BARTOK'S CONCERTGS FOR SOLO PIANO A StyIiafic and FormoI Analysis Thesis for the Degree of Docfor of Philosophy MICHIGAN STATE UNIVERSITY Jack Edwin Guerry I964 ~ it”?! VI.- THESIS IIIZIIIIII II III II. #3 93 10741 6145 This is to certifg that the thesis entitled BARTOK'S CONCERTOS FOR SOLO PIANO A Stylistic and Formal Analysis presented by Jack Edwin Guerry‘ has been accepted towards fulfillment of the requirements for PI“! . D . degree in ALAS—Ll \H\ Major profésgr/I Date afixll j) “‘1 £44 0-169 LIBRARY Michigan State University ’3” E I“ Jim 1383 M We 5:211 r .. ,.\l.~4J v“"" .33» - .LII'II t L; w“ F's. ”‘I'J OIL U 3 33'"?! ”(I k‘:\| ft“ r. ' ABSTRACT BARTOK'S CONCERTOS FOR SOLO PIANO A Stylistic and Formal Analysis by Jack Edwin Guerry Béla Bart6k's piano concertos are seldom performed, though they represent peaks of achievement in his career that range from 1926 to 1945, the year of his death. It has been the purpose of this study to examine the concertos in an effort to determine the reasons for their relative obscurity, to discover whether the reasons are valid, and, in doing so, to measure the importance of these works in relation to the body of Bart6k's total output as a composer. To accomplish this purpose, the author has chosen to examine the works from all sides. For example, the cir- cumstances which engendered their composition are inves- tigated. Early critical reactions are compared with more recent comments. General traits of the individual con- certos are discussed-—namely: the qualities of Hungarian peasant music which are constantly in evidence; the striking stylistic homogeneity of all works written in or around the reSpective years of the concertos; the individual Jack Guerry character of the works; noteworthy elements of rhythm, melody, harmony, counterpoint; stylistic features and innovations in the piano writing; the texture, instru- mental requirements, and special effects in the orches- tral writing. Also, each concerto is given a movement- by-movement formal analysis, disclosing a carrying-over into the concerto form of Bart6k's phenomenal structural instincts which are so well illustrated (and so much better known) in the String Quartets. Finally, the striking stylistic development manifest in these works is traced, corroborating NOrman Demuth's perceptive state- ment: There is no more instructive lesson to be learned in how a composer can, over a stretch of time, move from strength to strength and ultimately to refine- ment of thought and expression than through a study of the three Piano Concertos. 1Norman Demuth, Musical Trends in the Twentieth Century (London: SalisEury Square, I95177 pp. 271-272. BARIOK'S CONCERTOS FOR SOLO PIANO A Stylistic and Formal Analysis BY Jack Edwin Guerry A THESIS Submitted to Michi an State University in partial fulfillment of the requirement for the degree of DOCTOR OF PHILOSOPHY Department of Music 1964 ACKNOWLED Q’IENTS I have used the following complete orchestral scores of Bartdk's piano concertos for this study: I. Konzert ffir Klavier und Orchester (capyright 1927 by Universal Edition; renewed 1954 by Boosey and Hawkes, Inc., New York); ‘33. Konzert fur Klavier und Orchester (c0pyright 1932 by Universal Edition, Wien); and Piano Concerto '39. g (capyright 1947 in U.S.A. by Boosey and Hawkes, Ltd.). Boosey and Hawkes, Inc., has kindly granted permission for the use of all musical excerpts which appear throughout the thesis. I wish to extend my appreciation to Mr. Robert Hogenson for capying the examples from the scores for inclusion in the thesis. Also, I should add a word of thanks to Professor Gyorgy Sandor of the Department of Music, Uni- versity of Michigan, for granting me a most helpful inter- view in June, 1963. Finally, I should like to give special thanks to my thesis director, Professor Gomer Ll. Jones of the Music Department, Michigan State University, for two things: first, for his brilliant and inspiring lectures on Bartdk's String Quartets through which I first became aware of the magnitude of Bart6k's genius, and, thus, subsequently chose ii the concertos for my field of study; and second, for the painstaking care he, as major professor, has given my work. Paul Lang has succinctly indicated Bartdk's position in musical history in saying: "There is no other instance in the history of music, with the exception of Rameau, where creative force and scholarly patience have been so harmoniously wedded . . ." Professor Jones possesses the same qualities to a remarkable degree. iii TABLE ACKNOWLEDGMENTS . . . . LIST OF ILLUSTRATIONS . LIST OF APPENDICES. . . INTRODUCTION. . . . . . Chapter OF CONTENTS I. FIRST PIANO CONCERTO. . . II. SECOND PIANO CONCERTO . . III. THIRD PIANO CONCERTO . . IV. CONCLUSION. . BIBLIOGRAPHY. . . . . . APPENDICES. . . . . . . iv Page ii 15 69 125 . 185 190 200 Figure 1. 10. '11. 12. (b) (b' )'f?I§§, First mm. First First mm. First la} (b) First b First a (b) (C) First (b) First mm. First mm. First mm. First mm. 254-265 Piano Concerto: LIST OF ILLUSTRATIONS od Rha 8 ° Ealr Iassd, ') riss, IEEEE, m. 69 . . mm. Piano Concerto: Piano Concerto- r yt Piano Concerto: AIIegro moderato, A egro moderato, Piano Concerto: AIIe ro moderato, A egro moderato, Piano Concerto: m. 42-43 0 mm. 473-477 521-524 Allegro molto, mm. mm. mm. mm. 105-112. 415-419. 339-340. 357-358. AIIegro moderato, mm. 409-410. . . 119, Andante, mm. 91-92, m. 100, m. m. 0 O O O O O O O Allegro molto, m. 112. Piano Concerto: egro moderato, mm. Mante,w m. Piano Concerto: Piano Concerto: Piano Concerto: Piano Concerto: 354- 355. Allegro moderato, ___._s_Alle r0 222239.92. Alle ro moderato,. onIyT-TaT-. . . Allegro moderato,, Andante, mm. 91-100. Allegro moderato,_ Page 10 10 11 ll 22 23 32 33 34 44 45 45 46 46 47 47 49 '51 51 52 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. First 29-39 0 Piano Concerto: Allegro moderato m0 m8“ 0 O O O O O O O O O O , First Piano Concerto: Andgnte, mm. First Piano Concerto: a anEe, mm. 43-44 . . . . (b) maante’ mo 51'54 o o c o o Fir t Piano Concerto:. , .(al AIIe ro moIEo, mm. 5-14. . (b) KIIegro moIto, mm. 30-31 . First Piano Concerto:, a AIIe ro moIEo, mm. 56-59 . . (b) ‘AIIe ro moIto, mm. 65-67 . (c) gfiIegro moIto, mm. 92-95 . . First Piano Concerto: Allegro molto 'mo IEI‘IE c e 0 cl 0 o o o o o o : First Piano Concerto: Allegro molto m. mla C O O O O O O O O O 0 First Piano Concerto: Allegro molto "—m.3'2'6?324......-...'T—I—’ Second Piano Concerto: Adagio, mm. 1-22. Second Piano Concerto: Adagio, mm. 23-24 Second Piano Concerto: Adagio, mm. 44-47 Second Piano Concerto: Allegro, mm. 74-75. Second Piano Concerto:, Adagio (Presto_ episo e , m. Second Piano Concerto: a (b KIIe ro mm. 24-28 'KIIEEEBI mm. 211-21 Second Piano Concerto: (a5 ZIIe to, m. 32 . . (b) KIIegro, m. 44 . . Second Piano Concerto: . a e ro, mm. 81-83 (b 88 0', mo 1’20 0 vi 0 O O S . . 54 59 59 60 62 62 63 63 64 64 65 67 79 80 80 85 85 90 91 92 92 93 94 29a. 29b. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. J. S. Bach, Two-Part Invention N2..13, mm. 4'6 o o c o o c c o c c o e o 0 Second Piano Concerto: Adagio (Presto episoae) ’ m. [ISO 0 O O O O O O O 0 Second Piano Concerto: Adagio (Presto ep 8038,, mm. [9-26 0 o c o o o o 0 Second Piano Concerto:3 a AIIe ro mm. I- . . . at) AIIe r0: mm. 181-183 . Eb)) A 'e ro, mm. 455 .8. b' e ro, mm. 1 0-1 1 . (c) ZIIe ro, mm. 5-7 . . . > __s__11 (c' A e ro, mm. 193-194 . . O O O ... O 0 Second Piano Concerto: (a; AIIe ro, m. 33 . . . . . . . . (b ZIIegro, m. 200. . . . . . . . Second Piano Concerto: Allegro, mm. 99—101 Second Piano Concerto: Allegro molto, mm. - c o c o c}. o o o o 0:. o 0 Second Piano Concerto: Allegro molto, mm. 45-47 . . . . . . Second Piano Concerto: (a A e ro moIto, mm. 162-163 . . (b) AIIegro RISE-6, mm. 178-179 . . Second Piano Concerto:, Allegro molto,_ mm. 275-279 0 o o e o c o o o o o o 0 mm. - c c c o o o c o c e c 0 vii Second Piano Concerto:, Allegro molto,_ 0 Second Piano Concerto: Allegro molto, m. Second Piano Concerto: Adagio, mm. 207-210 0 0 Second Piano Concerto: Allegro, mm. 159-161. Second Piano Concerto: Allegro, mm. 109-110. Second Piano Concerto: Adagio, mm. 81-83 . . 96 96 98 100 104 107 108 108 108 108 108 HS 111 112 115 118 118 120 121 121 . 123 124 44. 45. 46, 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. Third a b Third mm.' Third mm. Third mm. Third mm. Third Third mm. Third Piano Concerto: XIIe retto mm. 2-11 . . . . KIIegretto: mm. 76-84 . . . . ‘Third Piano Concerto: Allegretto, mm. 54-57 Piano Conerto: Piano Concerto: IEI-ISD Piano Concerto: '2283235 . Piano Concerto: '3687369 Piano Concerto: Piano Concerto: I827I83'. . . . Piano Concerto: Adagig religioso, Adagio religioso, m. Allegro vivace, Allegro vivace, (a) KIIegretEo, mm. 40-41 . . Allegro vivace, Allegro vivace, O 58 (b) AIlegretto, m. 62 . . . . . . . Third Piano Concerto: Adagio religioso, m. ' o c c o o c c c o e c c c o c c Third7Piano Concerto: Adagio religioso, m. C O O O O O O .0 O O O O O O 0 Third Piano Concerto: Adagio religioso, mo "' o o o o c c o o c o o e o o 0 Third Piano Concerto: Allegro vivace m. zzj'zas c e o c. c c o c c o o 0’.- 0 Third Piano Concerto: Allegretto, m. 76 Third Piano Concerto: Allegro vivace me 697-706 0 o c c. o o c c c c o 9’.- 0 Third Piano Concerto: Allegretto, mo " e c c e c e o e e o o o 0 Third Piano Concerto: Allegretto,, mo ' c c o o o o e c c o c o 0 Third Piano Concerto: Allegretto, mo "_ o o c o e o o e o c o 0 viii 136 137 138 139 140 141 145 146 147 148 148 ' 153 154 154 156 165 166 169 170 171 62. 63. 54. 65. 