation- ship to motive "0," but the new rhythmic nature gives it an independent character. Example 24, mm. 1-4 The second idea, which is stated in the 'cello, has its sources in motive "a'" and in the introductory theme to Movement II, which is derived from motive "b" (cf. Ex. 12). 48 Example 25, mm. 7-8 m,,_ - ._l-l_ 5” - g I a ’u ‘ 1 G- InTvoducTien.I Movement 3 k 1 L; 1 n fi‘. l# l T] if ' ' m 44 o'- ‘l 1‘ j VV fl This contains many of the same intervals as the first 'Jl‘r idea of the Introduzione. The second half of the theme is later expanded melod- I! H ically until it becomes motive a'. Example 26, mm. 14-15 w-L‘_I-—-iu-f--l--- _ O---— D-II- ' ——_Il --_-I—-T—-—' j 49 The Introduzione moves into the last movement without pause. The tempo marking is Allegro-Vivace, the final tempo which has been gradually accelerated since the first movement. Third Movement If this movement is to be designated sonata-allegro form, several liberties must again be taken, for the subordi- nate theme is contained in the first theme. The movement is basically monothematic as will be demonstrated, but certain elements of exposition, development, and recapitulation can be found, so it will again be assumed to be a derivative of sonata form. Figure 5 shows the source motives, the outline of the form, and the principal tonalities of this movement. The tonality stays firmly on A with temporary changes to centers a third on either side of it. Melodic and Rhythmic Mbtives The first motive appearing against repeated notes is only a slight variation in pitch patterns from the first im- portant motive of the second movement. The latter measures form a motive to become important as the subordinate theme. It is labeled "d" in the example below. In addition to this motive there is a secondary motive in semitones, which then drops a third to a sustained note. 50 Source Motives Motive "a'" Motive "d" L )L. ; £11} 11. ,_ :rfi if A} f 1x: i i E. 11‘ ' fl Sonata-Allegro Form Section Motives Used measures Main Tonalities lst theme "a'" (also "d") 1-65 Begins on A 2d theme "d" 66-80 A Transition "8'" elements 81-95 Indetermin- . ate Closing theme "d" variants 94-105 Closes on C Transition "d" 106-120 A Development "d" and "a'" 121-255 Begins on A, rapidly shifting Transition "d" 256-249 A lst theme "a'" 250-286 A 2d theme "d" 287-501 Indetermin- ate Transition "a'" elements 502-518 Indetermin- ate Closing "d" variant 519-527 Indetermin- theme ate Transition "d" 528—541 F# Coda "a'" & "d" 542-578 Largely A Fig. 5.--First Quartet, III Movement 51 Example 27, mm. 5-9 The derivation, demonstrated below, is from the first two notes of "a'." Example 28, mm. 20-21 This motive is inverted, the final interval melod- ically expanded, and the main interval expanded until it is largely recognizable by its characteristic rhythm. 52 Example 29, mm. 46—47 4.; cm, The next theme, only used once here and once in the recapitulation, has structural importance as a forecast of the subordinate theme. The following example demonstrates the relationship to motive "d." Example 50, mm. 57-59 i'\b‘9” A In the ensuing passages the motives already quoted are developed and treated imitatively. The section is cli- maxed by a long C sharp minor scale up to the statement of the subordinate theme. Motive "d" is the generating force for this theme. 55 Example 51, mm. 66-70 At measure 81 there is a closing section, playing on the materials from motive "a'" and its truncated semitone version. This leads to a closing theme of the exposition, also not entirely new. It is reminiscent of several motives, particularly the fourth measure of Movement I, but not di- rectly derived from any of the previous motives. Example 52, mm. 94-96 -»_...-_.‘ \ . ”‘1? rm f * ‘ , i O I’Mmmsnt m4 : ‘ . I ‘ ;. W 54 This passage is brief, and ends on a C major chord as a cadence. The next section returns to the original tempo and is delineated by the sudden relaxation of tempo, beginning in A major and treating the second theme first. The syncopation pattern undergoes intervallic expansion until it is entirely fourths before the repeated notes of the opening of the move- ment announce themselves. After a fermata the first theme is taken up again, Meno Vivo. Bartgk plays with this theme for a while longer in conjunction with the repeated notes before launching into a fugue, subject based on.motive "a'." The subject as used in the fugue has a different ending, however, adding triplets that are probably inspired by folk music.10 Example 33, mm. 162-164 -su-‘omhfl-H _...- -_.. ‘100011n Mason, "Bartfik Through His Quartets," The Monthly Musical Record, Lxxx, No. 915 (January, 1950), 4. _, . -_--.—- -———..-.— —- .gg—q _._,._..,- .——__. - 55 Toward the end of this fugal section at measure 189 the four parts become two by the device of pairing the upper parts against the lower ones. This serves to set off the stretto-like section based on motive "a'" which follows and closes the fugal section. The next clearly discernible section of the develop- ment begins in measure 209 and plays on the triplet pattern and the semitone. Then the texture abruptly thins to one in- strument on the repeated notes, which introduces an important passage, a link or transition into the recapitulation. The thematic material contains, in addition to the repeated note, the dotted rhythm of the last part of Example 50, plus the triplet pattern material. When the recapitulation does arrive in measure 250, it is in free form and seems developmental in itself. It is, however, complete with second theme and closing section. The coda is based on imitative passages on motive "a'" in both eighth notes and quarter notes. They give way immedi- ately to the syncopated motive "d" with widened intervals. The movement ends with a quick succession of repeated notes, semitone from motive "a'," syncopated motive "d" and an upward sWeep in fourths to a chord built on A, E, and B. Harmonic Materials Although the largest body of harmonic materials in 56 this movement is still tertian, there can be found an increas- ing number of sonorities in seconds and fourths. This is re- flected in the thematic material of the melodic motives. The Opening repeated notes in the first and second violins pile up E, D, and F, before the first theme enters. The first point of harmonic repose reveals a G sharp diminished-minor seventh chord in root position. Example 54, m. 21 The first obvious example of harmonic use of the semitone comes at a point of repose after the semitone melodic motive of Example 28 has had considerable play. On the fourth ‘beat of the example below the melodic semitone finds its way into the vertical sonority in the simultaneous use of F natural 57 and F flat. Example 55, mm. 52-55 In this movement, as in the preceding movements, there are few purely harmonic moments, and nothing more of note, except the final chord, mentioned above, which is built on two perfect fifths, A, E, and B. The final chord could as well be analyzed as A minor with a B replacing C or simply as an open fifth, A - E with an added note. Tonal Structure As outlined in Figure 5, the tonality of this move— ment, firmly rooted on A, offers less variety than the 'previous movements. The tonal shifts are again in thirds and.the ending reaffirms the predominant tonality of A. 58 Correlation of Motives of All Three Movements Figure 4 shows a comparison of the main motives for this quartet and some of their variants. Unquestionably the most important source motive is "a," especially the interval of the falling sixth. Motive "b" is important because of its movement in successive semitones and its rhythmic syncopation. Motive "c" is also syncOpated and outlines a triad; it gen— erates material in the second movement and in the Introduzione. 'In the third movement an extension of motive ”a'" becomes im- portant as the source for the subordinate theme and is labeled "d." The most important unifying factor, both horizontally and vertically, is the content of motive "a.“ Summary The intervals of the sixth and minor second and the triad are of central importance in this quartet. All three are well established in the opening theme of the first move- ment, from which all the material of the entire quartet may be derived, with two exceptions--the whole-tone scale of the first movement and the folk-like triplet pattern of the third movement, which is primarily ornamental. The deriva- tion can be forced even in those two instances, but it is 1e as direct . The relationship of the second and third movements 59 Chi. v Q Mo? “'4 C3 U a. i l 1 [III] \- “K” nu. I “of. 11 .0 M. Fig. 4.--String Quartet Number 1, 0p. 7. 60 with regard to melodic and rhythmic motives is quite close. Careful examination has shown that the opening of the first movement contains the source material for the introductory theme of the second movement, from which the main motive for the second and third movements is extracted. The harmonic materials of this quartet are mainly tertian, with a few exceptions in the last movement already noted. This is closely interrelated with the melodic motives, which are based on the fifth and triadic materials themselves. An exception was pointed out in the last movement wherein a semitone horizontal movement gave rise to a semitone vertical combination. The tonal organization of the First Quartet centers around the third relationships, with an occasional traditional dominant appearing. The predominant tonality of the first movement is F, the second movement begins on A, finishes on B, the Introduzione begins in B and the last movement is on A. The relationship of the first to the last movements closely re- sembles the opening interval, an inverted third. These interrelations of thematic, harmonic, and tonal materials are an important unifying factor. They may have been constructed consciously or may simply have come from a remarkable musical intuition-Abut that is unimportant. CHAPTER III STRING QUARTET NUMBER 2, OPUS 17 General Traits Bartbk's Second String Quartet is described by Gerald Abraham.as "thoroughly characteristic" of Barthk's mature works.1 Everett Helm concurs, saying that although some later works are more radical, the Second Quartet could have been written at any point in his career. According to Helm, "In idiom.and formal construction it contains the germs for prac- tically all his later practices."2 According to Matyas Seiber, the First Quartet was the work of a young genius, the Second, one of full maturity.3 At the time of the writing of the Second Quartet (1915- 1917) Bart6k had done more extensive research in the realm.of folk music than had been completed at the writing of the 23332 Quartet. Moreux states that this work represents a synthesis 1Gerald Abraham, "The Bartok of the Quartets," Music and Letters, XXVI, No. 4(Oct., 1945), 185-94. 2Helm, p. 17. 3Mfityas Seiber, "Bela Bartok's Chamber Music,” Bela BartokL A Memorial Review (New York: Boosey & Hawkes, Inc., 1950). p- 26- 61 62 of folk music carried to pure music.1 This is especially true of the second movement, a scherzo pervaded by the vigor of peasantry. A contrast is often.made between the Firgt and Second Quartet regarding their respective moods: the Figgg is said to be romantic in nature, while the Second leaves romanticism behind. Colin Mason, in an article for The Monthly Musical Record, takes issue with this standpoint, stating that the Second Quartet is also romantic, but that it is expressed in an idiom of twentieth century romanticism rather than that of the nineteenth century.2 From the standpoint of harmonic practice the Second Quartet represents an advance over the earlier work. Instead of consisting of tertian harmonies almost exclusively, it also contains chords built in fourths, a procedure to which Bartgk was led both by the character of the peasant music and by new trends in contemporary music of his time. This causes the Second Quartet to be, according to Stevens, more "rarefied" than the first, but nevertheless traditionally the one heard most frequently in concert.3 1Moreux, p. 120. 2Mason, The Monthly Musical Record, LXXX, No. 915, 3-9. 3Stevens, p. 176. 65 Quartal harmony is not the only advance over the earlier quartet. The Second Quartet also contains simultane- ous major and minor elements, dissonant parallelisms, bitonal- ity, and polytonality. These are, no doubt, some of the ele- ments to which Helm and Abraham were referring as being char- acteristic of all of Barték's works. First Movement The first movement again presents the problem of af- fixing a traditional label on a form that has largely moved away from tradition. Helm says that the movement is in sonata- allegro form, even though the second and closing themes are derived from the first theme.l Stevens says that the movement should not be forced into a sonata-allegro form, for there are really no themes, only motives, and the development is con- tinuous from the beginning to the end.2 There are elements of both ternary and sonata forms in this movement, therefore it will be studied in three sections and a coda, as Walker has done.5 Figure 5 shows the source motives for the first move- ment, the outline of the form, and the tonal shifts. The me- lodic and harmonic materials of this movement are dependent on these source motives for their derivations. The tonal struc- ture pivots from the center of A to F#, C#, and F, thirds on both sides of the principal tonality. l 2 5 Helm, p. 17. Stevens, p. 176. Walker, p. 108. 64 Source Motives Motive "a" “H A B A Coda Form Section Motives Used Measures A "a" 1-51 "b" 52-62 Transition "a" variants 65-69 B "a" variant 70—116 A "a" 117-140 "b" 141-143 "a" 144-148 Coda Largely "a" 149-180 variants Fig. 5.-—Sec0nd Quartet, I Movement Main Tonalities A F# F#(7089) 0# (90-108) F# (109-116) A and F Indetermin- ate 65 Melodic and Rhythmic Motives The first section opens with a repeated eighth-note accompaniment pattern in the second violin and viola over sustained notes in the 'cello. This figure serves as an im- portant generator for rhythmic syncopation to be found later (cf. Ex. 45). Example 36,10 mm. 1-3 ,-,__ - ... '2 ”In?“ B in?“ thO The figure begins on a semitone interval, expanding to a whole tone, finally becoming a series of parallel major thirds in measure 4. 10Copyright 1920 by Universal Edition; renewed 1948. Copyright and renewal assigned to Boosey 8c Hawkes Inc. for the U.S.A. 66 The first violin announces the main motive, labeled "a" in the following example. The most prominent of this theme is the perfect fourth, but there are also major and minor thirds and seconds. Example 57, mm. 2-7 The series of two rising fourths is soon expanded as the passage builds quickly to a high point. The fourths be- come sixths and then octaves. The octave structure would be unrecognizable as a derivation of motive "a" without having seen the intervening steps. Example 58, mm. 8-14 I ! "“\‘ /‘ -‘\. //- ‘ L‘t, 1‘ L 1 E In g 1’ x 1 ll III II I II J 71]]. Ill 1.111 11‘ 1 I ‘1 l' ‘ l 1 I 111 )1 \ll 1]! 1 - {fi— ' 11,1 11 IV I . 1' li— " V v V L T J ‘ _. - _. - ~ —§tm?n-.. ————— 1 The next motivic development of importance occurs when the rising fourths become a fifth plus a fourth, and the descending fourth following the rise is filled in with a trip- let pattern. The triplet pattern has its origin in the last part of the theme containing motive "a" as stated in Example 57. Example 59, m. 21 Tire second theme is based on a rising third. The general contour closely resembles motive "a," and the syncopated 68 rhythm had been forecast in the first measure (Ex. 56). Since the third becomes important later, this motive will be labeled "b." In the measures immediately following "b," the motive is expanded melodically to form the second theme. Example 40, mm. 52-54 “L" '— #1 p ,/‘ 72“, 12 \mN-o “amt. Hr)" ~l b 0- i is: da— ‘ g w J l J " 1— ”'0" v? This theme mutates quickly to a variation of motive "a," and then to an eighth-note conjunct motion figure. Example 41, mm. 58-40 'vaem‘dt /"_‘\ 3 69 The variant just quoted is continued for approximately twelve measures in the upper parts, the rhythm remaining con- stant,.the intervals expanding, especially to the perfect fourth. The two lower parts furnish the syncopated rhythm of motive "b," expressed in octaves. These deve10pmental tech- niques come to a conclusion in the closing theme for this sec- tion. This theme is constructed from the last extension of "a" and the thirds of motive "b." Example 42, mm. 65-66 The second large section begins with a thinned tex- ture, based on motive "a" treated imitatively. The first new rhythmic motive appears in measure 81 and is developed ‘by sequential treatment and then augmented. The following (example demonstrates that this rhythmic pattern is simply an cxrnamentation of the opening eighth notes in their syncopated version. 70 Example 45, mm. 81-84 The augmentation contains expanded and inverted intervals from motive "a." Example 44, mm. 95—95 m *i £Xt Afl/fi V 55W“??? -__, ,_ , , -—>+———' The syncopated rhythmic motive, first encountered in the introductory measures, is developed and introduces a link into the final section. 71 Example 45, mm. 105—104 This linking passage utilizes many of the thematic variations already encountered, but no new ones. The final measure of the first violin contains fourths, preparing for the return of the first theme. Example 46, m. 116 J 0-4 0 H ‘4. 1 \\~‘:‘§ ' The third section begins with an almost literal re- production of the first measures of the movement. The most significant change in the material lies in the new emphasis on the interval of the tritone. The 'cello now leaps an aug- mented fourth instead of an octave as before, and the parallel syncopated intervals in the two inner parts are now augmented fourths, instead of the seconds and thirds of the first 72 statement. The following example shows that the augmented fourth is present in motive "a." This is, however, the first significant vertical utilization of the interval. Example 47, mm. 117-119 Ethwfi Plumb The rising fourth of motive "a" is again the primary interval to be developed. In this section, however, Barték combines the elements of the perfect fourth, the minor sec- ond, and the tritone by placing ascending perfect fourths a semitone apart. In the example below a prominent tritone appears between E and B flat and a less noticeable one, be- cause of the rhythm, between A and E flat. 75 Example 48, m. 152 94g .-- ..._‘L. -0- -_. . ) The remaining measures of the third section and the coda develop no new motivic variations. Motives "a" and "b" in their many forms are used to bring the movement to a close. The principal method employed in the motivic develop- ment of this movement was that of intervallic expansion (of. Ex. 58). The opening measures presented semitones, which gradually expanded to the main motive of the movement, motive "a." The contour of "a" served to generate "b" a motive which was constructed primarily of thirds. Additional tech- niques were sequence (Ex. 45), extension (Ex. 41), and aug- mentation (Exs. 45 and 44). The material of this movement is all derived from one theme, but varied extensively. The developmental process is continuous from the first measure to the last, both in intervals and rhythms. Harmonic Materials The harmonic basis for the movement is established 74 almost completely in the first three measures with the inter- vals of the second, third, and fourth all present (cf. Ex. 56). The resulting structure reflects the intervals of the melodic motive, for it concentrates on the same intervals. The inner parts move at first in parallel thirds, but it is a contempo— rary use of this device as they are all major thirds, and the outer parts are not necessarily consonant with them. The har- monic pattern is too varied in the first few measures to es- tablish a trend. The first example of chordal writing comes in measure 14, when the emphases on the perfect fourth and the tritone 18 again affirmed by a succession of second inversion chords. Example 49, mm. 14-18 75 An example of the duplication of the horizontal and vertical intervals may be found in the chord at the end of measure 49. The primary melodic interval is the semitone and the final chord is built entirely of semitones. The first chord of the next measure is bi-tonal, A and C against A sharp and C sharp--still another way to utilize the minor second vertically. Example 50, mm. 49-50 Tunis bi-tonality continues for several measures until both celiters resolve to F sharp. The declamatory chords toward the end of section two are quoted again below. These chords reveal two possible 76 constructions: (l) the chords are built on two tritones which interlock by a semitone, or (2) they are built on two perfect fourths a semitone apart. This vertical structure is composed of precisely the same interval as the melodic motivic variation quoted in Example 48. Again the emphasis is on the perfect fourth, the tritone, and the minor second. The open- ing melodic motive contains all of these intervals as impor- tant horizontal elements. Example 51, mm. 105-104 More use of the tritone and the semitone can be found in the third section in the agitated part of the per- fect fourth of the development of motive "a." 77 Example 52, m. 155 An example of bi-modality may be found in the third section with the return of the closing theme. The first and second violins are in A minor, while the multiple steps in the 'cello insist on A major. 78 Example 55, mm. 156-159 L49? i :This movement, then, contains tertian harmony, chords built in seconds, fourths, tritones, bi-tonality, and bi- modality. The last vertical structure summarizes the melodic- harmonic intervals of the movement. On the first beat of the following example it is an F chord with both C and C sharp, thus incorporating the perfect fourth, third, and the semi- tone. 79 Example 54, m. 180 The existence of these intervals in the melody would have little significance save for the fact that the melodic and harmonic elements precisely correspond so consistently. Tonal Structure The tonal shifts, as outlined in Figure 5, are largely in thirds, the primary interval of motive "b." Motive "a" is represented by its semitone in the bi-tonal and bi-modal pas- sages. There is one tonal shift from F sharp down to C sharp, the perfect fourth of motive "a." The only melodic-harmonic interval not used in the tonal scheme is the tritone. 