66. Third Piano Concerto: mm.'II8:I20 . . . . Third Piano Concerto: mm.'60353 . . . . . Third Piano Concerto: mm. I333I37 . . . . Third Piano Concerto: mm. 3923395'. . . . Third Piano Concerto: 'tmno 165-768 0 c o Allegretto, Adagio Adagio religioso, religioso, O O 0 Allegro vivace, Allegro ix vivace,_ ' 172 175 178 180 183 Appendix II. III. IV. VI. VII. VIII. LIST OF APPENDICES Review of the Scherzo for Piano and Orchestra. Review of the Rhapsody . . . . . . . . . . . . Review of the Concerto for Two Pianos and orChestra O O O O O O O O O O O O O O O O 0 Review of the Sonata for Two Pianos and Percussion. . . . . . . . . . . . . . . . . ReVIEW’Of the §$£§£.§l§22 Concerto . . . . . . Review of the Second giagg Concerto . . . . . Review of the SecondIPEEEQ Concerto . . . . . Review of the Third Piano Concerto . . . . . . Page 200 202 204 206 209 211 213 215 INTRODUCTION Béla Bartdk's piano concertos are seldom per- formed, though they represent peaks of achievement in his career that range from 1926 to 1945, the year of his death. It is a curious fact that other works, such as the Concerto £25 Orchestra, the Mggig.§g£ Strings, Percussion and Celesta, the String Quartets, and even certain other piano compositions, have attracted far more attention among musicians and audiences than have the concertos. And yet, the medium of the solo concerto has always been one through which composers gain reason- ably quick contact with the public, a contact which, be- cause of the very nature of the concerto—-soloist with or versus orchestra-—guarantees at least superficial interest on the part of the listener. If such an accessible medium is given music that is worthy and truly representative of an established composer, then it is reasonable to assume that success will follow. History, however, has disproved this assumption. NMmer- ous masterpieces have settled into relative states of oblivion after their first few performances, some to be resurrected and acclaimed long after their composer's death, others to remain unknown. Of Bartdk's three piano concertos, written in 1926, 1931, and 1945 1 respectively, only the third has attained any degree of recognition. Time will not necessarily tell whether these works, particularly the first two, deserve their present status, no more than it will solve the riddle of other forgotten masterpieces; nor is the purpose of this study an at- tempt to do so. It is intended more as an effort to bring to light some of the features of these works that are also typical of Bartdk's more frequently performed compositions, and to examine them from all sides. It will be of interest, for example, to see what circum- stances engendered their composition; what sort of criti- cal reactions followed early performances and how these compare with.more recent comments. General traits of the individual concertos will be discussed, such as the striking stylistic homogeneity of all works written in or around the reSpective years of the concertos; the individual character of the concertos; noteworthy ele- ments of rhythm, melody, harmony, contrapuntal devices, and other aspects of composition. Also of importance to an investigation of this sort are certain stylistic features and innovations in the piano writing; the tex- ture, instrumental requirements, and special effects in the orchestral writing. Finally, a movement-by-movement formal analysis will be made of these works. Certainly the real strength of these concertos, as with any artis- tic achievement, lies in their structure.* I believe it will be seen that they are, in the words of Emil Haraszti, truly the "work of the Form Carver,"1 and invite comparison with those noble edifices, the String Quartets. _ Two other important matters, though discrete, re- quire comment before beginning the study of the £253; ‘giagg Concerto. They are (1) Bartdk and the folk music influence, and (2) the works for piano and orchestra other than the solo concertos. m 222 Lbs. E2143. ____Hus1c I____nf1uenc_e Much has been written about Bartdk and his inves- tigation of folk musice—not only of his native Hungary but also of surrounding territories and even parts of Africa—-and its subsequent influence on his music. It is not within the realm of this study to dwell at length on this tapic; however, I feel that a brief discussion here will elucidate material in later chapters. Also, certain misconceptions concerning the true nature of Hungarian peasant music persist to this day, and for'this reason alone a few comments are pertinent to any study of Bartdk's music. . g I It must be understood that Hungarian folk-like music as incorporated in the music of certain nine- f- teenth-century Composers, Brahms and Liszt for example, 4 _ i V 1Emil Haraszti, Bela ar 6k, trans. Emil Haraszti andégorothy Swainson (Paras:| The Lyrebird Press, 1938), p. . is in no way representative of the actual music of the peasants, but in most cases is the product of dilettante composers——an art-music in folk music style.2 This music, frequently performed by members of gypsy tribes at coun- try gatherings, dances, and other such Eéggg, is that to which Liszt refers in his Les Bohémiens gt leur 3 Musigue‘gg Hongrie. Liszt's thesis, according to Emil Haraszti, "is that there is no such thing as Hungarian music, but merely music played by the gypsies, the remnants of an ancient musical epic, whose rhapsode is the gypsy. This erroneous theory, which is an insult to the Hungarian peOple, was current in the Romantic _ epoch . . ."4 Thus, Brahms's Hungarian Dances and Liszt's Hungarian Rhapsodies contain hardly more than four or five genuine peasant melodies, the others being art-melodies in folk style.5 What, then, constitutes pure Hungarian folk music? The following are a few general characteristics which relate to this study; they 2Béla Bartdk, "Hungarian Peasant Music," The Musical Quarterly, XIX (July, 1933), p. 270. ’ 3It should be pointed out that it is slightly in- accurate to refer to this work as Liszt's. Emil Haraszti has proved conclusively in his article "Franz Liszt——Author-Des ite Himself," The Musical Quarterly, ,XXXIII (April, 1947), pp. 490-5167—t5at LIszt, n an effort to match the literary achievements of his com- poser colleagues,.managed,to persuade some of his . female companions to ghost-write all of the published works bear ng his name as author.’ Aphid.,.p. 511. SBartdk, Op. cit., p. 267. .are derived from the previously cited article, "Hungarian Peasant Music," and from an examination of melodies in Bartdk's Hungarian Folk Music:6 1. Parlando-rubato style——characterized by consideraEIe rhythmic freedom and presumably sung in a quasi-Speaking manner. 2. Tem o- iusto style——fast, dance-like melodies, t mucfi rhythmic vitality and little tempo variation. 3. Rhythmic complexity which sometimes chal- lenges logical notation (typical of parlando- rubato style). " . Frequent dotted rhythms such as: I conspicuous absence of the figure: 5. Frequent changes of meter, but with the eighth-note equal throughout. ' 6. "Predominant use of duple or quadruple meter (simple and compound) as Opposed to triple meter. 7. Absence of anacrus 8 except occasionally in the form of an interjection. (In the Hungarian lan age, every word is accented on the first syl ab e.) ( 8. Lgng phrases of uninterropted‘eighth-notes typical 0 tem -giusto melodies . 9. PrevaIent use of pentatonic scales but with occasional altered tones which transform the pentatonic into Dorian, Phrygian, Mixolydian or Aeolian modes; the Ionian mode is infrequently used. 10. Series of repeated notes at the-very be- ginning of the melody, or an alternation of two notes a maior second apart. 1. Frequent fourths and minor thirds; consPic- uous absence of the augmented second. 12. Use of embellishments such as raCe notes and portamento,(e3pecially characterist c of parlando-rubato style). 6 . Ibis. pp. 272-287 and Béla Bartdk Hungarian Folk.MusIc,’trans. M. D.’Ca1vocoressi (London: umphrey MITIora, I931), appendix pp. 1-87. ‘ These characteristics will be referred to in following chapters, for the concertos contain numerous features typical of folk song, though no Specific folk melody is anywhere incorporated into the music. It is now necessary to consider the manner in which Bartdk uses folk music, an aspect of his style which, in some Opinions, has been overemphasized.7 Notwithstanding this, in his article "The Influence of Peasant Music on Modern Music," Bartdk clearly outlines his own methods, a statement which constitutes an in- valuable explanation for anyone who attempts to under- stand his style. His comments are as follows: The question is, what are the ways in which peasant music is taken over and becomes transmuted nto modern music? we may, for instance, take over a peasant melody unchanged or only slightly varied, write an accompaniment to it and possibly some Opening and concluding phrases. This kind of work would show a certain analogy with Bach's treatment of chorales. Another method . . . is the following: The composer does not make use of a real peasant melody but invents his own imitation of such melodies. There is no true difference between this method and the one described above. There is yet a third way in which the in- fluence of easant music can be traced in a com- poser's wor . Neither peasant melodies nor imitations of peasant melodies can be found in his music, but it is pervaded by the atmosphere of 7See for example, Colin Mason "Béla Bartok," Grove's Dictiona of Music and Musicians, 5th ed., Vol. I, edIted by ErIc BIom_TNew YorR: St. MartIn's Press, 1959), p. 470. 