80 Second Movement The over-all form of this movement is problematical. The speed of the tempo and the recurrence of the themes imply a rondo form, although it does not follow any of the classical types of rondos in thematic scheme, or in proportion of parts. The movement will be compared to a rondo, and the derivation of motives will be pointed out between sections. Figure 6 quotes the main motives for the second move- ment and outlines the form and tonal shifts. The imbalance of the sections of the rondo-like structure can be seen. The tonal shifts outline largely tritones and thirds; both inter- vals are prominent in the melodic and harmonic structures. Those sections marked "indeterminate" are tonally vague be- cause of chromaticism or because of pronounced emphasis on the unstable tritone. Rhythmic and Melodic Motives The movement opens with an introductory theme, which, although recurrent, remains only "introductory" in spite of its frequent appearances. Example 55, mm. 1-6' 81 Main Motives Motive "c" M i y i i j 0 ,, }H—I—,¥1 t Rondo-like Form Section Motives Used Measures Introduction "0" variant 1-11 A "c" and variants 12-68 Introductory 69-116 material de- veloped B "d" 117-152 A "c" and variants 155-215 Idnk based on "c" variants 216-252 Intro. C "d" variants 254-285 A. "c" 286-505 D "c" variants 506-591 .A "c" in new meter 592-485 Coda "c" and variants 484-580 Fig. 6.--Second Quartet, II Movement Main Tonalities Indeterminate D D g# D-Bb-D Indeterminate E - D Indeterminate Indeterminate G-F-C# D 82 The first theme based on major and minor thirds, and the tritone, begins over a series of repeated D's in the sec- ond violin. The major third enters after four measures of the minor third. (Only a portion of the theme is quoted here.) The interval of the third is prominent in motives "a" and "b" of the first movement, but the rhythmic pattern which is pre- sented in the introduction is used to create a new theme, labeled motive "c." Example 56, mm. 15-24 C .5 1 fl , -. a _ 1,—11 11 11 1111111 1T 1111 11 11 1111.11111fifiT‘. 1111111111 1‘ 11 111111 111.1 1.1111 '1' Id 1111 I‘ll 1a 1: mine 1" usudE '.'° ‘fisvvwrv'h‘r' -- :[ Later versions of this theme may alter the number of repeated measures of the length of the sustained note, but that is not considered a variation for the purpose of analy- sis. After some-play on the repeated notes and the 85 semitone slide of motive "c" the 'cello and viola take up a slight variation and extension of the theme. Example 57, mm. 52-57 ‘ 1 an! m WI 1——— ‘ I ‘ 111) 1111‘ 1 1 111 1L% 4. 3 11 1 11 11 11 1 121.111 I I '1 'I 1 I. Iii-J71! 1.1Kw10111 TJ ‘J L- 11? A 1 .1 1.14 1‘ 1'1 ' u 1'" ' L. 1': 1w 1 ' l ' fi' — u/ sir / J“ V V 1 At measure 69 an inverted version of the introductory theme appears. Example 58, m. 69 The next thematic development of significance is a brief play given to part of the introductory theme before it leads into the second part of the rondo. Example 59, mm. 109-112 84 The next important motive, "d," can be shown to be derived from "c." The first two measures shown in the example below derive pitches from the latter part, and the third meas- ure utilizes the same major and minor third of "c." Example 60, mm. 117-119 ‘ 11 111 W A W—I— i f \ 1“ {1}) 1] 11771111 1 11 111111 I l— I o | -J | i C ‘II '3 " ‘ New ..H$ A“ s I The leap of the seventh should be considered as an oc- tave transposition of the semitone motive, derived from "c," the first motive of this movement. Regarding it as such makes the tritone emphasis clearer. After about twenty measures of development of this motive by fragmentations and repetitions, a new version of it appears, cast in a less active mold. Example 61, mm. 159-145 85 In measure 155 the repeated note figure and motive ”c" return. The appoggiatura figure is now ornamented with sixteenth notes and semitones on either side of the main note of D. Once again the intervals are expanded and the momentum grows until the sixteenth notes appear in patterns of four as in the chromatics of the "d" motive. Example 62, mm. 205-206 J (". ) . r . . ' ' ' ' This motive is quickly imitated in the lower parts in inver- sion, and this dialogue is carried on for seven measures. The next passage is accelerated, interrupted by pauses at bar lines, and plays on the tritone of the introductory theme in the same rhythm. The pauses and the tritone give the entire passage the unstable characteristics of a transition or link, leading into an imitative treatment of motive "d," also 86 interspersed with pauses and presented in a thin texture. The return of "c" emerges from a brief syncopated passage. It leads into another section in which the motivic material is taken from still another part of motive "0." Example 63, mm. 306-309 film» 04:84 1 1 11' 111 1 1 f 1 L 117 1 1 1' 1 1 ‘2 duke ——__1 -=’-'- > 1.7. ’y‘ a a a4. , , I- _I_- 7—" ——-.—— -‘fi This material is passed around from part to part, accompanied by pizzicato chords, treated imitatively, and finally leads back into the introductory material by means of emphasizing its tritone. This introductory material now exploits simultaneous use of the original descending interval, the tritone, with its mirror inversion, opposing each other at the minor second. The inner parts reflect the semitone by a sixteenth-note pat- tern. 87 Example 64, mm. 556-557 pmuu)-- ‘f —_—--— b' ,' . 1‘ . ‘ . The next section, beginning at measure 56, returns to motive "d." It is striking because of the abrupt halt of the frantic rhythmic activity. At the close of this section the final pattern of the "d" motive (the eighth followed by two sixteenths) is developed and becomes a triplet. This prepares the ground for the following section, which is in a one-beat three-four meter. This entire section is based on motive "c," the first motive of this movement, and is especially centered on its thirds and minor seconds. Again the technique of pauses is used to signify the end of a section and the beginning of another. 88 The coda is in six-four time, and requires only four measures to reach a prestissimo tempo. The melodic material is that of the first motive, beginning with semitones and thirds and soon expanded to fourths and fifths. The tension is increased by means of this expansion and by the upward mo- tion of all the parts. The final surge is achieved by sud- denly dropping back to one part, then adding each part singly in quick succession. The final measure reaffirms the motive of the third in a conclusive manner, all four parts in unison and octaves. There is scarcely a measure of this movement which is free from the motivic interrelationships demonstrated above. The consistency of the motivic structure is striking through- out the rapid movement. Harmonic Materials The harmonic materials of this movement are varied and reflect several elements of motive "c." Chordal struc- tures consist largely of fifths and octaves. Early in the first section, the bi-modality is established in the first motive's moving from F to F sharp over the insistent D's. Preceding that motive, a chord with no third punctuates the end of the introductory theme. 89 Example 65, m. 7 In motive "d," in which chromatic motion is employed, the accompanying harmony also utilizes minor seconds. 90 Example 66, m. 118 In the next section the accompanying harmony is built on the third of motive "c," while the melodic part at that point clashes by a semitone at the first of the measure. The simultaneous use of Bb and B natural below D constitutes the vertical utilization of the major and minor third structure. 91 Example 67, mm. 184-185 .fi 0 o a ‘ o o As discussed above, this section consists of imitative development, and is separated from the next section by the I introductory material. The semitone motive "d" has already been illustrated, but this statement leads into the syncopated pattern which originally accompanies it, this time expressed in thicker chords. 92 Example 68, mm. 278-279 These chords admit to several analyses. It can be seen that while the first violin plays thirds, both the second violin and 'cello move in double stops in parallel sixths and the viola appears a sixth above the top note of the 'cello. The entire structure, excluding the melodic line, is built up- wards in major and minor sixths (inverted thirds) from the bottom note, thus utilizing the inverted melodic third. The spacing, however, emphasizes another important melodic inter- val of this quartet, the tritone. Chords built on perfect fourths can be found just before the final statement of A, and more chords built on 95 tritones may be found in abundance in the Coda. As if to re- affirm the original simple harmonic basis of the movement, the last sonority is simply a D in all parts. Tonal Structure Figure 6 showed that the tonal shifts were in thirds and tritones, prominent motivic intervals. The tonality of D (major and minor) is firmly established in the twelfth measure and gives stability to the entire movement with its frequent return. Third Movement The over-all form of the third movement is ternary, the middle section being considerably longer than the outer ones. Figure 7 outlines the proportions of parts and the principal tonal shifts. The source motive for the movement is only a slight variation of motive "a" from the first move- ment. Melodic and Rhythmic Motives The first few measures are introductory in nature with more emphasis on sonorities than on melodic motivic ma- terial. However, it should be noted that the first two notes in the first violin outline the tritone, moving in whole notes from A to D sharp. The double stops in the 'cello in the third measure emphasize the augmented fifth or minor sixth 94 Main Motive Motive "8," Slightly Varied Ternary Form Section Motives Used Measures Main Tonalities Introduction Elements of "c" l-lO C (mut. 2) "a" and variants 11-46 A, C#, A "a" variants 47-111 C# A "a" and variants 112-141 A - E - A Fig. 7.--Second Quartet, III Movement 95 harmonically. The ascending semitone, used in the second movement, appears again. The major and minor third, already seen in both first and second movements, appears in the first and second violins. Example 69, mm. 1-4 1 cwmssm. 1 ‘W , PH. The first melodic motive of real significance occurs in the first violin in measure 11. The motive is strongly reminiscent of motive "a" of the first movement, but modified with elements of the major-minor third and the tritone from the second movement. 96 Example 70, mm. 11-12 11 , IMoumut : a 1 1 A r—I‘ Kai ' —l'1'-I--.-2_ " V ‘ ‘ H Within the next few measures, the rhythm remains intact, but the intervals become compressed to thirds. The second part of the first section employs the tritone again, cast in a more active rhythm. Example 71, mm. 25-24 As was the case with the previously quoted motive, the intervals do not remain constant with succeeding state— ments of this motive, but it is recognizable by its rhythm and its contour. Just before the end of this section, the 'cello takes up the motive just quoted and develops it into wider intervals and shortened sustained notes. The tension 97 is heightened greatly by the combination of the quickening of the pace in the rhythmic pattern and a rallentando tempo marking. The passage culminates in a sustained chord, fol- lowed by a pause at the bar-line, marking the beginning of the next section. ‘ The middle section begins with a theme not really new in intervallic relationships, but the texture and mood of the piece change enough to justify calling it a new section. For several measures the texture is almost entirely homophonic, a procedure not often followed by Bartgk. The theme is made up largely of fourths and thirds. It can be seen to be a derivative of "a," so will be labeled as an "a" variant. Example 72, mm. 47-50 "c“chcm) 98 The texture is strictly chordal, the two upper and two lower parts moving in parallel fourths. The two pairs mirror in each other in horizontal movement as well. The second part of the middle section presents an imitative passage, one beat apart, on a theme derived from the first motive of the section, the "a" variant. The first violin and viola are in octaves, as are the second violin and 'cello, so only the two upper parts will be quoted. Example 75, mm. 88-92 D 1? flflbVNW .1 7 0a venom) 1 L “F 1 eff _..—,i.v H _‘ 1'4 --4 H K I i E 1 i I I I i I Y T d I J v ' f v This type of movement continues for about twenty meas- ures, gathering momentum by an accelerando passage and by shortening note values to quarter notes. The effect is heightened by a spread in the pitch range encompassed by the whole texture. The section comes to a close with a pause at a bar-line. 99 The return of the first section begins with the first of the two melodic motives of the section, this time outlin— ing a diminished triad. Example 74, mm. 112-115 a ."(ml 5.11) 1 - ._ o The texture is only slightly imitative, and conveys a pre- dominantly homophonic impression. The section is even shorter at this statement than it was originally, this time spanning only about fifteen measures. At this point a four-measure passage appears that is difficult to reconcile with the remainder of the movement. It is a sudden burst of rhythmic activity, mainly in eighth notes, utilizing syncopation. It is startling in its sudden intensity, and ends almost as abruptly as it began. The mo- tivic materials, however, do have precedent in the fourths and thirds of the variant of motive "a." Example 75, mm. 127-130 100 After the initial serenity returns, the movement comes quickly to a close. A portion of the second part of the first section is stated in the first violin and the move- ment ends on unison A's in the 'cello and viola, pizzicato. The interval of the fourth, both perfect and augmented, plays the main part in this movement. Thirds and major and minor seconds are used, but they are contained almost consist- ently within the outline of a fourth. This causes a tight unity within this piece, in spite of the pronounced changes of texture and mood. The formal problem of unity has been solved by Bartgk by common motivic structure, while the problem of variety is dealt with by change of texture, intervallic and rhythmic variation and tempo changes. Harmonic Material Because of the predominantly homophonic texture of the third movement, harmonic analysis finds fertile ground. The vertical structures are varied, and a few examples of some different types will be quoted. V The first important vertical elements, as quoted in Example 69, are the semitone, the major third, the semitone again, then the augmented fifth or the minor sixth. The semitone motion in the 'cello forms an augmented fifth with the sustained C. This, combined with the E in the viola, forms an augmented triad. The sonority lasts only one 101 measure, however, and is relatively rare in the rest of the movement. The statement of the main motive of the movement marks the first instance in which all four parts are sounding simul- taneously. The harmony at this point is complex and admits of more than one analysis. Example 76, mm. 11-12 In the first beat of the above example the major and minor third from D (both F natural and F sharp) are present. It has been seen that the altered motive "a" contains the same major-minor third element above C sharp. In the same measure (m. 11), G sharp and G natural also alternate above a B. The moving 'cello line creates first a prominent tritone 102 vertical sonority with the upper note of the viola, then a perfect fourth sonority with the lower. Almost every inter- val of the melodic motive is present in the vertical struc- ture in measure 11. The one exception is the minor second, and that occurs on the third beat of measure 12 in the simul- taneous sounding of B and B flat. A few measures later, Example 77, at the point that the intervals of the theme are condensed, the situation is similar. Example 77, mm. 15-16 The harmonic basis of the perfect fourth is a little more dominant in the second of these two examples. An interesting reflection of the melodic element may 105 be seen in the chord that ends the first section of this move- ment. The 'cello as the melodic instrument jumps a major seventh and the accompanying sonority in the three upper parts is a major seventh chord. The resulting combination on the last half of the measure is an augmented-major seventh chord. Example 78, mm. 45-46 The middle section of the form begins with homophonic texture. Examination of Example 72 will show chords built on perfect fourths. The melodic motivic material is also built on the perfect fourths at this point. Chords built on perfect fourths occur throughout the entire movement. The two measures leading up to the sudden 104 agitation near the end of the movement and the syncopated chords themselves are built entirely on perfect fourths. Example 79, mm. 125-128 PM} 7 The relationship of the horizontal intervallic struc- ture to that of the vertical constructions is easily seen in these examples. As stated above, the primary organizing inter- val is the perfect and augmented fourth in the melodic elements, the other intervals being contained within the span of the fourth and the main harmonic interval is also the fourth. Some writers call this a type of "serialization" of materials. Be- cause of the connotations which the term "serialization" has acquired, it might be better simply to call it a consistency. 105 Tonal Structure Although the third movement began on a C tonality (of. Figure 7), the central tonality for the movement is A major-minor. In the last section, A shares almost equal importance with E, but the movement ends firmly on unison A's. Summary The main motives and some variants of each movement have been quoted again in Figure 8 for the purpose of com- parison. The conclusion is inescapable that this quartet is built on fourths, both perfect and augmented. The only real exception to this statement is the motive from the second and third movements which spans sevenths, derived from the rising conjunct fourths, which outline a total distance of a seventh. The harmonic materials reflect the melodic intervals and represent an advance in techniques over the Fi£§t_ Quartet. Chords built in fourths and seconds, as well as some tertian chords, may be found in this quartet. Other harmonic techniques include the added-note type of chord, and bi-tonality. The tonal structure of this quartet is easily deter- mined for the most part. The first movement begins in A and moves in thirds from this center, going through C sharp, A, 106 1:1 111 f 1 v— Fig. 8.--Second String Quartet 107 F, and ends on A. The second movement's main tonality is D, a perfect fourth away, and moves through G sharp at one point. This tritone interval is prominent in the melodic and harmonic structure as well as the tonal relationships. The main body of the second movement is firmly in D. The last movement re- turns to the first tonality of A, moves briefly to a C sharp center, and ends on unison A's. In the opening of the discussion about the Second Quartet, Everett Helm was quoted as saying that this quartet contained the germs for practically all of Bart6k's later practices. Even though Bart6k was only thirty-six years old at the completion of this work, it could indeed have been written at almost any point in his career. CHAPTER IV STRING QUARTET NUMBER 5 General Traits The Third String Quartet is in one large movement, separated into Prima Parte, Seconda parte, Recapitulazione della prime parts, and gggg, Helm indicates that the mate- rial for the entire quartet may be found in a small number of source-motives which are expanded and developed. In addi- tion these motives share several common characteristics in contour and intervals. This technique is found in many other works, but it is so consistent in this work that Helm feels it to be more than coincidence.1 From Helm's own earlier statement, it is probably not important whether or not the technique is a conscious one. This quartet is one of the least easily assimilated and one of the most difficult to perform of the entire set, therefore it is probably the least played. It shows Bart6k in a move towards more intense contrapuntal textures and a more objective style. This stage of Bart6k's development, therefore, shows a parallel with the "neo-classical" trend lHelm, p. 18. 108 109 of the 1920's but Seiber cautions against thinking that it is a mere imitation with.Bart6k. Seiber says that the imi- tators of Hindemith and Stravinsky had no influence on Bart6k, but that the path which he followed was taken because of an 2 inner necessity. Emil Haraszti finds the Third Quartet the "most ma- ture and most distilled manifestation of Bart6k's structural artistry."3 The interlocking of parts is important as a pattern for works that follow and as a logical successor to the techniques of the earlier works. This quartet carries the over-all unity one step further. Now instead of having related motives in different movements, Bart6k is using the same material with different treatment in different sections of the quartet. With this quartet, Bartgk is approaching the "apogee of . . . the orbit" in his move away from traditional tonal- ity.4 The ten years between the Second and Third Quartet saw the exploration begin--now this work and its successor, the Fourth Quartet, represent the furthest extreme to which Bartdk would carry his dissonant trend. The works after these two quartets show a retreat from the extreme position. The innovations of this quartet include advances in 2Seiber, pp. 29-30. sHaraszti, p. 48. 4Stevens, p. 185. 110 techniques of string writing as well as advances in harmony and form. In an apparent attempt at instrumental color within a purposely limited medium, there is an abundance of harmonics, sul ponticello, glissando, and martellato mark- ings. This aspect of the Bart6k quartets, even more pro- nounced in the next work to be discussed, has captured the imagination of many students of Bart6k and has been exagger- ated. Its importance is one of instrumental color and has little to do with the over-all value of the music. Colin Mason says that works of "uncompromising ag- gressiveness" characterize this period, and that it shows Bart6k searching for logic at the expense of euphony. He says that Bart6k had lost faith in romanticism and this work is a tortured experimental work.5 It is interesting to note that this was one of the more successful periods of Bart6k's life, and although he was not enjoying unanimous praise from critics, there is little evidence to indicate that he was in any sort of torture, musically or personally. Prima Parte Figure 9 outlines the source motive, form and tonal shifts of the Prime Parte. Bitonality is important in this Farts, especially in the third section. Even the main tonal- ity of the first and last sections, D, is often embellished with C sharp. 511488011, pp. 5‘60 Section Section Section Section Section Section 111 Source Motive Motive II a" Sectional Form Motive Used "a" (especially syncopation) "a" variant "a" variant (contrapuntal treatment) "a” Fig. 9.--Third Quartet, Prime Parte Measures 1-54 55-46 47-64 65-87 88-112 Main Tonalities D C and F# (55-59) C# and G (59-46) Rapidly shifting dual ton- alities Indeter- minate 112 Melodic and Rhythmic Motives The first motive, announced by the first violin over sustained notes in the two lower parts, is of an introductory nature, but contains the elements of later more important mo- tives. It begins with motion primarily in seconds and expands to fourths and fifths. It also sets the pattern for the gen- eral contour of later themes, a gentle rise and fall within a fairly narrow compass. Example 80,6 mm. 2-6 . MOJCVO')0 '9! The next motive, labeled "a," begins immediately after this introductory material. It is the source material for the bulk of the Prima Parte. The main points of interest are the rising perfect fourth, the falling third,and the tri- tone. The D sharp can be regarded as an ornamentation of the basic motive, but the rhythm between the D sharp and the A is an important rhythmic motive for the generation of succeeding material. 6Copyright 1959 by Universal Edition; renewed 1956. Copyright and renewal assigned to Boosey & Hawkes, Inc., for the U.S.A. 115 Example 81, mm. 6-9 H F“ ’ ~ I 1 L ‘\ A i"' ' i111 K 1‘ i H 1 lVLE_ 11 1 .1 TP r a v Y—f ‘1, J r 0’" _.~_ The three eighth-notes at the end of the second measure of the example, although not as striking as the figure mentioned above, also constitute an important rhythmic pattern. This rhythm had also been found in the introductory material. The distinctive sixteenth-note followed by a dotted eighth is the first to receive treatment in the 'cello, first with the interval of a diminished fifth, then with a perfect fourth. Example 82, mm. 8-10 Motive "a" in its entirety is presented in a modified two-part canon above the snap of the 'cello part. At 114 measure 15 the 'cello and viola take up the theme in imita- tion, with ever expanding intervals. The 'cello line is quoted as an example. Example 85, mm. 14-19 Following this material there is a passage in the first violin that is definitely reminiscent of the introduc- tion. The opening material is suggested both by the charac- teristic rhythm and the general contour. Example 84, mm. 20-25 Iflfibdwfimn ‘ 1‘1 U11 1 1 115 The section closes on an imitation of the main theme, with expanded intervals, between the first violin and viola. The second violin is playing sixteenth notes on alternating semitones while the 'cello quarter notes exploit instrumental effects by simultaneous use of unison stopped notes and har- monics. The effect created is one of vagueness, somewhat like an impressionistic sound. The last three chords of the section outline the main motive of the theme, but passing the notes between the first and second violins. Following the highest note of each chord outlines motive "a," G, C, and A, as shown in the dotted lines in the example below. Example 85, m. 55 The second section begins over ostinatos in the 'cello and viola which follow the same intervallic pattern but a half- beat apart and at different tonal levels. The viola, which 116 begins first, will be quoted. Example 86, m. 55 ' ”I ml 4(1019?» ) l l 1 El ’1 .i 1f 1 1111 1\ r 1;;1 *LT 11 1e 11 1\11111 4- .1 + y These ostinatos are constructed of the three notes of the source motive. The first and second violin also oppose each other in tonal level and are inverted rhythmically and tonally one from the other. The motivic material is the repeated note and the conjunct motion, while the rhythmic material exploits the quick syncopation of motive "a," second measure (cf. Ex. 81). Example 87, mm. 36-38 I sul "The“. ' is? 117 This section is brief and serves as a transition to the third section, which uses material based on motive "a," but with generally inverted contour. Example 88, mm. 47-51 - Hi Instead of an ascending fourth, the first interval is a de- scending fifth, and the interval of the third becomes a de- scending sixth. The remainder of the section develops this motive variation and the syncopated rhythm. The fourth section demonstrates still another version of the source motive, this time an ascending diminished fifth and a descending perfect fourth. It is treated imitatively at the interval of the fourth, an example of the contrapuntal utilization of the melodic motive. 118 Example 89, mm. 65-67 A 4‘ 1 Again the imitative texture gives way to repeated chords, this time rapid iterations separated by brief rests. A 92222 passage of four measures leads into the first theme, played in octaves in the second violin and viola, while the outer parts furnish pedal tones and accompanying chords. The chords in the 'cello are on the beat, while the first violin's chords are syncopated. This constitutes a combination of the melodic and rhythmic characteristics of motive ”a." 119 Example 90, mm. 87-89 Throughout this section the outer parts maintain their accompanying function, while the inner parts furnish the melodic material. The impressionistic mood of the lat- ter part of the first section is recapitulated in the latter part of this section with half-beat alternations of harmonics and stopped notes. Harmonic Materials An indication of the degree of dissonance which can be found in this quartet is present in the first sonority, which builds up from a C sharp and D in the 'cello, and E in 120 the viola, and a D sharp in the second violin. Above this sustained sound the first violin enters with the introductory theme, which is concentrated at the outset on seconds. Example 91, mm. 1-2 As the melodic material expands into wider intervals, the vertical sonorities reflect the expansion. Although most of the first section is contrapuntal, the section ends with three chords built in fifths, with successive roots on G, C, and A. The highest notes outline motive ”a" as discussed above (of. Ex. 85); the 'cello notes and the lowest notes also outline this motive. The final consistency lies in the fact that the roots of each fifth, G, G, and A, follow the outline. 121 Example 92, m. 55 )‘ Coolant 1:60 . Bi-tonality is frequent in this movement. The second section begins with a delineation of the two tonal centers of C and F sharp in the ostinato patterns in the 'cello and V1018 0 Example 95, m. 55 122 The melodic material above these ostinatos is cast in a dual tonality, although the designation of each key cen- ter is indeterminate. The frequent semitone opposition of the two parts comes about in this instance because of contra- puntal considerations, and is often the result of the mirror inversion. The beginnings of the two parts correspond tonally with the lower parts in that the second violin begins on A natural and the first begins on A sharp. Example 94, mm. 56-57 Another clear-cut example of bi-tonality comes in the third section of this movement, this time in opposing triads. The two sonorities of E flat minor and F major are set against each other, the lower parts paired against the upper. 125 Example 95, m. 55 115-ff The syncopated punctuation chords of this section remain bi-tonal, sometimes opposing two triads, sometimes opposing a triad against a chord built upward in fifths. 124 Example 96, mm. 54-55 Analysis of the chords in succession would be G flat fifths against G major triad, E flat minor against F major, F-C fifth (over the pedal G flat) against A flat fifths, E flat minor against F major. The final section of the 25333 also emphasizes a bi- tonal framework, but only in setting the pedal in the 'cello against the other three parts. It is possible that C sharp and G sharp are only substitutes for D and A, the real root of the tonality here and in the opening measures, thus adding color to the chord by means of “wrong" notes. 125 Example 97, mm. 88-89 In the final measure, the persistent double pedal in the 'cello moves from C sharp and G sharp to D and A. The harmony of this movement is varied, containing several different types of vertical sonorities. The most striking element of the movement is bi-tonality, opposing traditional triads at times. There are chords built on per- fect fifths and chords built on seconds. These two latter types are not as different as they seem at first glance, for piling up fifths creates seconds, or rather ninths. It is, then, a matter of spacing which distinguishes the chords built in fifths from those built in seconds. It has already been demonstrated in Examples 80 and 81 126 that the intervallic structure of the horizontal material centers around fourths, thirds, and seconds. The use of triads, chords built in seconds and fifths (inverted fourths) clearly is consistent with the melodic material. The texture is further complicated by bi-tonality. Tonal Structure The Prima Parts of the Third Quartet is centered around the tonality of D. Knowing this, one is able to dis- cern a D center from the opening, but it is unlikely that the opening page of the quartet would be interpreted as D without the material which follows it. The note D is present, but so are C sharp, D sharp, and E. Viewed in the context of the entire movement, the notes above and below D can be seen as ornamental, thus reinforcing the D. The succeeding tonal centers were outlined in Figure 9, showing the emphasis on bi-tonality. Seconda Parte The over-all form of the Seconda Parte can be compared to a sonata-allegro form. There is an introductory theme, a principal theme, which is based on the same scalar structure as the introductory theme,and a second subject, new only in its characteristic rhythm. Even though the motives are greatly developed long before the beginning of the development section, there is a middle section of developmental nature, a fugal ,9 127 treatment being one of the devices used. The recapitulation begins with the introductory theme, omits the first theme and moves directly to the second theme of the exposition. Figure 10 outlines this form and the principal tonal shifts. Melodic and Rhythmic Materials The introductory motive, which is labeled "b" and is the source material for the Seconda Parte, is based on con- junct motion, largely diatonic. The rhythm is three eighth notes after an eighth rest, which can be compared to the in- troductory motive of the Prima Parte. The fourths in the last part of the theme echo motive "a." Example 98, mm. 5-11 " bis l'W‘f+$l) “111,1. '9 "b" < "if Infieduhonfpnma$MIu "4“ The conjunct motion had been forecast by a semitone series of four notes just before the theme had begun, marked 128 Source Motive MOt 1V9 "b I! Section Introduction 1st Theme 2nd Theme Development Introduction 2nd Theme Fig. 10.—4Third Quartet, Seconda Parte Sonata-Allegro Form Motives Used "b" "b" in rhythmic variant "b" variant "b" variants "b" "b" variant Measures 1-25 26-79 80-181 182-284 285-501 502-418 Main Tonalities D Eb Shifting Ab. C. E. A, D, etc. Rapidly shifting C# Largely D 129 qgasi glissando. This motive is now extended to sixteenth notes in diatonic motion, and used as an answer in the first violin. Example 99, mm. 11-15 pl .4 to r-‘P- p..—-¢ The main theme of the sonato-allegro form appears at measure 26. Like most of the material in the movement, it is new'only in its rhythm: dotted notes and changing meters. It can be seen that this is a slight variant of motive "b" cast in a new rhythm. Example 100, mm. 26-28 “b“ H V V H T1 11 L l x. fi1 111111 1 / “Av . 150 The introductory theme, placed into longer notes and inter- spersed with brief rests, accompanies this theme at its origi- nal tonal level. "The repeated notes of the last part of the main theme serve as the precedent for later materials of the exposition section as well as the other parts of the form. Generally speaking, the contrapuntal texture of the statement of this theme is not complex. It is expanded and developed tonally, but there is not a great deal of imitation. One contrapuntal device is used: that of combining the original form simultaneously with its inversion. Example 101, mm. 58-59 The second theme is derived directly from the intro- ductory theme and the first theme of the Parte, motive "b.” As was the case with the main theme, it differs only in its rhythm, this time using syncopation across the bar-line. 151 Example 102, mm. 80-88 n n V n .— 7‘ 1 v n " n f-1 ' 111 111‘ 1'1 111:2. 1 11\1 1l —— UV fi ”fi— , 1 1 1 W111 111 1.11. 6 r11..1 1111.11} 1111\1f\1T7'1— HALL: 111.110 fur . 1 ll’.L.l 11'! ’11.; 111111111. 1— i III!) ""1 111 1 1 111" J: 1" 1.1 1.111(111/ If f u—I—r 1__1 v r' ' 5‘ a 1 f “‘ .— 1411 A! I b TVEnoFoci L ”1111 ‘1 I . 1 L. 11‘ 1 1 1‘1 . J1 71 11111141 1.." - 11 1 1 11. 1 1fli 1 )1 ‘m 1 11 11:11. ' 111'rn11.111.1 111.1.11111111 ‘r1 ' 1;;110' 1 1 1 1 1 1" 1n ' 1 we 1.. 1 1.1 Is! 11 I Tr hT—d w V ‘ b+ D‘ I" .51 After a brief interlude containing measured tremolos and semitone trills, this theme is treated canonically be- tween the first and second violins, first on C, then on E. The canon is then transferred to the 'cello and viola, this time on A. The return of the theme to the two upper parts is on D, and the next two entries are on G and C. Culminat- ing the canonic section is a passage in which the two upper parts are in canon on C, while the two lower parts are in canon on F sharp, with the inversion of the theme. It de- velops into a passage in which the voices are paired in thirds, opposing in direction and tonality. 132 Example 105, mm. 154-158 fi,‘ 7.7-? _v This treatment continues, and the lower parts move up in pitch at each new entry. After one final statement in which the top parts are up a fifth from the original statement quoted above, and the lower parts have moved down a ninth, the violins move into a sixteenth note pattern which pre- pares fer the closing part of the exposition. The motive is a variant of the sixteenth note pattern from the first page of the Parts (of. Ex. 99). This material is inverted and imitated in the viola and 'cello on D natural and F, and con- tinues in this vein until an emphasis on the repeated-note pattern leads into the development. 153 Example 104, mm. 152-154 The development begins at measure 182, and plays on the sixteenth-note pattern from the first page, the material which accompanies the introductory theme. It is accompanied by repeated notes, E flats, until measure 211. At that point fragments of the sixteenth-note motive and the principal theme are treated imitatively, accompanied with sforzando chords intermittently in the other parts. Finally a series of fortissimo chords, all marked with a down—bow, and a short passage on the rapidly reiterated notes lead into a fugal treatment. Robin Hawthorne, in writing about Bartok's fugal technique, points to this fugue as an excellent example. Hawthorne contends that Bartok does not write in double 134 counterpoint because his counter-subjects are not independent enough to assume their own function. Although the counter- subject of this fugue has some independence, it still clings to the subject and is derived from it. Bartok's use of double counterpoint is also limited by the fact that the fugal sec- tions are used as sections of larger movements, not as inde- pendent pieces.7 The subject of the fugue is the conjunct motion which pervades the movement, but it also utilizes the repeated notes of the main theme. Example 105, mm. 242-245 H5N$us~4a4tfil 7Robin Hawthorne, "The Fugal Technique of 361. Bartok," Music Review, X, No. 4 (November, 1949), 281-82. 155 The successive entries of the fugal section are on A, E, A, and E. 'Very shortly after the subject is presented, there is a stretto section, the material entering a beat apart, then a stretto of the inversion of the theme, also a beat apart. Finishing the fugal section is a stretto in which the entries are only a half-beat apart, falling on F sharp, A, D, and D sharp, emphasizing the tritone outline of the fugue subject and counter-subject. The fugal treatment gives way to the repeated notes, which serve as a transition to the recapitulation. Motive "b," the introductory theme, appears a minor second lower than originally and is treated in a stretto imitation itself. At this point the texture becomes rhythmically complicated. While the 'cello is engaged in motive "b" and the violins are concerned mainly with the repeated-note motive, the viola is in a different meter with a variation of "b," embellishing the descending part with thirds. The dual meter had appeared at the beginning, but in less complex surroundings. The second subject of the exposition appears, again in a canonic treatment. The successive entries are on B flat, F, C, and D. This gives way to sustained chords in the two upper parts against short glissandos in the lower parts. Finally all parts engage in the glissandos and the intervals are widened to octaves and ninths. The sliding movement is interspersed with staccato dissonant chords. 136 Example 106, mm. 291-294 At measure 377 a short coda begins, based on sus-~ tained notes and repeated chords. Just before the pin mosso which ends the movement, the trill of the opening measure re- turns, marked fortissimo in all parts. From that point until the end the texture thins, but the parts are still marked fortissimo, finally ending the movement on unison F's in the 'cello and viola. The entire material for the Seconda Parte is taken from a scale line stated in the introductory theme. The only factor that differentiates one theme from another is the dif- ferent rhythms into which they are cast. Although it is not possible to call this a variation form, variation is used as 137 a technique, with the result that a scale line, a theme which covered only one octave, was used as the material for an ex- tended movement. Harmonic Materials The harmonic materials, like the melodic elements, are almost traditional. The melodic material is made up of indeterminate and bi-tonal scales, whereas the harmonic mate- rial employs triads, sometimes in a usage quite close to tra- ditional, sometimes in a bi-tonal context, sometimes with "wrong" notes, comparable to some of the chords from the grime 22332, Examples of various types will be chosen. The opening of the Seconda Parte sets the pattern for the harmony, Just as the opening had done on the Prime Parte. The 'cello and viola have unison E flat, the first violin has a D and the second violin is trilling from D to E flat. The multiple stops of the 'cello in the introductory theme, motive "b," form simple triads. This was quoted in Example 98. 158 Example 107, m. 1 The statement of the principal theme, a variant of "b," affords an example of clear-cut bi-tonality, D and E flat being prominent. 159 Example 108, mm. 26—28 ‘ -,._._1 Most of the harmony of this part can be classified under "embellished" harmony, that is, traditional triads with "wrong" notes present. The next example demonstrates that it is occasionally a result of pedals or inverted pedals. The D and E flat from the first measure continue stubbornly and embellish the fifth of A minor, the tonality of the me- lodic line. Since E flat is the only foreign note in this I passage the harmonic structure becomes an embellished A rather than the bi—tonality of Example 108. 140 Example 109, m. 38 Just before the entrance of the subordinate theme in the exposition the D and E flat appear above an A flat sonor- ity. This continues when the second theme enters on A flat. The excerpt quoted is taken from four measures before the en- trance of the subordinate theme. Example 110, m. 76 Examples of this technique are numerous throughout the entire Seconda Parte. A use of bi-tonality in a contrapuntal framework was quoted in Example 103. The upper parts are, for the most part, in a C Iydian mode, while the lower parts are in a mixed mode on D sharp. Since the parts are paired against each other, are moving in opposite directions, and are separated by a larger interval than a third, the delineation of the two tonalities is unusually clear. I An example of bi-modality can be found in the transi- tional passage leading from the exposition to the development. The chord is C with both a major and a minor third. The 142 sonority is further embellished by a D at the start of meas- ure 176. Example 111, mm. 175-176 Almost traditional harmony can be found at the begin- ning of the development section. For several measures this section falls into E-flat, with added A naturals in the 'cello. 