7 peasant music. In this case we may say, he has completely absorbed the idiom of peasant music which has become his musical mother tongue. He masters it as gompletely as a poet masters his mother tongue. This must be considered a definitive statement, one which should help to resolve all polemics concerning Bartdk's use of folk music. . It is the complete assimilation of folk elements which characterizes the concertos, and, in fact, all of the major works from 1926 on. It will be seen in sub- sequent chapters that they are, indeed, "pervaded by the atmosphere of peasant music." ‘Ihg Scherzo, Egg'Rhapsody‘agg Egg Concerto £25 £22 Pianos The Scherzo is a little-known work. It is not in- cluded among chronological lists or discussions of Bart6k's compositions in the biographies by Moreux and Stevens, though it is listed in other sources as having been written in 1902 or 1904.9. It is not published. 8Béla Bartdk, "The Influence of Peasant Music on Modern Music," Tempo, No. 14 (Winter, 1949-50), pp. 20- I . 9Mosco Carner dates it 1902 in his "Béla Bartdk," The Concerto, ed; Ralph Hill, (London: Pen in Books, I9545, p. 372; Andrés Szollosy dates it 90 in his ”Bibliographic des Oeuvres Musicales et crits Musico- logiques de Bela Bartdk," in Bartdk, fig 2;; 55 Son Oeuvre, Publié sous la direction He Bence SzaboIEEI, (Budapest: Corvina, 1956), p. 307. - There is the following comment found in Haraszti's biography: At the beginnin Of the season [1905] the Phil- harmonic Society [O Budapest] had intended to per- form a new Scherzo for piano and orchestra by ‘ Bart6k. According to contemporary newspaper accounts, there were so few rehearsals, and so little interest was shown in his new work, that the com oser withdrew it and it has not been heard O since.10 In the Opinion of Gyorgy Sandor, noted concert pianist and pupil of Bartdk, the work was suppressed by Bart6k as an early, youthful effort not Of the caliber Of the Rhapsody (which the composer frequently performed), and therefore not worthy Of publication.11 A recent performance Of the work in London has at- tracted considerable attention, but whether enough to effect a continuing interest is yet to be seen. The following excerpt from Timg_corroborates Mr. Sandor's Opinion: Though it may sound to some listeners as if it were written to accompan a film, London critics found the Scherzo worthw ile as a backward lOOk into the earIy output Of one Of the great spirits Of modern music. Said Colin Mason Of the Guardian: "Although it is not likely ever to find a place in the repertory, we should hear it a few more times 10Haraszti, Op. cit., p. 23. 11Interview with Gyorgy Sandor, June 29, 1963. 9 yet to savor its humor and ori inality before12 putting it on the shelf as an mmature work." Of more importance is the Rhapsody, Bart6k's Opus 1, which was written in 1904, predating his earliest inves- tigations Of folk music by one year. It was originally conceived as a piano solo, but needing a larger composi- tion for which to compete for the ggig Rubenstein in 1905, Bartdk rescored the work for piano and orchestra. Henry Cowell's over-all estimation Of the work is noteworthy: [The Rhapsodleis a skilled work, conven- tional n e post-Lisztian manner, with flourishes and rich instrumentation. It has rather slight originality but is an insured success as a well written, splurging Romantic piece. It bears the same sort of relationship to the mature BartOk as Verklarte Nacht does to the mature Schoenberg, and will probaBIy prove immensely pOpular amogg those who cannot fathom late Bartd , but who sh to be on his powerful bandwa on. It is, also, a real show iece for the "gran manner" ianist. It is no ess difficult to play than the rhap- sodies of Liszt, but the fireworks are more integrated.with thf whole piece than in some Liszt paraphrases. 3 It is precisely this integration of material, to which Cowell alludes, that links the Rhapsody with the Bartdk of the three piano concertos. An examination of the work reveals some of the earliest examples Of thema- tic transformation and interpenetration (hallmarks Of the later works) that are to be found in the published oeuvre. Figure 1 demonstrates this aspect Of transfor- 12"Vintage Scherzo," Time, LXXXI, Part 2 (March 8, 1963), p. 46. See Appendix I for the entire article. 13Henry Cowell, "Reviews Of Records," The Musical anrterly, XLI (April, 1955), p. 261. 10 mation and, at the same time, graphically illustrates the early "post-Lisztian manner" mentioned above. Two im- portant themes are shown as they appear first in the lappfi and later, completely transformed, in the fggpp: Fig. l-—Rhapsody: (a) lgppé, mm. 42-43. Pk. Tempol. 0:58—54) 3 P doles (a') friss, mm. 473-477. ll (b') friss, mm. 521-524. Pr esto (35% [/A r /- It is also significant that Bartdk departs from the typical two-part scheme of the Liszt rhapsody with its contrasting lassfi and fries, bringing back part Of the lassfi as a dramatic climax at the end of the piece. This aspect and the thematic interlocking Of movements es- tablish a unity in this Rhapsody which is nowhere present in its predecessors.14 The strength of form plus the brilliantly effective piano writing are probably the main causes for BartOkIs Obvious pride in the work. As laHalsey Stevens, :32 Life app Music Of éla Bart6k (New York: Oxford University Press, I953TT p. 29. 12 mentioned above, it is one of the few early works which Bartok did not repudiate, and in fact, as late as 1927 he was still performing it, though, it must be admitted, as a replacement for the Eiggg‘giggg Concerto. This sub- stitution took place on the occasion of Bartok's first performance in the United States, an incident which will be discussed more fully in Chapter 1. Reviewing the concert in December of 1927, Olin Downes obviously failed to grasp the various unifying devices of the piece, not failing to note, however, the brilliance of the performer: Taking full advantage of its title, the piece is so free in style and structure that it lacks . cohesion and concentration, and suffers from a [sic] over-richness of material. There are enough goo musical ideas to make two Rhapsodies instead of one, and both Rhapsodies would be the better for it. . . . The piano part of the concert [gig] is difficult and original in its technic. Mr. Bartok played as the composer-pianist with a born in- stinct for the keyboard, with poetry of conception and at times a fury of virtuosity and elan as- tonishing in a man of his modesty and unosten- tation.1 This type of review, with its superficial criticism of his music but enthusiastic praise of his playing, was to harass Bartok throughout his life, since it was he who premiered mOst of his own compositions, at once astonish- ing critics with his "fury of virtuosity" and shocking' 15The‘ygg York Times, Dec. 23, 1927, 16:2. For the complete review, see Appendix II. 13 them with the "unmitigated ugliness" of his compositions.16 It is surprising that the Rhapsody is not performed more often than it is, for such a tremendously effective piece involves no gamble on the part of timorous con- ductors and pianists. The Concerto £25 239 Piangs Egg Orchestra, on the other hand, guarantees no such approbation. It is a a work which, in its original form, is generally conceded to be one of Bart6k's greatest achievements. Composed in Budapest between July and August of 1937, and premiered in Basle in January of 1938 by Bartok and his wife, the Sonata constitutes a monumental and thoroughly unique contribution to chamber music literature of this century. Presumably hoping to have a suitable vehicle from his own pen for orchestral performances in the United States, he rescored the work in December, 1940, adding an orchestra of two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, contra bassoon, four horns, two trumpets, three trombones, celesta, and strings.17 16Henrietta Straus, "Music," Th5 Nation, CXXVI (March 7, 1928),_p. 22$. ” 17Robert Bagar and Louis Biancolli, The Concert Com anion: ,5 Com rehensive Guide to S fionic Music (New York: Whittfesey House, {5577: p. 52. 14 Evidently the changes in the piano and percussion parts are minor, as Bartok indicates in the following statement: It seemed advisable, for certain technical reasons, to add orchestral accompaniment to the work, though, as a matter of fact, it gives only color to certain ortions of the work. The two- piano and percuss on parts remain practiCally unchanged, except for some of the climactic parts which are now taken over 1gram the two pianos as tuttis by the orchestra.1 The premiere took place in NBw York on January 21, 1943 with Fritz Reiner conducting the Philharmonic Symphony Orchestra. Olin Downes found the work "arid l9 and doctrinaire," an opinion which is in striking con- trast with the highly enthusiastic review of the Sonata's premiere three years before.20 Since the Concerto is a hybrid, fated to be over- shadowed by its original form, I see no point in further discussion. Whatever noteworthy facts an analysis might produce, they would of necessity emerge from the core of the work-—the original Sonata-involving ideas concerning a chamber music form rather than a solo conf certo, and would thus lie beyond the projected scope of this study. 