143 Example 112, mm. 182-185 The harmonic materials in the Seconda Parte do not reflect the melodic material as obviously as they do in other movements of Bartok. With a melodic motive constructed in seconds, Bartok often sets the harmony in clusters. This will be seen extensively in the Fourth Quarte . However, there is a definite correlation between the vertical and horizontal elements as pointed out earlier. These techniques represent a contemporary usage of harmonies that are really not far re- moved from traditional practices. Tonal Structure The main tonality of the Seconda Parte is centered on 144 D, quite often embellished with E flat. The introductory theme is firmly rooted in D, and the principal theme is in E flat, stated over the opening theme augmented and still in D. Ignoring the minor shifts, the next important center, still in the principal theme, is F. Before modulating into A flat for the second theme, D and its accompanying E flat again govern the tonality. Figure 10 showed the primary tonal shifts for the re- mainder of the Eagtg, The largest body of the Eggtg_can be found to be not far from D, sometimes replaced with C sharp. This is consistent with the "wrong-note" style of much of the harmony. Ricapitulazione della prima parts This section is quite short and constitutes a sugges- tion of the first section rather than a literal repeat. The material is derived from that of the Prime Parte but not taken from it note for note. Figure 11 shows that this Parte is also in five sections, but greatly abbreviated. Most of the Parts is tonally vague, with a slight emphasis on D sharp. Melodic and Rhythmic Motives The main motive of the Prime Parte, motive "a," is a rising perfect fourth and a falling third. In this movement the sequence of notes within the same motive is rearranged. 145 Source Motive Motive "a" Sectional Form Section Motives Used Measures Main Tonalities Section 1 "a" variant 1-16 D# Section 2 "a" variant (espe- 17-29 Indeterminant cially syncopation) Section 3 "a" variant 30-48 Indeterminant Section 4 Theme derived from 49-64 Indeterminant "a" variant Section 5 "a" variant 65-70 D# Fig. ll.--Third Quartet, Ricapitulazione della Prima Parte 146 The first statement of the motive is a falling sixth (in- verted rising third) and a rising step, thus outlining the fourth, or fifth as it is here in inversion. Example 115, mm. 5-6 - .7.—_.P .. 1 (P011 0M1 luv“ 4) 1. O." . ,1, , .. . - . ~-.————_—--—--vv— fl 4.. _ —-———-v— __._-—. .. 1-- fl w!- 0-.— This motive undergoes intervallic expansion and is treated imitatively before the brief section gives way to the material of the second section. The second motive of the Prime Parte is represented by a brief play on the repeated note figure, the semitone upward progression and the snap rhythm. The entire reference is only four measures long before the reorganized material of the first part is combined with it. Example 114, mm. 17-19 1 1 3‘ u. I r . .d I 1 I V% T R v V 147 Following this reference the material of the first and second sections are combined, the material of the first section now inverted. Example 115, mm. 23-26 After this combination there are no new motivic varia- tions, only contrapuntal treatments of motives already heard. The part ends with a last reference to motive "a." Hammonic Materials The harmony is generally in closer structure than the first part; there are a few examples of clusters and chords based on tritones instead of perfect fourths. Bi-modal har- monies can be found, but only a few examples of bi-tonality as there were in the first section. The first statement of the repeated notes (from the 148 second section of the Prima Parte) is cast in a vertical so- nority which contains minor seconds. Example 116, m. 17 Another example of the tightening of the harmonic materials can be found in the passage beginning in measure 34. The sonorities are comprised of semitones and tritones, the intervals prophesied by the opening of the Parte. 149 Example 117, mm. 34-56 At measure 49, where the inversion of the sixteenth- note figure is developed, there is an example of bi-modality. The lower parts have an F minor third while the upper parts have A-natural and C. The passage closes on D major and minor triad. 150 Example 118, mm. 49.-52 It remains only to illustrate the use of quartal har- mony in order to show the harmonic correspondence between this gagtg_and the Prima Parte. At the section in which the repeated notes are used, almost at the end of the Ricapitulazione, there is a striking example of chords built on fourths, as well as other intervals. 151 Example 119, mm. 61-62 9N Lint C numb-1'0 (this!) (Team) To summarize, the harmony of the Ricapitulazione is made of smaller intervals than that of the Prima Parte. There is an emphasis on the tritone and on clusters that was absent in the Prima Parte. Examples of bi-modality and bi-tonality may be found in both places, as well as chords built on fourths. In harmony as in the melodic elements, the repeat of the Prima Parte suggested rather than literal. Tonal Structure The tonal structure of the Ricapitulazione is less definite than its previous counterpart. Since the section 152 begins on D sharp, the note D sharp is prominent through the 22332, and the last measure emphasizes D and D sharp, the tonal organization around D sharp would seem to be conclusive. It can be recalled that the Prima Parte was centered on D with an auxiliary note C sharp. The return of the Prima Parte finds an emphasis on D sharp, a further ornamentation of the note D. Coda The Coda, like the Seconda Parte, is comparable to sonata-allegro form, but with smaller sections. The largest difference between the two forms is that the Coda's recapitu- lation includes both themes. Melodic and Rhythmic Motives The coda is based on material from the Seconda Parte. It begins on the repeated E flats from the Seconda Parte, this time over a C instead of the D. There are no new motives in the ggda_nor are there any significantly new motivic variations. Contrapuntal de- vices, such as fugato, inversion, and fragmentation, are ap- plied to motives already clearly seen in the Seconda Parte. The quartet comes to a close on a succession of repeated notes, measured trills and tremolandos, and a fortissimo chord. 153 Source Motive Motive "b" Sonata-Allegro Form Section Motives Used Measures Main Tonalities lst Theme "b" 1-23 C 2nd Theme "b" in rhythmic 24-57 c and 075‘ variant Development "b" and variants 58-76 Indetermi- . nant lst Theme "b" variant (oontra- 77-83 Indetermi- puntal) nant 2nd Theme "b" 84-106 013‘ Coda Syncopation 107-121 C# Fig. 12.--Thirdgguartet, Coda 154 Harmonic Materials The Coda begins with a new kind of harmony for this section, in that it begins in C, with no immediate added notes that characterized the Seconda Parte. Example 120, mm. 1-3 The first measure was not prophetic in this case, however, for bi-tonality is soon in evidence in the contra- puntal treatment of the sixteenth-note theme. When the in- version of the dotted-note theme begins its section, an added-note chord is used for punctuation. 155 Example 121, m. 25 The chord on the second eighth note is a C sharp minor triad with an added A. It could be analyzed as an A major seventh chord, but the spacing indicates the added-note analysis. A reminiscence of the harmonic technique of the first part is found in the final chord of the ggdg, a chord built upward in fifths from the bass note of C sharp. The chord includes C sharp, G sharp, D sharp, and A sharp. 156 Example 122, m. 121 The harmonic materials of the Coda include traditional triads, chords of added notes and chords built in fifths. Harmonically the Coda partially summarizes the entire quartet. Tonal Structure Surprisingly the Gods begins on a firm C and ends on a firm C sharp. Those two centers and G sharp are the only tonal centers of any appreciable duration in the gggg. The first and second movements having been centered on D with added notes on either side of the principal note, the third and fourth parts then adopted the ornamentation notes as 157 .their tonal centers D sharp and C sharp, respectively. It results in an unusual tonal organization but a very logical one . Summary The melodic and rhythmic motives center around two source motives for this quartet, the first containing the in- tervals of the perfect fourth, tritone and a third, syncopa- tion. The second motive is basically a scale pattern appear- ing in several rhythmic guises. Figure 15 summarizes these motives. I The introductory motive of the Prima Parte is not only important in its own right, but also serves as the gen- erator for the source motive of the 22332, The rhythm of the sixteenth-note on the beat is taken up in the second theme and turned into another theme. All the material of the ggimg Eggtg_can be traced back to the source motive, "a." The Seconda Parte is based on a scale pattern. The entire movement is based on the conjunct motion, creating variety through use of different rhythms. The material is treated imitatively, inverted, canonically, and fugally. The movement's contrapuntal texture is generally complex. The Ricapitulazione della prima_parte is quite brief and is more of a suggestion of the Prima Parte than a literal repetition. The source motive has been modified, but the other motive remains basically the same. 158 \M l --1 IR“. 9‘ .75 “.TWL A- ALL J'L I :3 L '1 1T1 Third Stringj),uartet Fig. 1.50“ 159 The Coda uses material from the Seconda Parte and treats it in much the same way. There are no new motives or any significant modifications of melodic and rhythmic mate- rials in the dig. Harmonically, the quartet reflects the quartal hori- zontal movement by using chords built in fourths. Biémodality and bi—tonality are used as well as added note chords and chords built on the interval of the fifth. Often the harmonic usage is almost traditional, especially in the Seconda Parte in which the melodic material is also traditional with a few deviations. The tonal structure is perhaps the most interesting point of the quartet. The first part is centered on D, but with accessory notes of C sharp and D sharp often in evi- dence. The second part is also centered on D, but it is sel- dom without an accompanying E flat sounding simultaneously. The recapitulation of the first part is rather indeterminate in tonality, but is largely centered on D sharp, the auxiliary note of the second part. Finally the ggdg_finishes on a strong C sharp, the accompanying note of the first section. If a key must be assigned to the quartet, it would be D, for the C sharp and D sharp may be considered to be variations of the note D in the over-all picture, just as added and "wrong" notes appear in the harmony. The Third Quartet finds Barték totally committed to 160 polyphonic principles and experimenting with dissonant har- monies. Liberties must occasionally be taken to classify the forms under traditional labels, but unity is achieved by mo- tivic structure. CHAPTER V STRING QUARTET NUMBER 4 General Traits The Fourth Quartet has fascinated more writers on music than any of its companions. It offers a fertile ground for analysis of contemporary compositional techniques, par- ticularly in the subject under discussion. Nowhere else in the Bartsk quartets is the motivic unity so evident as in this work. The Fourth falls at the apex of Bart6k's middle period, the period of the strongest dissonance. The tendencies of the Third Qpartet are fully developed in this work--the harmonic idiom is harsher still and the texture is uncompromisingly linear.1 Helm.says that the Fourth Quartet revels in disso- nance. It is the closest that Bartgk ever comes to atonality, yet even this work is far from it.2 Although harmonic analy- sis in the traditional functional sense is not possible, to- nality is imparted by an emphasis on line. The work is quite contrapuntal, but the parts are not perceived as being equal in importance. 1Seiber, p. 30. ZHelm, p. 19. 161 162 The idea of formal coherence by means of interlocking material of movements is developed to an even more symmetrical conclusion than in the other quartets. Stevens says that it is the summit of Bartgk's constructive genius.3 The five move- ments of its arch form are intricately related in thematic ma- terial as well as tonal organization. Movements one and five share material and the key center C; movements two and four, both fast movements, are related not only by common motives but by a pivotal key relationship to the main key, two being centered on E, a third above C, and four on A flat, a third below C. The third movement, or "keystone" of the arch, is a slow movement, and is often called the source movement of the quartet. Milton Babbitt points to the "serialization" in the opening of the Fourth Quartet, suggesting that horizontal ele- ments are utilized in the vertical structure as well. But serialization, even in its broadest sense, is only one of the many integrative methods in Bart6k. Babbitt says, "Never 114 does it create the context. In this same vein Allen Forte wrote concerning the "serial" techniques of the third move- ment of the Fourth Quartet, but in his article admits that it is not the serial technique of the Viennese atonalists, 3Stevens, p. 186. 4Milton Babbitt, "The String Quartets of Bartbk," Musicalggparterly, XXXV, No. 5 (July, 1949), 582-85. 165 but rather an "elaborate expression of a relational system that closely resembles a serial schema."5 Emil Haraszti speaks of the influence of Schenberg which is evident in this work, but BartGk admitted this himself. According to Haraszti the influence is evident in the structural devices, but they are only a means to an end, not the and itself. Whereas Sch3nberg's music is "cerebral," Bart6k's is sensual; while Scthberg and Hindemith are lost in intellectualism, Bartgk is individual.6 Peter Hansen summarizes the importance of the Fourth Quartet: "Bart6k's Fourth String Quartet embodies many of his outstanding style characteristics. The boldness and au- dacity of the dissonances, the unusual devices, the narrow compass of the modal melodies--these are some of the elements of this important composition."7 First Movement In the delineation of materials this movement can be compared with a conventional sonata-allegro form with a double statement of the principal theme in the exposition. As before, the two separate themes are not entirely separable, but a difference in treatment gives each theme distinct 5Forte, p. 95. 6Haraszti, p. 49. 7Peter S. Hansen, An Introduction to Twentiethtggne tury Music (Boston: Allyn and Bacon, Inc., 1961), p. 251. 164 characteristics of its own (cf. Exs. 125 and 127). Figure 14 shows the source motives, the outline of the sonata-allegro structure, and the main tonalities. Melodic and Rhythmic Motives The introductory measures of the first movement set the pattern for the minor second texture which pervades the work. Since it is not Bart6k's practice to leave a motive unmodified for long, the third and fourth measures expand most of the ascending intervals to major seconds. The wider intervals in the 'cello predict the second subject. Example 123,8 mm. 1-4 V- _,- 8Copyright 1929 by Universal Edition, renewed 1956. Copyright and renewal assigned to Boosey & Hawkes Inc., for the U.S.A. Section Introduction A B A Development Coda Fig. 165 Source Motives Motive "a" Hair. Motive "b" ——0 ‘C 1'._,.. Sonata-Allegro Form Motives Used Measures ”a" (fragments) 1-10 "a" 11-15 "b" 14-24 "a" 25-49 "a" 50-59 "b" (and "a") 60-82 "a" 85-92 "a" 95-104 "b" 105-115 "a" 116-126 "a" 127-161 l4.--Fourth Quartet, I Movement Main Tonalities C C c# C Begins on C, rapidly shifting C G# C C 166 The descending part of the theme is immediately treated to imitation at the minor second interval, with the third and fourth entries in rhythmic diminution. The main motive for the movement is gradually taking shape. Example 124, mm. 4-5 The main motive, designated ”a," is announced in its final form in measure 7 in the 'cello, but it is not yet de- veloped, so this statement can be considered as a forecast of the exposition. Example 125, m. 7 167 After three more measures of sustained dissonances, similar to the opening measure, the principal motive is stated and imitated with its own mirror inversion. The first violin and viola are doubled in octaves as are the second violin and 'cello. Only the two upper parts will be quoted. Example 126, mm. ll-12 01 .. ' " 111111.111“) r" ‘ The second theme is derived from the first, but with expanded intervals and less active rhythm. The treatment is highly contrapuntal, three voices taking part in a canonic passage, while the fourth, the viola, furnishes a whole step ostinato. The length of the motive and the length of the measures do not correspond, creating a displaced accent. 168 Example 127, mm. 17-18 .-- ea - -- fi' w—‘~*— This second motive, designated "b," contains thirds in addition to the semitones and whole tones of motive "a," and outlines the entire compass of a tritone. It can be ob- served that it is a six-note motive as the first one was, three notes ascending and three descending. At the end of this brief statement of the second theme, there is a transitional motive which utilizes the first half of motive "a." Example 128, m. 25 , t- A. A A L 1’ J 1 é 1 L1 l‘ 169 The counter-theme is reminiscent of motive "b" in its intervallic structure, but it is only a brief suggestion. Motive "b" outlines augmented fourths in both halves; this counter-theme begins with an augmented fourth, then compresses the interval to thirds and seconds. Example 129, mm. 40-45 The end of the exposition comes in sixteenth—note triplets in semitones, covering the span of the minor third which the principal motive had occupied. 170 Example 150, m. 48 The development begins with a build-up of minor sec- onds like the introductory measures, which also expand into major seconds as they did earlier, this time with glissandos. A part of motive "a," with one note omitted, is the first treated, handled first in the context of the sixteenth-note rhythm. Example 151, m. 54 ! "47(ha149cst5) : 171 Before the second subject, motive ”b," is treated, a background of measured trills in minor seconds is established. The second subject, originally appearing in a canonic fashion, is now treated in inverse imitation. This texture prevails for some time before the main motive returns. Example 152, mm. 60-61 The trill passages are interspersed with glissandos, then with fragments of the principal motive, and finally with the principal motive in its entirety. This texture leads to the recapitulation. Recapitulations are seldom literal repetitions in the music of Bart6k, and this one is no exception. The chief in- novation of the statement of the main theme is that it is 172 combined with the upward sliding semitones of the introductory measures on its first statement. The two materials are then separated and the introductory material leads into the second subject, as it did in the exposition. The second theme's treatment is almost identical with its first statement in material and in length. The return of the first theme develops the motive through extension of the line. Example 155, mm. 117-119 The coda is based on variants of the main theme. The first version consists of sequential extension of the inversion of the theme and rhythmic embellishment with extra sixteenth notes. 175 Example 154, mm. 126-127 V1251reuc,l:nzo I 1 1 l I 1 1 : i 111 1 metre ‘ ' ‘} mle’g’ M 5'”. 1 "df(hw«fimléiihmAuD a: a ‘1 .1 felt" 513 "b:$oo’$ *;#‘£7 ‘ [ .. __-—-'-.—.—~——- This statement, the original and its inversion are later interspersed with motion ascending in major and minor thirds, first in quarter notes, then in eighth notes. Example 155, mm. 140-142 The thirds represent a wide intervallic expansion of the ascending part of motive "a," but also can be found to have a precedent in the intervals of the 'cello in the first measure 0 174 Example 156, m. 1 ~- From this point on until the end of the movement there are no significant changes in the main motive, but an interesting contrapuntal device occurs five measures before the end. Here the instruments are paired in octaves instead of the minor seconds which have pervaded the movement, indi- cating the same sort of "wrong" note treatment encountered in the Third Quartet. The minor seconds, major sevenths, and minor ninths can be regarded, then, as slightly misplaced octaves and unisons. The movement ends on strong unison and octave C's. The motivic unity of this movement, as in the other movements of this quartet, is striking. There is scarcely a measure which is free from motive ”a" or one of its deriva- tives. The technique of molding a tight unity by this method, only embryonic in the earlier works, can be seen now to have 175 reached full maturity. Harmonic Materials The vertical use of the horizontal motivic elements is consistent in this movement. The first measure introduced melodic minor seconds, in the upper parts, with sixths in the lower part. The intervals in the upper parts were soon ex- panded to major seconds melodically. Almost all of the verti- cal sonorities are constructed in minor and major seconds, with a few striking examples of exact serialization of the two elements. Representative examples of these techniques are quoted below. Example 125 quoted all the parts with their minor second melodic movements, leading to the first subject. Examination shows that the vertical combinations also con- tain minor seconds. Example 157 11.4. 1... 1.1 .1... ‘: 1 l | 1 I 1 1 I . 1 ; 1 1 ) , i 7 13'? 1 11 | ”F; , 176 The same technique is demonstrated in Example 124, 9 wherein the imitative entries are semitones apart, and the 7 v resulting sonority, which is sustained long enough for the {definite chordal effect to be heard, consists entirely of minor seconds piled up from the bass note. The thematic material is developed for several measures, with the same vertical sonorities accompanying it. Example 158, m. 5 -The second theme, Example 127, contains wider inter- vals. Although the texture of this passage is contrapuntal rather than harmonic, it should be noted that the imitative entries begin on G sharp, C sharp, and G sharp, in that order, reflecting the wider intervals of its melodic motive. Examples of triads and seventh chords may be found shortly before the end of the exposition section. The example quoted leads into a multiple-stop treatment of the principal motive. The use of triads is traditional except for the over- lapping of the two sets in the paired parts by a major second. 177 Example 159, mm. 57-58 An example of the use of not only the same intervals but the same notes both vertically and horizontally can be found just before the beginning of the development section. The lower parts imitate each other with the triplet motive, using the notes C sharp, D, D sharp, and E melodically. The sustained sonority in the violins is constructed of the same notes. 178 Example 140, m. 47 Passages in which the vertical sonority is emphasized to the exclusion of horizontal interest are relatively rare in this movement, but occasionally the contrapuntal texture becomes thin enough that the interest is diverted from the movement of the individual lines to the composite sound. Such a passage was quoted in Example 152, occurring within the development section of the sonata form. The violins play trills in minor seconds, set a minor second apart, re- calling motive "a" while the 'cello has the wider intervals of the second subject. 179 Example 141, m. 61 In the recapitulation section, the melodic sixths of the 'cello in the introductory measures take on vertical sig- nificance when they move up this time in parallel sixths. 180 Example 142, mm. 140-141 f_. ..=::; q , The widening of the intervals and the extension of the main theme in the coda was pointed out. The harmonic intervals are also expanded at the same time, and chords built in major seconds instead of the original minor seconds may be found. 181 Example 145, mm. 140-141 The simplification of the minor second to the unison and octave in the last of this movement was discussed above. The final two measures contain the principal subject punctu- ated with complex sonorities of the types already quoted, but the final sonority is built of unisons and octaves. It can be seen, then, that not only is the motivic structure unified in its horizontal treatment, but that the unity is reinforced by the use of the same motivic intervals in the vertical structures, occasionally even the same notes. Tonal Structure The dissonant nature of this movement precludes 182 measure-by-measure tonal analysis, but certain generalizations can be drawn. Figure 14 showed the following relationships. The opening measure establishes C as the center, and while the passages immediately following this confuse the issue with the minor second sonorities, the entrance of the main theme in measure 11 re-establishes C as a center, by means of emphasis on the note C as the last note of the principal subject. The entrance of the second theme in measure 14 intro— duces a bi-tonality, or perhaps a poly-tonality. The viola carries an ostinato of the notes C, D, and E, while the other parts emphasize C sharp, with a secondary emphasis on G sharp. As if to make sure that the tonal center of C is not obscured completely, Bart/ck moves the c, D, E, ostinato to the 'cello in measure 19, where it remains until the return of the first subject, measure 26. From that point until the beginning of the development, measure 49, there is a tendency to emphasize C sharp, but the beginning of the development returns to C as a point of departure with its rapidly fluctuating key centers. The recapitulation, beginning in measure 92, although not a literal repeat in a thematic sense, follows a tonal pat- tern similar to the exposition. The simplification of the vertical sonorities at the end of the movement serves to es- tablish the center of C quite firmly. The tonal emphasis on C and C sharp is still another instance of the consistency of the materials in this movement. 185 The principal melodic and harmonic elements were semitones, and so are the movements of the tonal centers. Second Movement The second movement, marked prestissimo, con sordino is in over-all three-part form. The middle material is con- trasting only in rhythm.and general mood, but the difference is marked enough to justify calling it a separate section. The return of the first section is not literal, but it is the same material as the first, modified and extended. Figure 15 outlines this movement. Melodic and Rhythmic Motives The main rhythmic impression of the entire movement is one of sweeping motion. The melodic feature encountered almost throughout the movement is again the semitone. The example quoted shows that the semitone predominates in the theme, with a diminished third toward the end, the entire theme covering the span of a perfect fifth. The relationship to motive "a" of the first movement is demonstrated below. 184 Source Motive Motive "a" II Movement "a" variant (1) Variant (2) ‘H A B A Form Section ' Motives Used Measures Main Tonalities A "a" variant (1) l-72 E B "a" variant (2) 75-169 Bb A "a" variant (1) 170-250 E Fig. 15.--Fourth Quartet, 11 Movement 185 Example 144, mm. 1-7 im— I- I III II==IIIII--IIIIIII I.I-III-IIIII III; ======IIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIII=IIIIII I." ) (I II (I YIIHIIIIIIII‘IIII'J' ’III‘IIII III-.- 0 1 PP on G: 'u a. 1 1 (\- 11 1:1 —1 ' ‘l‘ 17 III II I J T ILL 11.1111] 1 II I This motive and intermittent repeated notes consti- tute most of the material of the first section. The first important variant of the minor second mo- tion appears in a descending scale line, this time in a dia— tonic Phrygian scale. Example 145, mm. 30—51 186 Immediately following this statement the 'cello and viola state imitatively a motive of fifths moving upward. This motive has precedent in the span of the main theme, which covered a fifth in its entirety. The statements of the motive do not ignore the semitone, for they appear on succes- sive semitones. Example 146, m. 32 The next time the arpeggiated motive appears the in- tervals are altered to fourths, sevenths, and sixths, and accompanied with trill figures which are to become important in a later passage. The minor second trills have a basis in the minor second motion of the main motive. 187 Example 147, mm. 51-52 Following this, the main motive is treated canonically at the interval of the octave until the entire theme has been stated in each voice. After some play with fragments of the motive and repeated notes, the second section begins. The texture is changed in the middle section by a change of meter in the 'cello from 6/8 to 2/4, setting up a two-against-three rhythm in the accompaniment. The violins treat the melodic material imitatively, while changing to the simple meter. The motive is comprised of sixteenth-notes and the diminished third of the end of the first motive, surround- ing the note F by minor seconds on both sides. This motive is derived from motive "a" of the first movement, and from the end of the first theme of the present movement. 188 Example 148, mm. 79-80 The imitation reinforces the melodic motive by oc- curring now at the interval of the major second, reflecting the span of the diminished third as it is notated in the me- lodic material. A remarkable developmental skill is demonstrated in the succeeding passage. The motive just quoted is imitated and inverted, becoming an ostinato and the sole source of melodic material for a long passage. Finally the ostinato, which is made of seconds and thirds intervallically as well as rhythmically takes over the entire texture and a theme is derived from it. 189 Example 149, mm. 114-115 g l» The transition back to the first section begins with a stretto passage based on an expanded version of the ostinato. The entire theme covers a diminished octave, as it is notated, and the recurring statements begin at different parts of the measure. At the prestissimo tempo, however, the aural effect is almost that of a glissando. 190 Example 150, mm. 162-165 IT'I-I-I-o' ’ ' . 4 - IIV—L ‘ -- < Oo‘hnej'o > 1 l l W l l ‘1 U l l I 1 I 1 1 r T 1 1 9 =1 .1 1 I 1 ‘ V Following this rapid activity, the pace slackens by means of interspersing rests. The repeated notes of the first section reappear and accompany an imitative treatment of an inversion of a fragment of the original theme. Example 151, mm. 175-176 The return of the first section shows no significant motivic changes. The motives already stated are given ex- tensive contrapuntal development, and the movement ends in prestissimo activity, as it had begun. '191 All the motives for this movement have their source in the first theme (quoted in Example 144) which is derived from extensions of motive "a." The minor second is the im- portant interval and the fact that it is often expanded simply demonstrates a Bartokian developmental technique. It is a re- markable movement, achieving an amazing amount of variety with extremely limited material. Harmonic Materials The vertical sonorities for this movement consist mainly of chords constructed of major and minor seconds. The predominant sound is heard in the first measure, over the semitone motion of the melodic theme. Example 152, m. 1 192 Minor seconds dominate the texture for twenty-six measures until the interval of the diminished third, found in the closing measures of the main theme, receives some devel- opment. At this point the intervals of imitation are a major second apart. The brief passage culminates in the downward diatonic scale passage. The following example shows a chord built of whole steps from F to B at the first of the scale, culminating in a chord constructed of all the notes of a Phrygian scale. Example 153, mm. 30-51 The ensuing passage shows more development of the fragment of the theme which contains the diminished third, 195 and again features harmonies built in seconds. The melodic material subsequently undergoes some intervallic expansion, but the sonorities remain basically in seconds. The middle section of the form begins with a two- against-three ostinato in the lower two instruments. The me- lodic intervals of these ostinato patterns are also seconds and thirds. The resulting texture is a sonority which covers a minor third in its entirety, as did motive "a," with all the semitones present in the measure. Example 154, m. 76 The melodic material of this section, as quoted in Example 148, was the new theme built on the diminished third. The entire section maintains its close construction both ver- tically and horizontally until a few measures which contain glissandos spanning ninths. It can be seen that it is still basically concerned with seconds, and, in addition, each succeeding glissando begins on a higher note in stepwise 194 succession. This progress can be followed from instrument to instrument and also following within the line of any single instrument. Example 155, mm. 136-138 The closing measures of this movement show an example of a technique in which Bartok was apparently letting his pyramidic melody serve a harmonic function. The 'cello line contains chords built upward in perfect fifths, while the line of sound created by the glissandos emphasizes in turn F, G, A, B, and finishing with a jump to E. The result is an almost traditional sounding dominant to tonic cadence on E. 195 Example 156, mm. 248-250 The basic harmonic concept of this movement, then, is one of seconds. While there are a few examples of chords built in fifths, such as those seen in the last measures, they are in the minority, just as their corresponding melodic fifths were. The melodic and harmonic materials remain con- sistent. Tonal Structure As shown by Figure 15, the central tonality is E. While there are, of course, momentary changes to other tonal centers within the first section, they are of a fleeting 196 nature. The feeling of E is re-established from time to time within the section, and the canon closing the section, start- ing in measure 54, is one in which each voice begins on the note E. The passage following the canon and leading into the middle section moves away, passing through several centers, and finally arriving at the tonality of the middle section. The middle section of the second movement, beginning at measure 76, is centered, by means of the ostinato pattern in the lowest part, on B flat. Even when the B flat ostinato moves to the top voice the tonal center remains unchanged. The tonality of the contrapuntal passage closing this section is indeterminate because of its rapid movement from one pitch to another. Just before the return of the first section, there is a movement up through C, C sharp D and E flat. The center remains on E flat for several measures, until the re- turn of the first material on its original center, E. The firm close in E was demonstrated in Example 156. The tonal compass of the tritone, and tonal movements by steps corre- lates with the melodic and harmonic material. Third Movement The rhapsodic middle movement of the Fourth Quartet can be regarded as either a source movement for material for the other movements, or perhaps just as logically as the cul- minating movement, in which all the preceding material is 197 gathered into one place, to be disseminated again in the two which follow it. It contains the material from which the en- tire quartet is constructed. The over-all form of this movement, outlined in Fig- ure 16, is sectional: A, B, C, A, and Coda. It is in a rhapsodic style, using each instrument as a solo instrument at various points in the form. Melodic and Rhythmic Motives The first melodic material is heard in the 'cello. It plays strongly on the interval of the minor second and the diminished third. The rhythm is free, laying the ground- work for the rest of the movement. The second part of the theme expands into the interval of the fifth, as noted in the first and second movements. Example 157, mm. 6-10 -»—— ._____ fl_ , _____ ll It "a," i A '1 A 4 (fl 198 Source Motives (Rhapsodic developments of Motives "a" and "b" [cf. Figure 14]) Sectional Form Sections Motives Used Measures Main Tonalities 'Introduc- (Harmonic) 1-5 Indeter— tion minate A Elements of "a" 6-34 Indeter- and "b" minate B Major Second 55-41 C 0 Elements of 42-55 Gb "a II and "b I! A Elements of "b" 56-63 Indeter- ' minate Coda Elements of "a" 64-71 Indeter- and Major Second minate (feeling of A) Fig. l6.-—Fourth Quartet, III Movement 199 The 'cello continues throughout the first section, developing this material soloistically. One more notable feature of its line should be noted, however, occurring in measure 29. The contour of this triplet pattern is reminis- cent of the main.motives of both the first and second move- ments of this quartet. Example 158, mm. 29-50 3: V v V 1" “33% e- , ‘<§"- The second section, measure 35, begins with the first violin,'first with repeated notes, then with thematic material built on the second and its inversion, the seventh. Example 159, mm. 36-38 This section is brief and offers no further signifi- cant development. 200 The third section, measure 42, uses both the second violin and viola as solo instruments. Intervals in the theme include seconds, thirds, and sevenths, with an additional em- phasis on the tritone. The tritone stands as an echo of the first movement, while the other intervals might have come from either the first or second movement. The quick syncopa- tion at the beginning of the motive is like the rhythm of the opening theme of this movement. Example 160, mm. 42-44 Nmoi!‘ 3 *{i j . + % 1 1Ljf 111, 1 . ”' 'ii€?1*dy 4: .n: iv “ A few measures later, in the second violin line, another echo of the contour of the short-range theme of the first and second movements'can be found. Example 161, mm. 47-48 201 The return of the first section at measure 56 uti- lizes the interval of the fifth from the opening theme and the steps which followed it, treating it imitatively between the two outer voices. The first imitation of the 'cello theme is inverted in the first violin; later.both are in- verted. Example 162, mm. 55—57 , H-119?“ _, t \ ”f... -1.- -ll- __ , _.,_ v, 7 7 a a“ 7‘.< After this treatment is completed, the Coda begins in measure 64, using material (intervals of the second and seventh) from the second section of the movement. The move- ment's ending, like its beginning, is given to a solo instru- ment. Viewed from a larger perspective (that is, grouping the second and third sections together), this movement, like its predecessors, is based on a ternary concept. As dis- cussed above, the entire quartet falls into a large threee part design as well. With this in mind, it is possible to regard this movement as the turning point of the quartet rather than its source movement--deve10pmental rather than 202 expositional. Harmonic Materials The harmonic materials of this movement, as in the other movements, are based on the interval of the second. Because of the slower tempo, vertical sonorities are per- ceived more easily than in previous movements. If further proof is needed of Bartgk's concentration on consistency of idiom, the third movement of the Fourth Quartet will furnish it. If anything the harmonic structure is more rigidly con- trolled than it had been earlier. The opening measures build the sonority by adding one instrument at a time, beginning with the second violin. The resultant sonority is constructed of two groups of three major seconds each, E, F sharp and G sharp, and A, B, and C sharp. While it is possible that the similarity between this pattern and the six notes of motive "a" is accidental, the similarity is striking. The use of this harmony and transpositions of it within this third movement is so consistent that it must be concluded that a degree of ordering of materials has been consciously devised. Example 163, mm. 1-4 This sonority is sustained until the end of the thir- teenth measure, where it changes one note and injects the ele-‘ ment of the minor second into the texture. Now one of the groups of three notes is entirely constructed of minor seconds and the other group has one minor second in its sound. There are other possible analyses, such as fifths with misplaced notes, but the spacing and arrangement of notes indicate a - minor second construction. 204 Example 164, mm. 15—14 new vi)", Mutt. The next significant changes in harmony occur in measures 52 and 35. First there is a chord built upwards in fifths from E, until C sharp is reached, then it is built downwards in fourths, indicated by the spacing of the chord, or otherwise can be thought of as being built upwards in fifths entirely. The resulting sound is the same combination which opened the movement, the two sets of whole steps; but the spacing is different, causing it to be heard from a dif- ferent criterion. The harmonic change in measure 55 is again to one containing minor seconds. 205 Example 165, mm. 52-55 For some time following the example just quoted, the texture is primarily imitative, placing the emphasis on the linear aspect for the third section of the movement. The re- turn of the material of the first section is also treated polyphonically, so that the next primarily chordal section is in the coda. The chord at that point contains the same notes as the opening chord, but the spacing now demonstrates even more strongly its origin in perfect fifths. 206 Example 166, m. 64 The final chord of the movement is the same as the first except for the additional note in the first violin, which simply adds one more fifth below the original sonority. 207 Example 167, mm. 70-71 It is also interesting to note that whereas the be- ginning had added one instrument at a time, the final meas- ures dropped each part singly. The movement is not a cancrizan, but the symmetry is hardly less perfect. The harmony of the third movement is based largely, then, on chords built in major seconds, perhaps derived from perfect fifths, instead of the prevailing minor seconds of the earlier movements. The melodic interval of the fifth and the major second are found in sufficient quantity in this movement in the first and second sections; therefore, the harmony could be considered as a reflection of the melodic intervals as it had been in the earlier movements. It is 208 also a strong Bartokian technique to expand intervals in the development of a theme, and in view of the developmental na- ture of the third movement, the major second harmony could simply be considered as an expansion of the minor second con- struction of the first two movements. Tonal Structure This movement is constructed on the principle of avoiding a solid implication of tonality as seen in Figure 16. The first sound of the movement is G sharp, and the lowest note of the first harmony is a B, but neither of these fur- nishes a stability to the material. If the harmony is inter- preted as being constructed on intervals of fifths, the lowest note of much of the harmonies is A, but it also fails to serve as a tonal center. In the second section a pedal establishes C as the center, and G flat fills the same role in the third section. The return of the first section is as indefinite as its original statement. The final chord, built of the same notes as the first chord, could be said to have a root of A, but the last note, sustained alone, is a D instead of the first G sharp. This solo note in the first violin does give an indication as to where the key center had been, for it has a sub-dominant feeling. The aural effect, then, centers on A, but it is certainly not a well-established tonality. 209 Fourth Movement “Figure 17 outlines the form of the fourth movement. It corresponds to the second in many ways: in thematic mate- rial; in its three part form; in its tonal structure as re- lated to the primary key of the quartet; its fast tempo; and in the consistent use of a special string effect. The second movement had been marked con sordino while this one is pizzicato throughout. The movements are far from identical, however, and if the analogy of the arch may be used, the two movements may be said to occupy corresponding positions in the construction, and to be of the same size, but they are different "colors." Melodic and Rhythmic Materials Whereas most of the second movement had been in com- pound time, the fourth.movement is in simple time, imparting a different character to its main theme. In addition, the present theme is a scale line built in larger intervals than had been found in the second movement. It employs a mixed mode, rather than chromatics. Example 168, mm. 6-9 210 Source Motives Motive "a" IV Movement "a" variant 1 Motive "b" IV Movement "b" variant .1— A B A Form Section Motives Used Measures Main Tonalities A "a" variant 1-45 Ab B Elements of "a" 46-87 A and D. A "a" and "b" 88-124 A" variants Fig. l7.