18Loc. cit. 19The New York Times, January 22, 1943, 24:1. For the entire review, see Appendix III. 20Ibid., November 4, 1940, 23:1. For the entire review, see Appendix IV. CHAPTER'I FIRST PIANO CONCERTO Historical Data During the years 1921 through 1925, Bartok composed no solo piano music. In fact, his tota1 output at this time amounted to only four works-—the two Sonatas for violin and piano (1921; 1922), the 29253 M (1923), and 1133 Village Sggngg for voice and piano (1924). His activities as author, folksong collector, teacher, and concert pianist evidently cut deeply into his time for composing. The year 1926, however, saw a tremendous outpouring of creativity devoted entirely to music for piano. Stevens suggests that Bartok was "spurred by the necessity of providing new material for his concert tours,"1 one of which was to bring him to the United States for his first appearance in this country. It is also quite probable that he was acutely aware of the pre- ceding'five years' dearth of piano music, a long hiatus for a composer who, throughout his career, gave to the piano the utmost of his performing as well as creative talents. Whatever the reasons, practical or psychologi- cal, we have from this period the Piano Sonata (the only 1Halsey Stevens, The Life and Music of Bela Bart6k (New York: Oxford University Press, 1953), p. 68. 15 16 one he ever published), the 92E 2; Degas suite, N322 Little £1322 Pieces, and the §l£25.2l222 Concerto. Bartok was soloist, Wilhelm Furtwangler conductor for the first performance of the Piano Concerto which took place July 1, 1927 in Frankfurt during the festival of the International Society for Contemporary Music. 01in Downes, for once seemingly at a loss for words, commented with typical emphasis on the composer's pianistic abilities: Bartok's concerto . . . is a work in rhapsodic vein, with Hungarian rhythms and various pulsatile effects in the slow movement . . . It may be said that Mr. Bartok, if he is a composer-pianist, also has at command a virtuoso temperament and more than sufficient technical equipment to carry his compo- sition over the footlights.2 According to Serge‘Moreux, German critics were less reticent, unanimously proclaiming the work a masterpiece.3 American critics, it will be seen, were somewhat slower in recognizing its worth. It was with the First Concerto that Bartok planned to make his American debut on December 22, 1927. At- rangements for the concert were made well in advance with Willem Mengelberg, who was to conduct the New York Phil- harmonic Orchestra on this occasion; and the forthcoming appearance of Bartok playing his new Piano Concerto was 2The EEK York Times, July 24, 1927, VII-4:5. 3Serge Moreux, Béla Bartok, trans. G. S. Fraser and Erik De Mauny (London: HarviII Press, 1953), p. 154. 17 highly publicized. In view of such preparation and an- ticipation, it was with considerable disappointment to Barték and his public that, at the last minute, the Rhapsody was substituted for the Concerto. Thus, Bartdk made his debut in the United States primarily as a pian- ist, the Rhapsody hardly being representative of his mature style. Stevens, considering this to be good for- tune, says: "Judging by the reception of the Concerto when it was played later in New York under Reiner, it was fortunate that the public could assess Bartdk first as a performer without being disturbed by his later 4 compositional style." Noel Straus takes the opposite stand in the following article, which I quote almost in full because it constituted the first public acknowl- edgment of all the facts involved in the above—mentioned substitution: That Bartok made his first a pearance in America under a severe handicap, was rea ized at the time. At his debut in this hemisphere . . . he was sched- uled to perform his new first piano concerto, a work representative of his mature powers and style. But instead, he was heard as soloist in his "Rhapsody," a very early composition . . . and naturally not a creation affording a fair estimate of the abilities of a composer whose approach to his art had under- gone radical changes over the years. ' The reason for this last-minute substitution was never made public. But it can now be told, through disclosures made by Erno Balogh a com- patriot, pupil and close friend of Bartdk,'from whom the facts that follow were obtained. According to Mr. Balogh, Mengelberg received from Bartok the full score of the piano concerto in the spring of 1927, many months before the debut concert . . . 4Stevens, op, cit,, p. 70. '18 On the day preceding Bartok's first rehearsal with the Philharmonic, he came to Mengelberg to play the work for him, taking it for granted that the conductor would be well acquainted with the music after all the months he had had the score. But when Bart6k had played half the first movement, Mengelberg stapped him, remarking he could not possibly con- duct the concerto with only three rehearsals. As Mr. Balogh vouches, who was present on this occa- sion, Mengelberg dec1ared the music tOO difficult for that, and he had found no time to look at it during the entire period the composition was in his possession. So it was replaced by the "Rhapsody," then Bartdk's only other work for piano and orchestra. This was a itter blow to Bartok, but he made the ' best of it. Both Stevens's and Straus's points of view are valid. However, it is fruitless to speculate as to_how different circumstances would have affected_8art6k's future in America. The facts are that Bartok was given a great amount of publicity for his New York performance in par- ticular, as well as the whole tour in general; his playing, despite the unfortunate substitution, received excellent notices.6 As Stevens pointed out, the First Concerto's reception was far from favorable when it was performed sometime later in New York with Bartok's friend, Fritz Reiner, conducting. The frequently quoted review by Henrietta Straus,7writing on this occasion for The 5:35 _N_e_vg Yprk Times, April 7, 1946, 11-5:4. 6Olin Downes's review of this performance has been mentioned in the Introduction. The entire article is found in Appendix 11. 7See Appendix V. 19 Nation in March, 1928, with its acrimonious denun- ciation of Bartdk's music, adds credence to the follow- ing statement by Joseph Szigeti: The mental inertia of the music-listening public is something so terrifying it is better not to think of it. Our sluggish mental habits make so much great music seem esoteric. we shut out our par- ticipation because we are afraid. Bartok is one of the mperishable creative artists. His position is less 1 kely to be corroded by the years than that of Sibelius or Strauss or Prokofiev.8 More recent critical evaluation places the First Concerto among Bartdk's finest works. Lester Trimble, another writer for The Nation, finds it surprising that, even during the period in which interest in Bartdk's life and music was at an all-time peak——the years im- mediately following his death——the Concerto was still "permitted to languish . . . for it is clearly a mas- terpiece."9 In the final analysis, however, the merits of such a disputed work must speak for themselves; thus, the following sections of this chapter will deal with specific aspects of the Concerto itself in an effort to reveal whatever merits or faults have heretofore been inadvertently concealed by partisan critics. 8"The Bartdk Revival," Time,§LVII, Part 1 (March 18, 1946), p. 49. 9Lester Trimble, "Music," The Nation, CXL (April 2, 1960), p. 304. 20 General Traits Character Harsh and brittle, uncompromising, acrid, violent and percussive-—a11 are adjectives which have been used to describe the prevailing character of the gigpg'gippg Concerto. They appear also in discussions of other works written in 1926. The'gippp Sonata, for example, with its unrelenting motor drive and pungent dissonance bears striking resemblance to this Concerto; much the same may be said of "With Drums and Pipes" and "The Chase," two movements from.Qg£.g£'Qgpgg. All these works, with the Third and Fourth Quartets, mark the culmination in twentieth-century music of that stylistic process often called primitivism, which first appears in Bartdk's music in the Allegro Barbaro of 1911. It is with this "barbaric" style that Bartdk is all too frequently linked. Concurrent with this development, however, there evolved, at least in Bartdk's music, another equally characteristic element which, unlike its primitive com- ponent, achieved its apex as late as 1945 in the 'Ihigg'giépg Concerto. Halsey Stevens has aptly called this other style "night music,fi taking his cue from Bartdk, who gave the title of "Musiques'nocturnes" to the fourth movement of the Out pf Doors suite. This 21 other face, as it were, makes an appearance in the slow movement of the First Concerto, creating a vivid contrast, framed as it is by two movements of undissipated energy. Thus, we find two qualities present, not only the motor drive of the first and third movements, but also this contrasting nocturnal atmosphere of the second. It will be seen that these same qualities reappear in relative degrees in the Second and Third Concertos. Melody For the most part, it is not possible to speak of melody in this composition with reference to cantabile lines. Rather, there are motives or motivic fragments which comprise the thematic material of most of the Con- certo. These melodic atoms are subjected to constant modification and deve10pment, occasionally blossoming into full-fledged modal themes through a process of mo- tivic interpenetration and expansion. (This, of course, is standard melodic procedure in Bartdk's music.) A case in point is the appearance of a new theme in the midst of the last movement's development section. It is introduced by four horns directed to play £2553, ggpgg sordine, and marcato (Fig. 2). 22 Fig. 2-—First Piano Concerto: Allegro molto, Me 254-265e ”HIV 132.715 Lax Though it sounds new in every respect, close examina- tion reveals certain relationships to preceding motives -—name1y: the repeated notes suggest the first subject of this movement; the tetrachord outlined in the third and fourth measures is strongly characteristic of the second subject; the cadence measures almost duplicate those of the episode subject of the Andante; and every- thing, in turn, seems to relate to the introduction theme of the first movement—-a theme which, in one form or another, is in evidence throughout the Concerto. An- other melody, recognizable as such, occurs in the epi- sode of the slow movement and provides an excellent example of Bartdk's melodic expansion (Fig. 3). 