--Fourth Quartet, IV Movement 211 This theme, treated imitatively, constitutes the mate— rial for the entire first section. The tonal organization will be treated in more detail later, but it is interesting to note that the imitative entries in this first section scarcely devi- ate from a traditional A flat to E flat relationship. The second section's melodic material begins with the diminished third, as had the second section of the second move- ment. The accompaniment is changed here, as it was in the earlier counterpart. The same notes are employed here as were found in the second movement. Example 169, mm. 47-48 3 Manual ”119'” A second thematic idea can be found in the middle section--a minor second alternation idea. This compares to the ostinato of the middle section of the second movement which was eventually moved up to the upper parts. Example 170, mm. 65-66 INN“. 1 “3.11" M "WM; b3; _ . ‘—\_ 212 The first material returns on the original level, A flat, and is imitated at one-beat intervals by the 'cello. This section is shorter than the first, soon giving way to a coda based on fragments of the main theme. The closing meas- ures contain a motive based on the principal theme of the movement, but containing a third. The augmented fourths can be compared to motive "b." Example 171, mm. 120-122 “‘P’A‘ 41.. “be LY The 'cello line leading up to the final cadence further expands the melodic material with a series of fourths. This corresponds to the second movement with its rising fifths quoted in Example 146. Example 172, mm. 120-122 I .4 1, am 111 16911.- _ fFE~__,__,_'__—_——w (IMAEwwM’wMSAr’TEJ V p ' f 1 1 v 3 -.—._.___' __.—— 215 Although the melodic material has much in common with that of the second movement, it has its own distinguishing features. The differences in meter and rhythm serve greatly to differentiate the materials. Harmonic Materials dost of the harmony of the fourth movement returns to the minor second motive that had occupied the first two movements of the quartet. In several instances other organiz- ing factors may be discerned, but the spacing indicates a pri- mary emphasis on the minor second. The opening measure sets the pattern, as it has done in most of the Bartok movements. The sonority contains G, A flat, D, and E flat. Example 173, m. l I ____._.___ WM II Y LL 214 Examination of this sonority will show it to be constructed of fifths juxtaposed at the minor second. This type of or- ganization is more nearly like the third movement than the second. It predominates the first section. The second section brings a change of harmonic organi- zation. Now the minor second basis is clear as a cluster of six notes is arpeggiated in the 'cello and viola. A relation- ship to the organized harmonies of the third movement can be seen in the two groups of three minor seconds each, but this relationship is obscured by the spacing in the same register. Example 174, mm. 47-48 Another use of the cluster technique in combination with a major third occurs a little later in the middle section. 1 1,1] ((1%-1I 215 The semitones from D to A flat appear in combination with a C on top of the sonority. Example 175, m. 64 The minor second alternation appearing in the latter part of the middle section is punctuated with chords made up of a three-note cluster. This cluster is useful to demon- strate Bart6k's constructional skill. The notes E, F, and F sharp, constitute a transposition of motive "a" of the first movement, but are also consistent with the semitone em— phasis of this movement. Thus the same sonority unifies the inner texture of the movement as well as linking it to the first movement. 216 Example 176, m. 68 ,JHM This sonority and transpositions of it predominate throughout the end of the middle section and the bulk of the return of the first section. The final sonority seems eSpecially complex at first glance, for it contains nine of the twelve chromatic tones. Hewever, it is basically a chord built upwards in fifths from A flat to D. The remaining notes, G flat and C sharp, can be regarded as ornamental added notes, or as a continuation of the fifths with three notes missing, A, E, and B. 217 Example 177, m. 124 (m a.» one?” In the fourth movement the harmonic emphasis returns to the minor seconds that had prevailed in the first two movements. There is a link with the third movement in that the organizing factor is sometimes the perfect fifth, affirmed by the final chord. Tonal Structure Although the opening measures emphasize G and A flat, the entrance of the main theme established the tonality of A flat firmly. The succeeding entries, mostly on A flat and E flat, reaffirm the A flat. The entire first section remains in this tonality, as shown in Figure 17. 218 The clusters of the second section, beginning in measure 45, tend to confuse the tonality, but the car's natu- ral predilection for the lowest note tends to isolate A as the tonality. The tonality soon changes to D and remains there for the most part until a false entry of the first theme occurs at measure 78, at which point the main tonality of the quartet, C, is briefly emphasized. The return of the first section in measure 88 re- establishes A flat, and there are no appreciable departures from this tonality from there on to the end. Since the shift from A flat to A in tonal centers is so brief, it is probably stretching the motivic analogy to suggest that this was intended to be a reflection of the me- lodic and harmonic motives of the movement. The main point of the tonal relationships lies in the fact that the tonal center of A flat of the fourth movement lies a third below the main tonality of C, whereas the second movement was on E, a third above. Fifth Movement Like all the other movements of this quartet, the fifth movement is in three-part form, outlined in Figure 18. It shares melodic material and a tonal center with the first movement, but, as in the case of the second and fourth move- ments, the treatment is different in the fifth movement. 219 Source Motives Motive "b" V Movement "b" .A, 1-‘t'11 I; F Motive "a" 1 L I 1 A B A Form Section Motives Used Measures Main Tonalities Introduction (Harmonic) 1-15 C A "b" 16-148 c# Transition Element of "a" 149-182 Indeter- minate B "a" 185—241 Rapidly shifting Transition (Like Introduction) 242-249 F &,cb A "b" 250-374 c#, c Coda "a" 575—592 c#, c Fig. 18.--Fourth Quartet, V Movement 220 The contrapuntal texture is not so heavy as it had been in the first, having its main accompaniment in thick vertical sonorities. Melodic and Rhythmic Motives The first melodic motive of this movement is heard in the first violin and covers a span of a diminished fifth. The intervallic construction corresponds exactly with the second subject of the first movement, the last part of which is now placed in smaller note values. Example 178, mm. 15-18 ‘ {—111S—EEFI‘Xig; 1 .11111," 1' -1 'W } J a £4 -.. fin-.9: - -.._,..__....,..-_i.-,,-- ii .. - ‘D par-1- ,... .———v-— ~ ‘7 ‘3' (“awful“) 'JEytr‘iigi;J*—+——fl?j§' I A . "v 1 Unlike the treatment in the first movement, this theme is not immediately treated contrapuntally but is heard in unison in the first and second violins over an accompaniment of chords based on the C to G fifth. This theme is next inverted, then expanded inter- vallically. Although the final version retains few exact 221 indications of the original theme, it is still easily recog- nizable. Example 179, mm. 51-54 .1 . .‘ - ‘_-,- 10..- _ _ _ - _ _ l \ ~ ~ ~ - — — - i 1 A k N at H 1 r no o i O“ 2 I g "up . "‘7 V9? This single motive furnishes the material for the en- tire first section of one hundred and forty-eight measures. In the latter part of the first section it is treated imita- tively, and fragmented for imitative textures. As the sec- tion comes to a close the sixteenth-note rhythm is given some development in groups of three notes. The span of each three—note motive covers a minor third and the motives over- lap by a minor second. The motive reminds the ear of motive "a." It can also be observed that the sum of all six notes is like the chord clusters of earlier movements of this quar- tet. Example 180, mm. 141-142 no." iotpcv)c1mtvkt» nfifil ‘ v—=‘-—-._‘ L 222 The second section of the movement slows the activity and introduces a new theme. Although its character and inter- vals are greatly changed from the first theme of the movement, there is still present a sense of identification between the two themes. Example 181, mm. 156—162 1 1 g- ' . 5 '9 hwy arey‘uc {I I ijfirut (TIC/uh» 1 The section contains many statements of the slightly extended version of motive "a," the main theme of the quartet. It is first stated in a more precise form in the 'cello, as it had been in the first movement. Example 182, mm. 162-164 rsqagsaz: §Z§EE$$EEEEEEEEEEEEEEE 1 1 1 f1 1 1 111 1 l ‘ ‘ 1 J]! 1} 11; 1 1111 I 111 h- 111 1 $ ' V ' ao- 7‘ 4. ‘ " “‘0‘.‘ ‘9 , “ 223 The return of the first section is somewhat free, but the motive "a" variant still dominates the texture. It is treated more polyphonically than in its first appearance and is punctuated intermittently with chords. One of the de- velopmental techniques employed is a two-part canon on an ex- panded and extended version of the first theme of the move- ment. After a four-part stretto-like treatment the music picks up momentum and comes to a close on a series of £21 lggng_chords followed by a sustained note in the 'cello. The coda is based mainly on motives from the first theme of the movement, especially the first three notes, which are treated in quick imitation. Finally in the latter part of the coda, the first theme of the first movement (motive "a") again takes over the texture and brings the move- ment to a close in a manner almost identical with the first movement. The extended range of the instruments in the last of the fifth movement gives the over-all effect a more intense feeling than had prevailed in the first movement; but the mo- tives and their treatment remain the same. The last two measures of each movement are identical. Harmonic Materials The harmonic techniques of this movement correspond more precisely to those of the third movement than the first. 224 Whereas the first movement had harmonies constructed purely in semitones, this movement and the third movement have har- monies which utilize semitone dissonance but are basically or- ganized on the perfect fifth. At the first entry of all four parts, the chord is one built in fifths with added notes. The main note is C, with an F below it, G above it with added F sharp and D flat for color. The semitone dissonance is striking to the ear, but it is not the main organizing feature of the sonority. This will be seen throughout this movement. Example 185, m. 4 225 Examples of bi-tonality may also be found in this movement. One such harmony consists of a combination of chords built on A and C, respectively, with added notes. It is possible to call the chord an A seventh chord with added notes, but the separation of the two chordal elements between instruments suggests the double analysis. Example 184, m. 44 The semitone is present with the added notes B flat and D sharp. The bi-tonal analysis becomes quite clear later in the first section when chords built on A flat and D are contrasted. The resultant sonority groups the semitone 226 dissonances around D, E flat, and A. Example 185, m. 124 The middle section is primarily contrapuntal. The vertical intervals remain consistent with the predominant texture, however, with emphasis on the minor and major sec- ond. The return of the first section is punctuated with the same bi-tonal chords just quoted, transposed a third higher. This time the contrasting sonorities are chords built upwards in fifths from G flat and those built upwards in fourths from C. At the end of the section the col legno chords i.)(|(l‘ In" 1111. 227 referred to earlier are built in diatonic fifths from a bass note of F. The spacing of the chord places major seconds in juxtaposition, but the origin in fifths is clear. Example 186, mm. 556-557 The concluding chord is the same as that of the first movement, a biamodal C major and C minor chord. Tonal Structure The tonal center of C is well established from the be- ginning of the movement. The entrance of the first theme is on C sharp, harking to the "wrong note" treatment of earlier quartets. As shown in Figure 18, it remains the principal tonality of the section. 228 It has become by this time a Bartékian trait for the middle section of a movement to be less firmly rooted in a tonal center than the outer parts. This technique was even extended to the entire middle movement of this quartet. The middle section of this movement, beginning in measure 185, follows this pattern. It is not atonal in nature, but the tonality fluctuates so rapidly that a predominant tonality is difficult to place. From time to time in the section-- at the first statement of the first movement's principal theme, at the development of that theme and again at the combination of the two motives of the middle section--the to- nality is centered on E. The return of the first section at measure 258 begins on a tonal center of C sharp. In the ensuing thirty measures the center shifts to G flat, F, E flat, and finally to C. The alternation of C and C sharp which is predominant in this movement suggests that Bart6k considered the two centers synonymous. The canonic treatment of the first theme of the movement follows the re-establishment of C as a center and is itself centered on C sharp. The coda begins on a C sharp center with the first theme of the movement (motive "a" again), and the solid C is not established firmly until the last measures. 229 Summary Figure 19 recapitulates the main motives from each movement of the Fourth Quartet for the purpose of further comparison. The relationships between the motives of the first and fifth movements and between the second and fourth has been discussed, as well as the culmination of the develop- ment as seen in the third movement. It remains to summarize the over-all similarity of all the motives. There are two distinct ideas in the Fourth Quartet-- one based on conjunct motion, both minor and major second, and the other based on fifths, both perfect and diminished. The first motive is the more compact, covering only a minor third. The second expands into a diminished fifth, but bears similarity in contour to the first motive. They can be con- sidered as having a common basis. The second movement's first theme is based on the semitones of the first theme, but combines the properties of both themes of the first movement by spanning a fifth. The fifth appears later in a 'cello motive. The third movement, as discussed above, develops all the material of the quartet in a rhapsodic vein. It is ter- nary in design, ending as it had begun on a solo note. The material of the fourth and fifth movements is based on the earlier motives and bears the same relationship 250 u do W 'd'vumui , _ - 405;; fig! E A: um" Eigflfimnmmmt: AA Ill! ‘ E11, uwamt; 1 1 3: 315%.:- -1, .‘b’. A- ; 1} i 1 I 1 1 I 6"; (a ./ Fig. l9.--Fourth String Quartet 251 to each other as the material of the first and second move- ments. The symmetry is completed when the quartet ends with the identical two measures that ended the first movement. The harmony is largely constructed on minor seconds. From the third movement on, however, it can be seen that the organizing factor is the perfect fifth. Both of these inter- vals have precedent in the melodic material. The construc- tion in fifths in the later movements tends to stabilize the material so that the tonal centers are clearer as the quartet comes to a close. 1 The tonal structure of the quartet and its symmetry has already been discussed. The first movement is on C, the second on E (a third above), the middle movement is largely indeterminate, the fourth is on A flat (a third below the main tonality), and the final movement returns to the main tonality of C, sometimes combined with C sharp. As stated in the introduction to this chapter, many regard the Fourth Quartet as being in a large sonata-allegro form in its entirety. Considering the similarity of material throughout the quartet this is again a case of applying tradi- tional labels to material which is largely outside the realm of traditional tonality. Hewever if the analogy may be pur- sued, then it would be more accurate to compare the quartet with a modified sonata-rondo form, since each of the sections 252 is in a three-part form. The three-part design is especially affirmed in the middle movement in the cancrizan-like pattern of the opening and closing measures. CHAPTER VI STRING QUARTET NUMBER 5 General Traits Bart6k wrote his Fifth Quartet in one month in 1954 after it had been commissioned by the Elizabeth Sprague Coolidge Foundation. In structure it closely resembles the Fourth Quartet, cast also in the arch form of five movements, but with the pace of the inner movements reversed. In the matter of the construction of the separate movements Stevens says that it has no loose ends, that it is as economical as the Fourth.1‘ Helm says that the glggp shows little that is new after the Fourth except for the interruption of the vig- orous, dissonant finale with a tonic-dominant "barrel organ" episode and the Bulgarian rhythms in the scherzo.2 In an article on the Fifth Quartet Roger Chapman places this quartet in a period of "synthesis." In it Bartgk is concerned with rigorous linear writing and structural con- siderations.3 In the matter of harmonies, however, the Fifth 1Stevens, p. 191. 2Helm, p. 21. 3Roger Chapman, "The Fifth Quartet of Bela Bart6k," Music Review, XII (November, 1951), 296. 255 234 represents a relaxation of the harshness of the earlier works.4 As such it is a combination of the techniques used in all the earlier quartets. It is a work of full maturity with little or no evidence of experimentation, combining the melodic, harmonic, and structural techniques which were re- fined in the earlier works. The pairing of the movements of the arch form is not as literal in this work as it had been in the Fourth Quartet. Thematic material is shared in the first and fifth movements and in the second and fourth movements, but it is a more subtle technique in the Fifth, The tonal centers have the same pivotal relationship to the main tonal center of the quartet, the order being B flat, D, C sharp, G, and B flat. The idea of the arch is carried further in the individual movements in this work, for the first and last movements are cast in sonata-like structures with the order of the themes reversed in the recapitulations. The symmetry of construc- tion is carried as far in this quartet as Bartok was ever to take it. First Movement The thematic material of this quartet, although inter- related, shows more variety than it had in its immediate 4Mason, p. 7. 255 predecessor. The over-all form, outlined in Figure 20, is a sonata-like structure with a reversed and inverted recapitu- lation. The order of themes in the exposition is Introduc- tion, Ia, Ib, Introductory material repeated, II. In the re- capitulation this order becomes Introduction, II, Ib, Intro— duction, Ia, which leads into a Coda. Melodic and Rhythmic Motives The introductory theme is based on a motive of re- peated notes and a major second. Example 187,5 mm. 1-2 1 i ‘ , 0:},8'39L .1 a i ‘ ‘* bi f ~I This major second is expanded into a third and leads into the first theme of the movement, designated "a." Example 188, mm. 4-6 “l“ * up- ’A A ‘ :41 n * r f r x A"; -1 A L :LI vv'va'l'l l 11: 11 5Copyright 1936 by Universal Edition; renewed 1965. Copyright and renewal assigned to Boosey & Hawkes, Inc. for the U.S.A. Section Introduction A B Development Introductory B A Coda 236 Source Motive Motive "a" fi ’1': ’A‘ A A r 1 Y1 L h 7‘ ' I fill 4 AL A ‘ Aitg I T"'k'li 1 IL‘ lilL Sonata-Allegro Form Motives Used Measures Main Tonalities Elements of "a" 1-4 Bb "a" and variants 5-44 Bb to c "a" variants 45-58 A "a" 59-85 Begins on _ E, rapidly Variants 86 126 shifting Material 127-132 F "a" variants 133-146 F# "a" variants 147-209 Cb to Bb and "a" Introductory 210-218 Bb Material Fig. 20.-—Fifth Quartet, I Movement 237 The intervallic elements of this compact theme consist of minor seconds, perfect fourths and fifths, and minor thirds. A five-note pattern leads into an extension of the same theme, with reorganized material in the latter part, but using the same intervals. Example 189, mm. 8-9 " 04' C51 “10“” I ’l‘#r1l11 ___miE-i-i:=i__ d___. m- The statement of the first theme is followed by a brief passage utilizing the fourth and ornamented with trills. It is also accompanied with suggestions of the first theme. Example 190, m. 15 A Ti ' Mr W e This transitional passage culminates in the repeated notes of motive "a," this time in sixteenth notes. 258 Example 191, mm. 25-24 o~ --- ‘1‘ l A A a" H V I ‘ “NW 3 71" 3' , 5+ The second part of the main theme emphasizes the minor third, but it is now a tenth by octave transposition. The rhythm is syncopated and dotted lines indicate the sub- division of the measures of the theme. Example 192, mm. 24-27 . ' A 1 “ F t r Tr‘fiefl: L g ' l i ‘ HI I iEF x: 1‘ 1“. W l J! ' 71' I; H II; ' -L -& «L t—.. - ._.._.Ev m--a.