23 Fig. 3-First Piano Concerto: Andante, mm. 91—100. , _- 41-35;. ._-'.a.:.2.2~ I. In}; 71.77;"‘43 , .‘£_:.’imir:1m§xmmm .;.g-mmmna- ’ U. 2.1:- 1&732-134'": 7 im—mmmtms . . ‘ . 0 v. . . v v ' ‘ , Note how the C' is repeated, as a kind of generator, after each expanding interval until the climax is reached at G'; at this point the line falls back to its note of origin in the course of only two measures, whereas the build-up to the climax had taken six. Similar propor- tion in climax and anticlimax can be observed in Figure 2. It will be noted also that these two themes bear cadential resemblance. Gerald Abraham considers these subtle relationships "intensely characteristic of Bartok," adding, "He moulds and remoulds his motive-particles, resolving one shape into another until it is quite im- possible to determine whether Such subtleties are delib- erate or accidental."10 10Gerald Abraham, "The Bart6k of the Quartets," Music gpg Letters, XXVI (October, 1945), p. 188. An incident pertinent to this issue is related by Christine Ahrendt in her Master's thesis, An Analysis of pa; Second gpartet of Bela Bart6k (unpublished Master's dissertation, astman School of Music, Rochester, New York, 1946). Miss Ahrendt says: In the Second Quartet, as in all of his compo— sitions, there is a close integration of thematic material, not only within movements, but between the various movements. This relationship, or 24 As mentioned in the Introduction,11 peasant music had become completely assimilated within Bart6k's musical texture by 1926, the Improvisations of 1920 representing the last major piano work in which Bart6k used genuine peasant songs as a basis.12 “Though there is no Specific reference to a folk melody in the Eiggt £3322 Concerto, characteristic elements are particularly apparent in the repeated-note figures which constitute the initial motives of the first subjects in both first and third movements; in the rhythm of the second subject, first movement—2 J J J‘J, ; the modal scales which appear throughout the Concerto; and in the pentatonic _‘,_ so-called "cyclic treatment," is often so subtle that it is impossible to determine whether it came about accidentally or deliberately. Undoubtedly theorists go too far in assuming that.every relationship which they may discover was consciously contrived by the composer. ,A remark which Bartok made to the author in an interview'may shed some light upon the sub- ‘ ject. When the statement was ma e by the author - that the first theme of the last movement was derived from'the”corre8ponding theme of the first movement, Bartdk seemed surprised,,andasked to be shown where the similarity existed. After studying the themes for.a moment he replied, "You are right, you are right-—but it was entirely unconscious." (Supra, p. 10. ' 11See Introduction, p. 5. Subsequent references-to folksong influence will assume a reading of this material. 12Thomas Fenyo, "The Piano Music of Bela Bart6k" (unpublished Ph.D. dissertation, Dept. of Music, Uni- versity of California at Los Angeles, 1956), p. 147. 25 flavor of the episode theme, second movement (Fig. 3, p. 23). The germinal motive of this latter melody (the first four notes) also contains, as its most conspicuous intervals, the perfect fourth and minor third. These are only a few of the most obvious examples of this as- similation. To be sure, it is a quality which pervades not only the melody of Bartok's later works, but also the harmony, rhythm, and, in certain instances, the form. Tonality and Harmony It is generally agreed that Bartdk's harmonic system is always anchored around a tonal center, although the idea of tonality is often stretched to its furthermost 3 limits.1 Humphrey Searle considers that it is Bartdk's unique handling of chromatic and tonal relationships that gives his music much of its individuality, explain- ing: Perhaps the best way of describing Bartdk's approach . . . would be to say that he . . . made tonality more fluid; that is to say, that while still upholding the supremacy of‘a tonal centre, he would combine this with the free use of all the twelve notes of the chromatic scale. It is true that in a good many works . . . he made use of unusual scales 13Matyas Seiber, "Bela Barték's Chamber Music," Tempo, No. 13 (Autumn, 1949), p. 31. 26 derived from Hungarian folk music; but this element is, I think, nzt so important as his free use of chromaticism.l The tonal center of the First Concerto is evidently meant to be E. The first movement, however, does not contain repeated references to this key until the build- up to the second subject. The double pedal on B and A in the introduction is not recognizable as a simultaneous reference to the dominant and subdominant when heard; nor is there even a cadential figure in the first subject itself until measures 43-44. It is significang,however, that this first cadence, which occurs in the orchestra at a point coinciding with motive g, is clearly a modal cadence on E. Shortly thereafter the transition begins with a sequential figure on F, eventually arriving at the junction between first and second subjects. The re- peated E chords at this point confirm the earlier, more tenuous, suggestions of this key. The procedure is, of course, directly the opposite of what one would expect, and almost makes one reconsider one's analysis. Yet the section here analyzed as transition is of such a char- acter as precludes its assignment to the first subject (as a second theme); and we have no alternative but to 14Humphrey Searle, Twentieth Centu pCounter oint (New York: John de Graff Inc., 1954),p 45-46. Mr. Searle notes elsewhere how difficult pit is to give any real theoretical explanation of Bart6k's procedures (supra, p.55). 27 state that this transition ends, not by pointing forward tonally to a new center, but by confirming the first one. The second subject which immediately follows the repeated E chords continues their emphatic insistence with occa- sional references to the dominant. The development section sees numerous other keys touched upon-E flat, G, D (a thirty-eight measure pedal), 8 flat, C, etc. DeSpite a certain amount of free chro- maticism, there seems to be an effort on Bartok's part to clarify the tonality whenever necessary. A long os- tinato with a constantly repeated B flat, which eventual- ly moves up to C just before the recapitulation, creates a forward drive of high tension, but at the same time provides a point of tonal reference. In the recapitulation Bartok uses a key signature of six sharps in a section (mm. 425-440) just prior to the coda; also, the last movement contains two separate uses of key signatures (mm. 117-209: five sharps; mm. 496- ).15 In each instance the section in- 519: four sharps volved is both highly chromatic and climactic. For ex- ample, the first signature, as mentioned, occurs in a 15Commenting on these key signatures, Stevens says: "Most of Bartdk's major works for some years previous to the Concerto had avoided signatures, and the recurrence here, curious as it is, emphasizes the composer's new orientation toward the reaffirmation of tonality." (Stevens, op. cit., p. 234.) 28 build-up to the coda; the second in a climactic link to a dramatic restatement of the second subject (last move- ment); and the third-—significantly the four sharps of E major-in the coda itself (last movement). The coda of the Allegro moderato starts with an A major chord in second inversion which constitutes a typ- ical subdominant reference just prior to the final bars; it ends with Aeolian scales on E, culminating in an E chord, with an added second but minus the third, spelled E, F sharp, 8, E. The Andante begins with twenty-nine bars in which tonality is indeterminate. However, a cadence leading to bar 30 suggests C sharp minor, though this key does not remain aurally recognizable for very long. Again various keys are touched upon, some more clearly than others. The ostinato of the following episode, though increasingly complex, retains the same alternating upper notes (A and G) throughout, and it is these that are the most clearly heard, since the notes below them fall into the lowest register of the piano. Above this ap- pears a polymodal complex of melodies (to be discussed later with reference to counterpoint), the most prominent of which is in the Aeolian mode on A. Thus, the rela- tionship between ostinato and principal melody, both on or about A, is consistent throughout the episode. The return of Section I confirms its initial suggestion of 29 G sharp, and the coda finally settles down with eighteen bars given to a G sharp pedal, above which D sharp and B are heard as the chord fifth and third respectively. Therefore, it would be logical to consider C sharp the over-all tonal center of the Andante. The fifty-five bar ostinato which traverses the en- tire first subject of the Allegro‘mpigp anchors the tonality on E. Thereafter, G sharp (the second subject), B (the previously mentioned key signature), C (a forty- three measure pedal) and E again (recapitulation) carry the movement to the coda which, with additional suggestions of E, includes the signature of four sharps. The final E chord of this movement is, as in the Allegro moderato, without a third——spelled simply E, B, E. With this much evidence available, I believe it is therefore indisputable that Bartdk considered E as the basic tonality of this Concerto. Of further interest are the more specifically har- monic structures. Chords comprised of superimposed fourths are more prevalent than any other formation—- a harmonic use of this typical Magyar interval, pre- viously discussed in terms of melody (with reference to folksong influence). Also noteworthy is the frequent use of chords the primary tones of which appear simul- taneously with their chromatic inflections. This latter structure, resulting in a high degree of dissonance, ap- 3O pears to be the result of a practice which is the closest 16 Bartdk ever came to a consistent harmonic theory. The combination of harmonically identical chromatic inflec- tions (e.g., C and C sharp) with unresolved passing or neighboring tones resulted in an interchangeability of harmony notes-—a process which "affects the whole future 17 course of Bart6k's harmonic procedure." Pleasants and Serly comment further on this theory: Some idea of the size of this new idiom may be suggested simply by observing that if C and C sharp are to be considered harmonically identical, then D becomes eligible as a chromatic passing note and may be left unresolved in that character, as it often is in the third quartet and subsequent works. Bartdk doesn't pursue this pattern to its extremes. In the fourth and fifth quartets there are instances of four imitations entering within the Space of suc- cessive half measures on the half-tone intervals. These may be considered imitations in octaves or unisons, and represent just about the fgrthest point to which he has carried the procedure.1 Phblished in 1940 and undoubtedly written sometime before, the above statement obviously applies primarily to the 16Excepting, of course, his views on folksong usage. The two "theories," however, are probably more closely connected than would appear on the surface, the one, in all probability, rising out of the other. 17Henry Pleasants and Tibor Serly,"Bart6k's His- toric Contribution," Modern Music, XVII (March/April, 1940), p. 135. 18Ibid. p. 137. ~’ 31 harmonic idiom of Bartdk's music of the Twenties and early Thirties. Even by the time of the Second Concerto, 1930-31, Bartdk begins to evince qualities of the more traditional harmonic idiom which strongly characterizes the late works. It is not known whether Bartdk himself considered these ideas fully applicable to his music; however, they do serve to elucidate the logic behind some of the more complex harmonies of the period in question. One other noteworthy harmonic structure is tone clusters. Stevens relates an incident which points to the origin of Bartdk's interest in them: Henry Cowell tells of meeting him [Bartok] in London in December 1923; both were house guests in the same home, and Cowell, then investigating the possibilities of tone clusters, was playing some of his own music one Sunday morning when Bart6k, attracted by the strange sounds, appeared and asked if he might listen. Bartdk himself had occasionally piled up adjacent notes in something approaching clusters, but Cowell's development of a tone-cluster 'technique' was quite new to him . . . _ _ Early the next year Bartdk wrote to Cowell asking whether the latter would object to his using tone- clusters in his own music; the letter with this modest request has disappeared, but the piano muSic which Bartdk wrote in the next few years shows the effect of his accidental encounter with the young American.19 Clusters are given primarily to the piano in this Concerto; their function, as such, is percussive and coloristic, hence, the ear makes no effort to interpret 19Stevens, 0p. cit., p. 67. 32 them harmonically.20 Rhythm Rhythm is frequently the most characteristic element in Bart6k. The eighth-note reigns supreme in the First Concerto. Despite frequent meter changes in the Allegro moderato——five changes are found within the first seven bars of the first subject-—the eighth-note remains con- stant. The Andante and Allegro, governed also by the eighth-note, are largely free of meter changes. In the first movement, where meter changes do frequently occur, the listener is aware not of changes from 2/4 to 3/4 to 5/8 etc., as such, but only of a relentless pulsation which is pervaded by syncopation and such rhythmic jolts as a sforzando on the final sixteenth of a group of eight. The following rhythmic pattern from the first subject illustrates this dominating irregularity: Fig. 4—-First Piano Concerto: Allegro moderato, mm. 38-45 (rhythm only). /Uk3roCJ:H6) 201bid., p. 232. 33 The complexity abates slightly during the second sub- ject (Fig. 5a),a vigorous ggpp_-gipp£p dance in straight- forward 2/4; Fig. 5-£i£g£ gigpp Concerto: (a) Allegro moderato, mm. 105-112. Pfe. but in the recapitulation, the character of this second subject, as if caught up by the irregular rhythm of the first subject, is transformed through rhythmic dis- placement and changing meter, becoming almost an extension of the first subject rather than its foil (Fig. 5b, p. 34). 34 (b) Allegro moderato, mm. 415-419. ,/ f” we — 4 ' WI 5 x . a??? 2 The Andante, in episodic form, is characterized by regularity of meter with only six or seven brief excur- sions beyond its inexorable 3/8. The first twenty-nine bars of Section I could be considered purely rhythmic since they are given only to piano and percussion, and no recognizable motive appears until bar 30. The episode, with its fifty-seven bar ostinato, moves along in un- deviating regularity at Bartdk's indication - 108, compensating, in a sense, for all the rhythmic idiosyn- crasies of the Concerto as a whole. The Allegro ppipp, like the Apdante, has very few instances of meter changes, the whole movement being more typical of the relentless, motor drive which recalls the Allegro Barbara; martellato in character throughout, it does not even have many tempo changes. One rather conspicuous exception occurs at the climax of the second subject and provides an example of Bartdk's meticulous score indications, representing, in this instance, an 35 effort to notate as clearly as possible a broad rubato- like effect. The music is moving along at a brisk pace (J- 92-88) when the following series of alterations is indicated: allargando pl. . . (for four measures). Sostenuto 332152, J- 60 (one measure) accelerando g_1_ . . . (three measures) Mppp sostenuto, J== 76 (three measures) ppgp p ppgp accelerando pl (eight measures) . Tempo I. It is understandable that Gyorgy Sandor, who studied this work with Bartdk, should consider this Concerto the most difficult of the three from the standpoint of ensem- ble problems.21 Though we may deplore Mengelberg's pro- crastination in studying the score for its New York premiere, we can sympathize with his decision not to at- tempt the work with only three rehearsals; surely it is doubtful that any professional orchestra in 1927 could have prepared such a complicated work in such a short time. Counterpoint Contrapuntal writing is of less significance in the First Concerto than in its two successors. There is ex- tensive, indeed, almost constant motivic imitation- practically every page bears witness to this feature-— 21Interviewwith Gyorgy Sandor, June 29, 1963. 36 yet only one outstanding section of any contrapuntal intricacy. This occurs in the ostinato episode of the Andante, a section already frequently alluded to. The woodwinds, entering singly, weave a polymodal web con- sisting of Aeolian on A, Dorian on C sharp, Dorian on B flat, and Dorian or Aeolian on C. The melodic material of this section, contrary to Haraszti's statement that there are four different melodies,22 is merely an expan- sion, a kind of fermentive growth of the motive of this episode (Fig. 3, p. 23), parts of which are imitated freely among different instruments. This high degree of contrapuntal texture is further intensified by the ever-thickening ostinato in the low register of the piano. A monumental climax is achieved by these in- creasing forces, and then gradually abated in a manner which is reminiscent of "The Ox Cart" from Moussorgsky's Pictures EEDQQ Exhibition. The use of ostinato figures which are frequently sub- jected to expansion and variation themselves, is not lim- ited to the Andantg. Both first and last movements con- tain extended passages given to this contrapuntal device. It has been suggested that such extensive use of ostinato arises from the peculiar characteristics of those 22Emil Haraszti, Bela gartdk, trans. Emil Haraszti and Dorothy Swainson (Paris: T e Lyrebird Press, 1938), p. 63. 37 instruments used by the peasants to accompany their mel- 23 odies, a point which, if true, reveals yet another penetrating influence of folk music on Bartdk's style. Before beginning the following section on orchestra- tion and piano writing, I should like to bring up one other reference which bears relation to most of the sty- listic elements discussed in this section on general traits. Writing to Edwin von der N611 in answer to a question, Bartdk comments: Why do I make so little use of counterpoint? I was inclined to answer you: because my beak grew that way. But since this is no answer, I shall at- tempt to clarify the situation: 1. In any case this is its character in performance; 2. In my youth my ideal of beauty was not so much the art of Bach or of Mozart as that of Beethoven. Recently it has changed somewhat: in recent years I have considerably occupied myself with music before Bach, and I believe that traces of this are to be noticed in the Piano Concerto and the Nine Little Pieces.24 3Vernon Husson Taylor, "Contrapuntal Techniques in the Music of Bela Bartdk" (unpublished Ph.D. dissertation, Dept. of Music Northwestern University, 1950), p. 32. Dr. Taylor explains: "The duda, an instrument resembling the bagpipe, provides a continuous ostinato in fifths Or octaves. One pipe produces a drone, usually B flat; the other pipe supplies either the fifth or the octave aboVe this tone. The teker8, a four-stringed hurdy-gurdy, has its strings set in vibratiOn by a disc, attached to a hand crank. Three of the strings produce a drone of the octave plus the fifth above. The fourth string is used to play the melody." 