-i.r "I as The first theme, composed as it is of motive "a" and its variants, is presented in a ternary design by means of a return to the first rhythmic version. The repeated notes and conjunct motion of motive "a" serve as a transition to the second subject. r‘ .c‘ 259 The second theme is quite closely related to motive "a" but is made individual by a change in meter and character and a thinning of the texture. It is taken by the instruments in turn. Sustained notes make up the rest of the texture, creating a strong contrast between this passage and the vigor- ous percussive blows of the first subject. Example 195, mm. 44-46 1 3%.: puieniimflhi llllir O The development section begins with the introductory repeated chords and leads into development of fragments of the first subject. Through an integration of materials the first and second themes begin to resemble each other ever more closely until they are indistinguishable. The melodic motives already quoted otherwise retain 240 their basic shape and rhythm for the bulk of the development section. An important exception can be found in a rhythmic variant of an inversion of a motive "a" variant, Example 189. The inserted triplet rhythm forecasts the Bulgarian rhythms of the Scherzo movement. Example 194, mm. 108-111 The motive thus created occupies the texture for nine measures. A rhythmic variant of the derived motive then appears and serves as the link between the end of the development and the recapitulation. Example 195, mm. 119-121 Pu.» noon ,_... r.__ o 241 The recapitulation is announced by the introductory repeated notes, thickened by the addition of a vertical semi- tone, and inverted. Example 196, mm. 126-127 It leads directly into an inversion of the second theme, treated in the same manner as in the exposition. Example 197, mm. 152-133 “l“ Wsoont ( s Mtft‘IA) I. L; 1 T {ill An inversion of the second part of the main theme follows the second theme. It occupies about the same amount of time as it had in the exposition and is followed by the 242 introductory theme, again inverted. Example 198, mm. 147-148 w:‘..;;..tj(;.;;;{3)"" be: ; «I- 54 54: $ . I? p p—q a; p—d Gib-4 y- A "c”. datum} (enamel 4 4 1 } Jv-JV’" r-4 ‘ 0 ' ' 4 7 L I 1 l 3 I at? 11 1! «rd 1 I r-p* GP: _T’ ‘ 1 i ‘1 ‘ The first section returns then and is handled in such a way as to create almost a second development section. The original form of the theme, inverted, and the triplet deriva- tion first encountered in the deve10pment are treated imita- tively for twenty-six measures. This part of the first theme had occupied only nine measures in the exposition. The end of the recapitulation and the beginning of the coda is marked by a brief play on the introductory theme, still inverted. The tempo is increased and the contrapuntal texture thickens. The thematic material consists of ascend- ing and descending scale lines which had been found in almost all parts of the movement. The movement comes to a close with a final statement of the introductory theme, this time in its original form, and with imitation of fragments of the 245 first theme. By simultaneous use of the fragment and its mirrorinversion the parts seem to converge on the final ca- dence. The thematic material of this movement has much in common with the first movement of the Fourth Quartet in its primarily conjunct motion. However, the intervals of the third and the fourth are also given some play, and the Span of the material is slightly enlarged. It is no less economi- cal than it had been in the previous work, being based on one motive, but more open in design, allowing for less harsh so- norities and creating a more accessible work. Harmonic Materials The vertical sonorities of much of the beginning of the first movement consist largely of unisons and octaves. The first interval differing from this trend is a tritone, an interval that can be found in several places in this move- ment. It can be observed that motive "a" spans an augmented fourth in its first half. 244 Example 199, m. 5 a" Until the second part of the first theme appears, the nature of the texture is contrapuntal. The first clearly harmonic point reveals harmonies constructed both in thirds and in seconds, being consistent with the nature of the me- lodic thematic material. 245 Example 200, mm. 24-25 M? ”my“. 5 i h tent , These sonorities can be analyzed as primarily tertian chords, triads, and sevenths with added notes. The second theme appears in conjunction with sustained notes. An A drones throughout its first appearance, but is often accompanied with a B flat, thus giving the first impor- tant emphasis on the interval of the major seventh. The fact that the vertical major seventh appears so late reinforces the earlier statement that the harmonic materials of this quartet are less harsh than those of the Fourth Quartet, in which the emphasis was primarily on the minor second from the first measure 0 246 Example 201, m. 45 ‘1’, 40‘“ Within the second theme the emphasis is soon shifted to the minor seventh. More consonant intervals also are im- portant in the same theme, moving still further away from the minor second concept. 247 Example 202, m. 51 E _ firmivfér'vr In the development section the syncopation of the second half of the principal theme is combined with the ' five-note expansion of the first part. The vertical sonori- ties of the syncopated chords re-emphasize the tritone, the first harmonic interval of the movement. 248 Example 205, m. 86 ___,_._. fmrfl 1.-.. - The tritone interval dominates the texture almost entirely throughout the remainder of the deve10pment section. At the beginning of the recapitulation the minor sec- ond sonority makes an appearance in the thickening of the in- troductory repeated notes; the effect is mainly percussive. 249 Example 204, m. 126 The harmonic materials of the remainder of the reca- pitulation correspond quite closely to those of the exposi- tion. The semitone sonority of the second theme, this time E sharp and F sharp, soon gives way to more consonant inter- vals as it had done before. The second part of the second theme is harmonized with chords basically tertian with added notes. The first subject is treated imitatively, culminating in statements in unisons and octaves. The movement ends on B flat in all parts, as it had begun. A comparison of the vertical and horizontal elements in this movement clearly shows that the harmonies are not dictated by the melodic material as they had been in the 250 Fourth Quartet; that is, a melodic line made up of minor sec- onds is not necessarily harmonized with the same intervals (cf. Example 202). A similarity does exist, however, between the two elements. The conjunct motion of this movement is predominately major second or diatonic movement, and those few clusters which are found are also predominately major second constructions. Some return to tertian harmonies is made in this movement. The main character of the movement is linear and detailed harmonic analysis is extraneous, but those vertical sonorities which are emphasized may be said to be less close than they had been in the Fourth Quartet. Tonal Structure The introductory repeated notes establish the tonal center of B flat which is retained in the first part of the main theme, motive "a." The tonalities were outlined in Figure 20, revealing primarily shifts in seconds, with the largest shift coming in the recapitulation, F sharp down to 0 flat. This places the tonal center in a position from which it can.move by a second to the main tonality of B flat. The successive movements of tonal centers thus utilize the conjunct intervals of the melodic material. This can be con- sidered as a reflection of the character of the motivic structure as it has been in harmonic considerations. 251 Second Movement The second movement, which consists of a development of the material of the introductory section, is in a sec- tional form, A, B, c, and Coda, the Coda ending the movement as it had begun. This over—all ternary pattern reflects the arch of the quartet in its entirety. Figure 21 outlines this movement. Melodic and Rhythmic Motives The first section of this movement contains brief flickerings of motives which furnish the germinal motives for all the succeeding sections. The first two measures contain trills in minor and major seconds, resolutions in steps and thirds. The interval of the third is the culmination of this expansion and is de- " fl rived from motive a. Example 205, m. l JSTO‘g’ . It a Section Introduction A B Coda 252 Source Motives Motive "a" (portion) 4‘ l I I I Motive "a" variant (from I Movement) fl Sectional Form Main Motives Used Measures Tonalities "a" 1-10 Indefinite "a" 11-25 C "a" variants from 26—55 G Introduction J Combinations of 56-46 C1; to D earlier variants Like Introduction 47-56 C# and D Fig. 21.-—Fifth Quartet, II Movement 255 The first violin states a motive in the third measure that is important intervallically and rhythmically. Semi- tones and minor sevenths characterize this motive. Example 206, m. 5 \3‘ A 'cello motive follows and emphasizes both the per- fect fourth and the tritone, both intervals to reappear in the second section: Example 207, mm. 4-5 u___.__4 .l M__..____ l The next four measures are occupied with short mo- tives in all parts, emphasizing first the major second, then the tritone. This material leads into the first section wherein a motive of major seconds, minor seconds, and a tri- tone appears over sustained sonorities. It is closely re- lated to motive "a." 254 Example 208, mm. 11-12 ;[ T.- Each succeeding statement of this motive moves up. The last statement, which is inverted, prepares for a descend- ing motive. This motive can be seen to be derived from the second theme of the first movement, inverted form, which is derived from motive "a." Example 209, mm. 20-21 The melodic material of the second section is a quick succession of notes spanning a perfect fourth. It can be found to have precedent in the first measure in the 'cello, Example 205, although encompassing a wider interval. 255 Example 210, m. 26 ——_—-————._. _ 56x10! This motive also appears in its inverted form and also is expanded to cover a tritone of Example 207 in the course of the section. A new melodic motive appears over the motive of the example just quoted, and leads into a section based on both themes in imitation. Examination of the contour shows it to be related to the first violin motive, with intervals from the 'cello motive of Example 207. Example 211, mm. 51-52 The third section, more contrapuntal than the first two, combines the themes already stated. The activity sub- sides on descending scale lines passed from the top part to the next lower and so on until the 'cello leads to a cadence. 256 The Coda begins on a chordal texture such as had ac- companied the first section, but retains that texture for only five measures. The material from there to the end of the movement consists of the same trills and flickerings of the introduction. The 'cello ends the movement with a quasi- glissando covering a ninth. Example 212, mm. 55-56 w ---------- g... 4’" ‘00... ”\m . ‘ -1 7 p ,. _..__Pjv_din§”'il Harmonic Materials This movement offers more fertile ground for harmonic analysis than the first. The sustained harmonies are mostly organized in triads and seventh chords. There is a sense of bi—tonality between the accompaniment and the melodic material, often clashing at the minor second. The first example of this opposes a C major triad against a motive beginning on D flat. 257 Example 215, mm. 11-12 Later in the same section an A minor seventh chord is contrasted with a motive spanning the tritone F to B. Example 214, mm. 15-16 258 This type of texture dominates the first section. The second section with its fourth-spanning conjunct motion is not primarily harmonic in nature. An insistent tremolo on G is maintained throughout in the second violin, while the melodic material begins on A flat, G flat, C, and other notes. The third section offers no points of real sus- tained harmony, but the semitone dissonance in vertical sonori- ties has been largely abandoned. The imitations are at the octave and unison and the vertical sonorities are based largely on thirds. The Coda returns to the sustained sonorities, but not the same tertian harmonies as before. The end of the har- monic section shows a polychord: a C sharp major and minor triad and a C minor seventh chord moving to a sustained har- mony built on C sharp. The C sharp sonority is a seventh chord with a choice between E and F (E sharp) for the third and G and G sharp for the fifth. Instead of resolving the harmony, Bart6k drops one note at a time from the sonority until the bass C sharp is left alone. 259 Example 215, m. 49 Pm “denly A o-\ The remainder of the movement is composed of the solo motives previously seen in the introduction. The same vertical materials are utilized in this movement that have been found in the first movement, but they are organized in a different manner. While in the first movement there are chords built both on thirds and seconds, here the sonorities are almost exclusively tertian, but adorned with bi-tonal and bi—modal implications, thus inserting the element of the second. Both melodic intervals, the second and third, were found in the first measures. The lack of quartal harmonies is the only surprising factor, for 260 the fourth is important melodically. The only compensation for this lack can be found in the triads, which contain fourths within the construction. Tonal Structure The tonality of the introduction (of. Figure 21) is indeterminate but seems to move toward the center of C, which is the tonality of the beginning of the first section. The first section changes to a center of D at its end, the pri- mary tonality of the movement. The second section has implications of both G and A flat, but the G attracts the ear by virtue of its persistence. G is never absent throughout the section. The third section emphasizes G sharp firmly by enter- ing each imitation on that tone, returning to D before the beginning of the Coda. The Coda itself centers both on C sharp and D, the final tonality being D, a third above that of the first movement. The first and last sections of this movement are centered on notes not more than a step away from D, while the middle two sections hover around G and G sharp. Thus, the tonal shifts within this movement emphasize the step and the fourth rather than the favorite third-relationship of Bartfik. 261 Third Movement The third movement of the Fifth Quartet, outlined in Figure 22, is in a Scherzo and Trio form. The Scherzo portions are cast in three-part forms, with a Coda substi- tuting for the return of A in the Scherzo da capo; the Trio is in a one-section form with continuous development. All the themes of the Scherzo and Trio are closely related, em- phasizing the interval of a third of motive "a." Melodic and Rhythmic Motives The meter of the Scherzo consists of nine eighth- notes in each measure, divided in an assymetrical division of four plus two plus three. The resultant rhythm is of Bulgarian extraction, indicated by the tempo marking, éllé. bulgarese. The main motive utilizes the meter in a graceful rising and falling figure, which outlines an extended tertian structure. It represents an extension of the interval of the third of motive "a," as well as the rhythm of that motive. It is designated "b" for use in later comparisons. Sections Scherzo A B A Trio Scherzo A B Coda 262 Source Motives Motive "b" Scherzo and Trio Form Motives Used Measures "b" l _23 "b" variant 24-49 "b" 50-66 "b" and variants 1-65 "b" 1_29 "b" variant 50-57 "b" and variants 58-92 Fig. 22.--Fifth Quartet, III Movement Main Tonalities D# (+ C#) 265 Example 216, mm. 5-4 ’1’0" h—(H —*~ W ' "a? (Wane-906$) 4 L my l I 34>4‘4 4 This easily—recognizable motive is passed from one instrument to another, appearing in its original and inverted forms. The middle section of the Scherzo varies the charac- teristic rhythm of motive "b" and changes the contour by be- ginning with a falling interval instead of a rising one. The metric division remains unchanged. Example 217, m. 24 “ b' can...» Within the middle section a rhythmic variant of the new theme appears, utilizing a triplet motive which recalls 264 a first movement rhythmic figure (Ex. 194). The contour of this variant even more closely resembles motive "b," the main theme of this movement, in effect, pointing up the simi- larities of the material used. Example 218, m. so .u-c— "—‘\ r~ c1.un!¢§; ' "t" b ww'guvti n - $1.. I7 .1 q IL? 1" This leads quite smoothly into a stretto imitative treatment of the main theme within the middle section. Before the first section returns in its entirety a transitional passage occurs, using repeated notes against a play on a three-note descending pattern of conjunct motion. This pattern, which is introduced by the 'cello, is reminis- cent of the last three notes of motive "b." Example 219, mm. 26-27 It undergoes transformation in the form of intervallic com- pression, becoming finally only a semitone. 265 The first section returns with no significant modifi- cations in the motivic material. The meter of the Trio changes to a measure containing ten eighth-notes, arranged in a 5 + 2 + 2 + 5 division. An ostinato which suggests a portion of motive "b" is established in the first violin. Example 220, m. 1 ——1dh23§5 This ostinato and only slightly varied forms of it are heard almost continuously throughout the Trio, interrupted by one- measure rests in three places, at cadential points of the melody. Directly related to motive "b," with its character- istic thirds, the melody stands out against the activity of the ostinato pattern by being in longer note values. This relationship can be seen if the first two notes of the example quoted below are removed and the remainder of the melody set in eighth notes. The contour is identical with that of the descending portion of motive "b." This relationship is main- tained throughout the Trio with extensions, intervallic ex- pansions and inversions of the melody. 266 Example 221, mm. 14-16 [T "1| H) 4 Toward the end of the Trio the texture thickens with three instruments taking part in the ostinato and its inver- sion. The transition back to the Scherzo is accomplished by a gradual lessening of the activity and thinning of the tex- ture. While the original motive "b" is not changed greatly in the Scherzo da capo, the compressed version (of. Ex. 218) is cast in a slight rhythmic variant. Example 222, m. 5 I (LP-i Que tea *_, .L J 267 Imitative treatment of motive "b," which was not employed in its original statement, now enhances its return in the Scherzo da capo. Appearing in its original form and its inversions along with stretto imitations and canonic treatment, it leads to the Coda. The Coda once more recalls motive "b" and its inversion, bringing the movement to a close on a C sharp minor triad. Harmonic Materials The interval of the third which predominates the melodic material is reflected in the harmony of this movement. Vertical sonorities constructed on a tertian basis are clearly established in the first measure in the 'cello which outlines triads. Example 225, m. l Almost all of the vertical sonorities of the first section are triads. Note the following example in which a full G major triad proVides the accompaniment for a descend- ing motive extracted from the main theme. 268 Example 224, m. 15 Melodic conjunct motion is employed in the middle section of the Scherzo and the character of the harmony changes accordingly. Clusters as well as triads appear, providing the harmonic interest here and at the return of the first section. 269 Example 225, m. 54 The last sonority of the Scherzo exposes one of Barthk's favorite devices, the simultaneous use of a note and its chromatic inflection, creating a biamodality. 270 Example 226, m. 64 The Trio begins with the ostinato over a sustained third; the sonority, which at the beginning of each measure is a triad, is maintained throughout much of the Trio. 271 Example 227, m. l r Two m, chi I The notes of the triad are redistributed when the slower melodic theme comes in, but the triad is still basic to the sonority. 272 Example 228, m. 9 . r d-> (’0‘ 1b D' f .9. fl T _ i 1 ’ Simultaneous use of a note and its chromatic inflection ap- pears in the Trio as well as the Scherzo. In the following example the first three accented notes in the first violin outline a G sharp diminished triad, while the second violin sustains a double stop of G sharp and D. The 'cello fur- nishes the seventh of this G sharp diminished minor seventh chord while the melody in the viola insists on a G natural. 275 Example 229, m. 28 Chords built both in thirds and seconds provide the vertical interest in the Scherzo da capo. The final cadence furnishes an example of a clear-cut G sharp dominant ninth chord with an added E moving to tonic, C sharp. 274 Example 250, mm. 91-92 The melodic materials of the third movement are based largely on thirds, with some expansion and compression of intervals. The harmony is also largely tertian, with a few examples of simultaneous cross-relations and of clusters. The consistency of materials is no less clear in this move- ment than it had been in the Fourth Quartet. Tonal Structure The opening of the ScherZO is slightly ambiguous as to its tonal basis. The 'cello sets up a D sharp tonality while the melody centers on C sharp. Because of the strength of the lowest line, D sharp predominates. The tonal shifts in thirds were outlined in Figure 22. 275 Third-relationship of tonalities within a single move- ment has been noticeably absent in this quartet until the Scherzo, in which the melodic and harmonic structure is based on thirds. The shift in the Scherzo from C sharp to A, back to C sharp, the movement to F and A, then back to F, in the Trio, and finally a return to C sharp all reinforce the thirds of the melodic and harmonic material. This relationship is perhaps too subtle to be grasped without careful study of the quartet, but once knowing it, the listener perceives more unity in the use of the material. Fourth Movement The over—all form of the fourth movement, outlined in Figure 25, is sectional, as is the second. Like the second it is somewhat problematical as to how many of the sections contain the same material. Basically, the themes are con— structed of seconds, thirds, and fourths and cover a limited range. The similarities between the motives of this movement and the second, and the similarity of the themes within the movement, lie in the matter of scope and intervals as well as general contour. The differences in the thematic material are expressed in rhythmic variants. Melodic and Rhythmic Motives Whereas the second movement had begun on a half-note trill which resolved down a minor second, the fourth movement Sections Introduction A Transition B C Coda 276 Source Motives Motive "a" l W (Inversions of II Movement Material) Sectional Material Motives Used Measures Main Tonalities Elements of "a" 1-6 Indefinite "a" variants 7-22 G "a" variants 25-41 F "a" variants 42-65 C and C# "a" variants 62-81 G "a" variants 82-101 G Fig. 25.