24 Jenos Demeny (ed.) Bartdk Bela levelek, fen ké ek, keziratok, kottak (Budapest: Magyar MKVZSzeti Tanics, 232 ), p. 1187—10uoted in Stevens, 0p. cit., pp. 231- 38 It is generally known that Bartdk published numerous annotated editions of various keyboard masterworks such as.Ihe'ngi-Tempered Clavier; it is not common knowledge, however, that he also transcribed for the piano several works by Ciaia, Frescobaldi, Marcello, Rossi, and Zipoli.25 These transcriptions alone provide evidence indeed that he "considerably occupied" himself with music of the seventeenth and eighteenth centuries. Hence, the influence of these works is deeper than Stevens acknowledges when he says, "The diatonicism and contrapuntal clarity of these composers no doubt affected the First Concerto, but its other qualities are of twentieth-century origin."26 Surely such elements as the close motivic imitation, inter- locking motivic material, jagged rhythm and frequent meter changes, long pedal points and ostinatos——a11 typical of Frescobaldi, for one——find their twentieth-century counter- part in this First Concerto.27 2SSee "Chronological List of Works" in Stevens, 0p. cit., pp. 333-33 . 268tevens, 0p. cit., p. 232. 27It is curiously pertinent that Willi Apel in his Masters of the Re board (Cambridge: Harvard University Press, 1938), p. 51, describes a Toccata by Frescobaldi in terms that would apply just as meaningfully to Bartdk's First Concerto. 39 Qrchestral and Piano Writing Bartdk's instrumentation for this work consists of the following: 2 flutes (II also piccolo), 2 oboes (II oboe also English horn), 2 clarinets (II clar. also lst bass clarinet), 2 bassoons, 4 horns in F, 2 trumpets in C, 2 tenor trombones, 1 bass trombone, timpani. Per- cussion (3 performers) comprises: 1 small drum without snares, tuned low; 1 small drum with snares, tuned high; triangle, 4 cymbals, bass drum, and tam-tam. Strings: 10 first and 10 second violins, 6 violas, 6 celli, 6 basses.28 The most striking characteristic of the orchestral writing is the percussive use of homogeneous groups of instruments, sometimes the entire orchestra. These groups frequently play as a unit, doubled in fourths or thirds, making entrances on off beats or in other forms of sync0pation and standing out against the equally percussive piano writing. Opportunities for color and blending of instrumental timbres are almost entirely ignored. There is a great amount of scattered writing, a tossing about of motivic fragments from instrument to 28Bela Bartdk, I; Konzert ffir glavier und Orchester (Vienna: Universal Edition, 7), p. ii. 40 instrument which often creates a quasi-contrapuntal tex- ture usually above a sustained harmony. The strings, playing only in first and third movements, are frequently asked to play pizzicato, pgpga d'arco,'§gl ponticello, and gppggpgga‘ia longhezza dell'arco. Bowing is ahmost always meticulously indicated; harmonics are often assigned to specific strings. Woodwinds are kept busy changing instruments with a frequency that borders on the finicky. Brass are directed equally often to play 32p sordino, £3253 sordino, but with an occasional pi possibile. This latter indication is typical, for despite the fact that Bart6k knows precisely what sound he wants and how to get it, he never writes the impossible, seldom even the im- practical. For example, breathing problems for winds are always taken into consideration either by careful phrase markings or, as in the case of the fifty-five bar os- tinato of the Allegro;mpl£g, by an ingenious division of the instruments which precludes any problem in perfor- mance. There is one puzzling inconsistency in this care- fully thought-out orchestration. The flutes are required to play Small B in rather prominent places in each of the 29 three movements. Some flutes, of course, are equipped 29See Allegro moderato, rehearsal number 5; Andante, one measure Before 7, and four before 14 (where the substitution is recommended); Allegro molto, three after 20. 41 to play this note, others are not-—a point which Bart6k does not take note of until quite late in the Andante where he suggests that the French horn should take the note if the flute cannot play it. Why, then, are there no alternates given for the other B's? It could not be that this horn substitution was meant to apply in all such cases, because, in the third movement,horns and flutes are playing simultaneously. One can only sur- mise that he overlooked the others—-a minor but curious point. It is the percussion section that has the most fascinating orchestral writing, assuming foremost impor- tance above the rest of the orchestra in numerous instances, and thus constituting an unmistakable pre- cursor to the Sonata for Two Pianos and Percussion. Nowhere is there a better example of Bartdk's vastly imaginative conception of instrumental possibilities than in the percussion parts of this Concerto. The following table from the score's Notes will bear witness to this fact: I The percussion is for 3 performers (tympany [sic] not incl ded). Where two percussion parts are _joined by the two instruments conCerned must be played by one performer. The effect and manner of playing are explained by figures as follows: 1. In the center (of the drumhead) with tympany sticks; 2. In the center (of the drumhead) with the point of the side- drum sticks; . 3. Round the rim (of the drumhead or the hanging cymbal) with the point of the side- drum sticks; 42 4. Round the rim (of the hanging cymbal) with the tympany sticks; 5. Round the rim (of the hanging cymbal) with the handle of the side-drum sticks; 6. In the (raised) center of the hanging cymbal with the handle of the side-drum sticks; ' 7. 0n the rim (of the hanging cymbal) with the handle of one of the side-drum sticks while the other is fastened to the leather hanger of the cymbal so that the point of the stick touches the cymbal; 8. /“\With 2 side-drum sticks, beginning quite at the rim (of the side-drum) gradually getting over to the center of the drumhead and then back again to the rim; 9. Quite at the rim (of the cymbal) with two tympany sticks. N.B. "A due" (cymbals) means: 2 cymbals to be played against one another. The 4 cymbals are to be made use of in the following manner: 2 hanging cymbals, the other two to supply the "a due" effect. Triangle, bass drum and Tom-tom to be played in the usual manner. Percussion instruments (including timpani) are 30 to be placed, if possible, directly behind the piano. Every note, then, is given a number which indicates a specific manner of playing. It is not until the Andante that these special effects are obvious to the listener, the use of percussion in the first movement being limited primarily to providing underlying rhythmic emphasis to thematic material in the piano or orchestra. The Andante, however, opens with sixty-nine bars of piano and percussion alone, giving full sway to all the above effects except Nos. 5 and 7, which are saved for the climax of the following #uaw W 3oBela Bart6k. "Notes on Bartdk's Piano Concerto," I. Konzert fUr lavier 22g rchester (Vienna: Universal Edition, ”277,133-7137 Q——— 43 ostinato section. The Andante and the Allegro EQlES are linked without pause by a sixteen-bar transition in which the drums individually predict the rhythm of the first subject in the coming movement, subsequently stating it in stretto. The third movement, like the first, finds the battery again relegated to its usual place within the orchestral texture, appearing solo (cymbals and bass drum) only-once in a great crash three measures before the final chord of the Concerto. Whatever the other merits of this composition, this highly imaginative use of percussion with its hither- to unexploited timbre effects places the work in a suc- cession of magnificent achievements which extends through the Second _P_i_a_r_1_9_ Concerto and the M _f__q_g String Instruments, Percussion.apg Celesta, culminating in the Sonata for Two Pianos and Percussion. ~_m_ 1'— The piano writing in the First Concerto is ob- viously the work of a virtuoso pianist who——like Liszt, Rachmaninoff, and Prokofieve—would have little trouble in performing his own works.' Often, however, such pianistic wizards, when writing for their own capaci- ties, automatically impose requirements so forbidding to less gifted players that their music.is overlooked in favor of less demanding works. This is particularly true 44 of Bartdk's first two concertos——more so, in fact, than of works by the other three composer-pianists mentioned above; indeed, aside from their extreme harshness of idiom, the concertos' technical difficulties are, with- out doubt, greatly responsible for their relative obscurity. The piano is used percussively throughout, necessi- tating a highly developed skill in octave and chord playing rather than extensive finger work. Beyond the more ordinary features (such as passages in octaves and ninths, alternating chords in sixteenth-notes, glissandos, etc.) are found some unusual demands that invite comment and illustration: The left hand part of Figure 6 demonstrates a technique which Bartdk frequently employs elsewhere in his piano music. Based on the principle of the broken octave, the interval used here is the ninth written in sequences which duplicate the scale in the right hand, but with octave displacements. Fig. 6-5giggg Pippp Concerto: (a) Allegro moderato, mm. 339-340. A Ike. 45 Figure 6b shows the same basic technique in descending motion. (b) Allegro moderato, mm. 357-358. Eye Tone clusters, chord structures especially character- istic of Bartok's middle period, are used with notable originality in all three movements (Fig. 7). Fig. 7-—First Piano Concerto: (a) Allegro moderato, mm. 409-410. 