--Fifth Quartet, IV Movement 277 begins on repeated notes, also resolving down a minor second with one note above added as an ornamentation. Example 251, mm. 1-2 1 I (LMovwmmt Mai) In the second movement the 'cello expanded the resolu- tion to cover a third, and inverted the direction of resolu- tion. A similar process is followed here. Example 252, mm. 2-5 ELL. ’7 5 W At ‘ ' r v _/ 7 i ,tmh‘ 3 Mutant Mm L'2 f urn The same fourth and diminished fifth intervals in the 'cello lead into the first important section of the movement. 278 Example 255, mm. 6-7 Wm Z71 l L it I ‘ .,-__ ”3 “Chang: Mm,0+.$ 5 Repeated notes alternating between stopped notes and open strings furnish the background for the first motive of this section, an augmented fourth glissando. The step motive of the second movement covered the same Span as this motive and occurred over sustained chords. Example 254, m. 9 an. I: Iflmlfl)!» 11 An interruption of this material occurs when the first violin, imitated by the viola, slides up in a four-note motive reminiscent of the second movement. In the following measure the motive is extended and effects a transition back to the previous motive just quoted. 279 Example 255, m. 14 .s‘l _.. Tau» an4;)n&dbv I .- I 1 i he“. up. This motive appears again, inverted and further ex- tended, at the end of the section. Example 256, mm. 20-21 ._-__. 1‘4. tififlkD ' POGO ‘k.0- - i new “fr. The transition consists entirely of chords played in six-note tremolandos, interrupted every three measures with a three-note motive. It has little thematic significance, serving more as a transition between the sections on either side of it. 280 Example 257, mm. 25-26 Major second measured trills of the first section ap- pear briefly and lead to the second segment of the movement. The second section of the movement is based on fourths and corresponds to the motive of the second section of the second movement. It appears over a minor second ostinato and seven-note patterns which cover a diminished fourth. Example 258, mm. 45-44 a} “.7.“ - '2, “fr. Gathering intensity by virtue of rhythmic growth and by imitative treatment of the theme in the other parts, this section is brought to a close with a renewed emphasis on the interval of the third. A six—note arpeggio moving down in thirds leads into the third main section of the movement. 281 The third main section offers no new melodic motives, but rather is based on melodic expansions and rhythmic aug- mentations of earlier motives. The Coda is made up of a chordal passage similar to the one in the first section of movement two. Tremolandos re- turn in the closing measures, and the movement closes on multiple-stops, sliding upward in thirds in the 'cello. The two unifying factors of this movement are the thirty-second note patterns (of. Ex. 252) covering span from a third to a tritone and the thematic material based on fourths. Otherwise the mood of the movement undergoes a process of constant growth from the first thin measures to the thick third section. The unity is not one of mood and texture in this movement, but rather in thematic material. Its relationship to its companion in the arch, the second movement, is not so easily seen as in the Fourth Quartet, but is no less real. Harmonic Materials The vertical sonorities of this movement have much in common with the second movement in that a variety of chord constructions have been used. The fourth movement contains triads and seventh chords, sometimes with added notes, some- times with bi-tonal implications, chords built on fifths and seconds. 282 The first significant harmonic incidence occurs within the first section at the point which introduces the fourth- based theme. The chord may be analyzed as a C minor triad plus C sharp, or as a type of cluster. Example 259, m. 14 . Paw“. t HILL). a“ ”'1 The transitional phrase between the first and second sections is entirely chordal, sonorities being based on fifths and triads. 285 Example 240, m. 25 7 2 o m 3 l 4. 2 6 l p m u 284 An example of bi-tonal implications, or the simultane- ous use of a note and its chromatic inflection may be found between the ostinato and the thematic material of the second section. Example 242, m. 45 f i L m 2 .41. t —, if: F ‘ Q‘,:/ m7 F _._,::I::_.: :j ‘1 Finally, the chords of the coda demonstrate the use of triads. These triads are slightly cluttered, however, by the ostinato pattern, which serves as complex harmonic pedal throughout the section. 285 Example 245, mm. 82-84 ‘2! Lam mu.) '2 s. W _ The final chord of the movement is bi-modal, G major and minor. Example 244, mm. 98-101 286 The harmony of this movement makes more use of the third than any other single interval, but the tertian harmony is not traditional because of the bi—tonal implications and added notes. As in the second movement, chords in fourths are again absent. Tonal Structure The tonal structure, outlined in Figure 25, corre- sponds to the harmonic and melodic motives by emphasizing the third-relationship. An exception can be noted, however, with reference to the fourth relationship of the transitional passage to the sections on either side of it. This tonal scheme is quite similar to that of the second movement. Fifth Movement The fifth movement, like the first, is cast in a sonata-allegro form with a reversed recapitulation (cf. Fig. 24). The motives of the recapitulation of the first movement, however, are inverted, whereas they remain in their original shape in the fifth movement. The order of thematic material is Introduction, I, I inverted, Introduction, II (based on much of material of I) Development (using the first theme of the first movement), Introduction, II, Introduction, and I. The coda begins with the "barrel organ" passage, marked ppp indifferenza, to which Helm had referred. 287 Source Motives Motive "a" variant (inverted retrograde) Sections Introduction A Introductory Material Transition B Introductory Material Development B Introductory Material A Coda Sonata-Allegro Form Motives Used "a" Elements of "a variant variant variant variants variant variant Measures 1-14 15-149 150-156 157-201 202-559 560-568 569-479 480-527 528-546 547-698 699-828 Fig. 24.--Fifth Quartet, V Movement Main Tonalities Indefinite G Indefinite Indefinite Indefinite Rapidly Shifting A to G Indefinite Bb A to Bb 288 Melodic and Rhythmic Motives The introductory motives are scale fragments. Example 245, mm. 1-4 A A f 3 l I ‘ 55’ (M 3' i The first theme begins with repeated notes, reminding one of the first movement. The theme itself emphasizes scale patterns covering thirds and tritones, much like motive "a." The following example shows this theme to be a modified retro- grade of motive "a." Example 246, mm. 16—19 1 II T 11 ILA—L 1 VILJ 1 I 1 1 I I H I b a The four-note scale part of the theme is development immediately, canonic treatment being one of the devices used, occupying the next one hundred measures. The accompaniment, 289 originally below the theme, is put on top and inverted. The thematic material itself is inverted and there is a second exposition-development of the principal subject, the "a" variant, covering forty-one measures. The introductory material precedes the second theme, now incorporating fragments of the principal theme and empha- sizing its similarity to it. The second theme contains minor seconds and sevenths, and gives some play to the scale pattern derived from the first theme. It is also similar to the scale patterns of the second theme of the first movement. Like the first theme, it is a modified retrograde of its companion of the first movement. Example 247, mm. 202—203 9w’ evul'epovrwa): *A T A '2. [$1. $70.”;MO 0513411. Both aspects of this derived second theme are developed immediately by means of intense contrapuntal treatment. A 290 brief play on a theme derived from the rhythm of the second theme concludes the exposition. Example 248, mm. 551-555 _ um. * ' o-sm ' Asthma.) n 9 Pfirgm A I [1| ‘1] I 1 1‘ I I I I :11 l ‘ E 1' i I ; J V ’ 5W” . The development section, preceded by the introduction, treats principally motive "a" of the first movement. This adds an interesting dimension to Bartgk's sonata form in that material new to the movement is developed rather than its own material. The fact that the themes of the first and fifth movements are so closely related keeps the movement within - the very loose bounds of the sonata-allegro form. The devel- opment section is short, no longer than the entire statement of the first theme was in its entirety. The return of the introductory theme announces the beginning of the recapitulation, and the second theme follows immediately (of. Ex. 246). The introductory theme appears again after which the first theme is restated and developed much as it had been handled in its first appearance. After a transition consisting of arpeggios, scale patterns, and repeated notes, the coda begins. 291 The coda begins with a parody on a folk-song style in a dominant-tonic context, marked con indifferenza. A humorous note is inserted in the second statement when the theme is moved up a minor second while the accompaniment re- mains at its original level. The entire passage is only twenty-two measures in length. The folk-song parody is incon- gruous in Character with the rest of the movement, indeed the rest of the quartet, but not in thematic material, for it uses the scale pattern found in both principal themes of the move- ment. Example 249, mm. 699-706 After this material is concluded the coda moves into a development of the scale pattern of the themes. It is im- possible to say which theme furnishes the material, for the characteristic rhythms of both themes are employed. The movement ends with a relaxing of tempo and a final statement of the scale-pattern, all parts ending on B flat. The thematic material of this movement is more closely interrelated than it was in the previous movements of this 292 quartet. Its close relationship to the motives of the first movement is made apparent when the development section uses only material from the principal theme of the first movement, and does so without causing a change in the flow of the move- ment. The arch of the entire quartet is reflected in this movement and in the first by their reversed recapitulations. The use of introductory material before each element of the form is important in both movements. It will become a primary technique in the next quartet. Harmonic Materials The first sonorities of this movement are unisons and octaves as they are in the first movement. The statement of the first theme offers the first harmonic interest, and it is a G minor triad with non-harmonic tones of the first beat. Example 250, m. 18 295 The tritone had been an important interval in the first movement. It is emphasized here throughout the first theme when the descending version of the thematic fragment begins an augmented fourth above the point at which the as- cending version had ended. Example 251, m. 27 This treatment continues until a canon begins in measure 45. The transition into the second theme contains mainly triads in the chordal parts, clashing in semitone dissonances with the melodic thematic material. 294 Example 252, m. 165 The minor second melodic material of the second theme is immediately preceded by tone-clusters in the harmonic tex- ture, the first introduction of clusters in the movement. 295 Example 255, m. 186 The development section uses not only melodic mate- rial from the first movement, but harmonic material as well. The entire section emphasizes the same tritone which was quoted in Example 199, E and B flat. 296 Example 254, m. 569 Vertical sonorities in thirds are also found in this movement. In the recapitulation of the first theme, the thematic material is treated imitatively, and the vertical sonorities at the first of the measures are usually thirds, moving to more dissonant intervals in the latter part of the measure 0 297 Example 255, m. 571 The tremolando chords in the transition from the re- capitulation to the coda are exclusively triads. The chord quoted below is F sharp major and minor, re-emphasizing the bi-tonal materials. 298 Example 256, mm. 810—811 The dominant and tonic accompaniment of the beginning of the coda and its shift to a bi-tonal texture have already been discussed. Then the body of the coda following the con indifferenza theme is primarily contrapuntal. The vertical sonorities are, however, often semitones on the accented beats, leading to the following sonority, found late in the coda. Example 257, mm. 810—811 :5}? l, _, l The tension level brought about by the minor second dissonances placed so close to the end of the movement con- trasts greatly with the final sonorities of unisons and oc- taves. ‘500 Example 258, mm. 827-828 if fid To summarize, the fifth movement shares harmonic as well as melodic material with the first movement. Both move- ments have chords built on seconds, thirds, and tritones, as well as unisonal writing. Both have passages of bi-tonal and bi-modal writing. The correspondence with the melodic mate- rials is striking in each movement. Tonal Structure According to the plan of the arch form, the fifth movement should be in B flat. Figure 24 showed that although it ends on that tonality, it begins with more emphasis on G minor. The succeeding tonalities can be followed on that 501 figure. The pattern in the tonal shifts of this movement is primarily on the basis of thirds, whereas the first movement pattern was primarily seconds. The quickly shifting centers do, however, resemble the pattern of the first movement. Summary A summary of the main motives of each movement of the Fifth Quartet is included here (Fig. 25). It can be seen that conjunct motion and thirds are most prominent in the entire quartet. The perfect fourth and the tritone, especially the latter, are also important. The tritone is rarely outlined in a leap, but several of the motives emphasize the interval by spans of a tritone. Besides the relationships already pointed out within movements and between the pairs of movements of the arch form, other examples may be found. The most striking of these is the motive from the second movement (Ex. 206), utilizing the interval of the seventh and the same type of motive in the fifth movement (Ex. 247). The relationships between motives is not as tightly drawn as it had been in the Fourth Quartet, but the harmonic structure is fully as consistent as it had been in the earlier work. The melodic material expands to wider intervals in the Fifth Quartet, and the harmonic material reflects this less 502 airy ' c variant "c“ var (an). Lr [m1 IIL _ 1 4 J. 4 “FT. japaafiafi; §§EEEEEEE§§E TVM A We flip, E W W m m 5;! bgb L “ o.’ 30w“) as): Fig. 25.--Fifth String Quartet 505 cempact structure. The result is a lesser degree of disso- nance than was present in the Fourth Quartet. The seconds and thirds of the melodic material find themselves aligned vertically to form harmonies consistent with the thematic ma- terial. The triads are rarely free of additions, however, for they are often bi-modal. There are a few isolated examples of chords constructed in fifths, but they are not in significant numbers. The relationship of the tonal centers between movements follows the same plan as in the Fourth Quartet. The first and fifth movements are centered on B flat (the fifth a little be— latedly), the second is on D, a third above B flat, the fourth on G, a third below B flat. The third movement, more definite than the middle movement of the Fourth Quartet, is on C sharp. The tonal relationship between the third and fourth movement thus becomes a tritone, an important melodic and harmonic ele— ment in the quartet. In conclusion the retrograde relationship between the themes of the first and fifth movements of this work should be noted.. It is effective in this case because of the dis- tinctive interval of the tritone. It is a constructional de- vice that Bart5k does not use often, but is useful in rounding off the arch form. CHAPTER VII STRING QUARTET NUMBER 6 General Traits Bart5k's last String Quartet was completed in Novem- ber of 1959, after having been commissioned by Zoltgn Szekely in August of the same year. By the time of its first per- formance, New Yerk, January, 1941, BartBk had lost touch with the Hungarian Quartet for which it had been conceived, so he dedicated it to the Kolisch Quartet in gratitude for their performing the premiere of the work. The predominant mood of the Sixth Quartet is one of sadness, especially in the recurrent theme which precedes the first three movements and furnishes all the material for the fourth movement. Halsey Stevens says that the quartet is introspective and melancholy, almost as though Bartgk were bidding farewell to Hungary.1 A comparison is often made between the late Bart5k and the late Beethoven. Jacques deMenasce believes that this comparison is most valid with the last quartet. Bart6k, like Beethoven, was straining against the limitations of the 1Stevens, p. 197 504 505 traditional forms. It was not a protest, however, as Wagner's late works were protests against harmonic limitations, but rather a "message . . . that a greater wisdom lies in the philosophical acknowledgment of judicious and essential limi- tations."2 Helm says that the temptation to glorify the last works of a great composer should be avoided in the case of Bart5k, for there is no evidence that Bart6k intended the Sixth Quartet to be the last. It does, however, in a sense represent his crowning glory. Instead of indicating a return to the techniques of the earlier works, this work is a synthe- sis of the first five quartets. In this work, according to Helm, the technique is less important than the expression.3 Harmonically, the Sixth Quartet continues the trend toward simplicity which was established in the Fifth Quartet. The harsh dissonances found in abundance in the middle quar- tets are held to a minimum here, and in their place tertian harmonies dominate the texture. The result is a more acces- sible work than the middle quartets. ‘Melodically the Sixth Quartet incorporates trends from all the earlier periods of composition. Closely woven 2Jacques deMenasce, "The Classicism of Béla Bart5k," Modern Music, XXIII, No. 2 (Spring, 1946), 88. SHelm, pp. 21-22. 506 chromatic melodies exist in this work side by side with more expansive folk-like melodies which contain wider intervals. Generally Speaking, cadences are better defined in this work than in earlier ones, giving more frequent punctuation to the musical lines. The Sixth Quartet is largely unified by the use of the recurrent Muppp_theme. However, this is an external uni- fying technique, and not the only one which Bart5k employed. Elements of the recurrent theme appear within the main sec- tions of each movement, unifying the entire work to a greater degree than the simple use of a cyclic theme could accomplish. In addition, in the last movement the two main themes from the first movement reappear in an echo of the arch form of the Fourth and Fifth Quartet. First Movement The form of the first movement, outlined in Figure 26, is comparable to a traditional sonata-allegro form, with only the first theme developed in the middle section. The use of this form is within a more classical tradition in this work than in the earlier sonata-like movements--the delineation of materials and sections is much clearer in the present work. 'Melodic and Rhythmic Motives The first movement is introduced with the Mesto theme in the solo viola, beginning on G sharp. The motion of the 507 Source Motives Motive "a" Motive "b" Sonata-Allegro Form Main Section Motives Used Measures Tonalities (Cyclic Theme, of. Ex. 259) 1-13 Ab Introduction "a" 14-25 Indefinite A j "a" 24-80 D B "b" 81-157 C to F Introduction "a" 158-165 Indefinite Development "a" 166-267 Begins on D, shifts rapidly Transition "a" 268-286 Indefinite A "a" 287-511 D B "b" 312-370 C#, e Coda "a" 571-590 G to D Fig. 26.—-Sixth Quartet, I Movement 508 theme is mainly conjunct, often by chromatics. The final in- terval of the drop of a fourth anticipates the introduction to the body of the movement. This technique will be seen in each succeeding movement as well. Example 259,4 mm. 1-5 73+.) 3*. as; ‘ 5' X. I 8» r-"fl apr- "NP . “1111111111191 1111 1 '1" “first-1f 1111 I 1 r1 ' ‘ 1711 I111rr 1r u11i111111'1'rfi T I ' '7 I I'll]I [III 1 named.“ ' ' C101167h ‘ E I Mal-3 4A A) m h~ 1 1 11 1‘} 11:1 1 L 1111 I I I 1 [T J 1 2m 111'11111111 H 1 . um- I. III“. Al H l" I!‘ I l l’ n I V. ' ‘ 1 I. \I—‘o'l 511 The last measure of Example 265 shows the second theme moving into conjunct motion in a rhythm reminiscent of the first measure of the cyclic theme. The passages following this are occupied with a development of this motive, culminat- ing in a motive constructed entirely of eighth notes. It is not a new theme, for it is much like the contour of "b." In its development it is combined with the thirds of the second part of the second subject. Example 264, mm. 109-110 T“; The exposition ends with references to the rhythm of motive "b," the duplets of "a," and imitation of the eighth- note motive of Example 264. The section ends on an F major cadence. The development section begins with the slow intro- duction of fourths and fifths which began the body of the movement. It is treated in a stretto imitation and leads into a development of the principal subject which is derived from it. The only significant variation or development of 512 motive "a" is an expansion of the intervals into a pattern using sevenths. This later gives rise to an ostinato pat- tern utilizing the interval of the seventh. Example 265, mm. 180-181 "af(pn1nct H ' +4— %L_ r l E :2