2%. 46 (b) Apdante, mm. 91-92 m. 100 Pic. m. 119 m. 126 (c) Allegro molto, m. 112. Tis- L , The clusters of Figure 7a continue for five more measures, fortissimo and sempre pedale; those of Figure 7b gradually 47 recede in thickness as they had grown; Figure 7c illus- trates the complicated notation necessitated by such close-lying notes. It is obvious that Henry Cowell's influence was more than slight, though such violent use of these clusters was to be gradually refined in the Second Concerto and virtually abandoned in the Third. One other remarkable technical requirement remains to be pointed out. While Debussy and Ravel often wrote chords that require of the thumb a kind of double duty, that is, to play two or sometimes three adjacent tones, I have never encountered, even in Bart6k's other piano music, precisely the trick he requests in Figure 8. Fig. 8‘f£££§£ giapg Concerto: (a) Allegro moderato, mm. 354-355. (b) Andante, m. 155. 8“":‘1": # I 48 The wrist must be held either very high, enabling the 'thumb to catch both black and white keys at an angle, or very low, with the joint (in fact, almost the bottom of the hand) catching the white key and the tip of the thumb stretching for the black. Figure 8b shows the same basic technique but with the black note below. All these devices, seemingly further evidence of a rather eccentric preciosity of technical effects, represent on the contrary, integral stylistic elements of this period. Cluster chords and octaves with added major or minor seconds are to be found divided among the orchestra as well as for the piano; it just happens that Bart6k was not concerned about making things easier for the soloist. Form Synapsis: The Allegro moderato opens with an introduction, two features of which supply, in essence, most of the material of both first and last movements. This leads to the first subject of a sonata-allegro form which continues with a presentation of thematic elements in traditional sequence. The Andante, an episodic form, has as its most noteworthy features the ostinato episode, already mentioned, and the return of Section I material in reverse order. The Allegro mpipg, attached to the Andante by a transition which serves as an introduction, is a sonata-allegro form, special 49 features of which are the fifty-five bar ostinato of the first subject and a new theme which appears in the develOp- ment section; The recapitulations of both first and third movements are expectedly compressed; also, both have codas of not unreasonable length. Allegro moderato: Sonata-allegro Form Mm. 1-37 (Introduction): The piano and timpani begin with repeated B's, Sub-contra and Great B reapec- tively. In the third measure they are joined with repeated A's in the brass, thus creating a double pedal for the first six measures. The pedal is interrupted by a sustained dissonant chord in fourths with an added minor second——B flat, D sharp, C sharp, A. Resuming its motion for three measures the pedal is again interrupted by the same chord, out of which now emerges the ubiq-l uitous introduction theme in ggmp_-giusto character (Fig. 9). Fig. 9-—First Piano Concerto: Allegro moderato, mm. 13-18. Hrns. lam/3 inf ’1 This theme's characteristic features——the syncopated rhythm, emphasis on the minor third, modal flavor, and tetrachord ending——plus the repeated note and intervallic 50 elements of the double pedal, constitute the origin of practically all thematic material in the first and third movements. Once again the pedal attempts to get started, but another interruption comes after only two measures, this time with a slightly extended pippp statement of the theme given to bassoons doubled in octaves. The pedal, reduced to piano on A and timpani on B, asserts itself again but with more urgency, its accelerando finally leading to the exposition. Mm. 38-130 (Exposition): The first subject (Fig. 10, p. 51), obviously derived from the preceding introduction, is stated by the piano, the orchestra pro- viding a sync0pated and percussive accompaniment.31 The repeated notesof motive a_are reminiscent of themes from several other works of this period, notably the 31339 Sonata (entire work), Third Quartet (Seconds 23535), and 93;, f 22955 ("The Chase"). Ascending modal scale passages in the woodwinds echo motive p in aug- mentation. Motive e, a free inversion of motive p, is tossed about among woodwinds and piano for several meas- ures, whereupon motive g is latched on to by the piano, which repeats it in quasi-ostinato fashion for eleven bars until the transition begins (Fig. 11, p. 51).’ 31In Figure 10, I have used lower case letters to indicate motives of this first subject which recur throughout the movement. 51 Fig. 10——First Piano Concerto: Allegro moderato m. 38- 9e __ - —. - .---- - - —- pup,— AHejro Cb J‘V‘ ff Fig. ll-—First Piano Concerto: Allegro moderato, m,' 65'- 8e~ - - ‘- ‘ 3' TVs. A 7 Hf I 52 As Figure 11 shows, this transition "theme" is a com- posite of motives g and a of the first subject. Because of the preceding build-up with motive g constantly anticipating its presentation, the transition arrives with the quality of a second theme; its subsequent sequen- tial treatment, however, eventually convinces the ear of its transitional function, the ascending sequences carrying it up to B" in the course of thirteen meas- ures; This 8" and its two lower octaves are now sus- tained in winds and strings as a pedal for twelve measures, while another transformation of motive p is forcefully stated in centrary motion by the brass (Fig. 12). Fig. 12——First Piano Concerto: Allegro moderato, m. 81-85. Cor. 12ml 2. x \ Note that the new transformation of motive 2, further augmented, has assumed the rhythm of motive g. The B pedal, rather than remaining as the dominant in the prevailing tonality of E and thus providing the tradi- tional modulation in preparation for a second subject, 53 gives way to yet another pedal, this time on E for seven measures. The first subject is brought to a climactic close at this point with three measures of fortissimo E chords (with added seconds) alternated between piano and full orchestra. A caesura marks the division between first and second subjects. The following section, marked mpppp, begins with four measures which are merely an abbreviated extension of the preceding chords, given to strings in repeated eighth-notes and sustained by horns. This eighth-note pattern becomes the background for the second subject, announced by the piano (see Fig. 5a, p. 33). The derivation is again obvious; in this instance, the allusion is to motive g. The eighth- note accompaniment changes slightly into a varied ostinato above which there are scattered references to motive g. Again this motive is taken up by gathering forces, becoming a link to the development section. Mm. 131-366 (Development): Beginning with a clear- cut but truncated statement of both first subject and transition, the actual developmental process is delayed to a point following the transition. Here, instead of the second subject, is found the modal scales of Figure 12 treated to eighteen measures of developmental procedures '-mmoda1 alteration, stretto, and extension. There follows the most enigmatic passage in the three concertos (mm. 181-201). Marked Meno vivo, it is comprised almost 54 solely of repeated major seconds in the piano, punctuated occasionally by reiterated confirmations of these in the orchestra (Fig. 13). Fig. 13—-§i£§£ EEEEQ Concerto: Allegro moderato, mm. 181-184. [”— 192. After nine measures of this bizarre dialogue, the violoncellos sustain a pedal on Great D over which the piano has glissandos and arpeggiated chords in fourths, while the orchestra continues with pianissimo references to the preceding seconds. The D pedal is taken over by contrabasses, the cellos shifting to Small C for three measures, but finally settling back on Great D. At this point the analyst has his suspicions confirmed by an appearance of the modal scales (Fig. 12, p. 52) leading to a clear presentation of the introduction theme. Thus, the whole preceding section represents a simultaneous compression and expansion of the double pedal of the introduction; that is to say, the original pedal on B and A (a minor seventh), initially heard for six measures 55 plus subsequent shorter statements, has now been compressed, or inverted, to form major seconds which are here expanded in time over fifteen measures. Even the quartal arpeg- gios given to the piano in this section might be construed as a transformation of the similarly constructed chord sustained by the brass in measures 7-9. The introduction theme and the D peda1(plus added seconds) vie for pre-eminence, as in the introduction proper, but this time the theme wins out, its first three notes becoming basic material for extensive development over the next eighty-four measures. At one point, the germinal minor third is expanded to a fourth and'the melody is doubled in thirds, thus assuming the character of the transition theme; and, to be sure, there are references to motive g everywhere confirming the allu- sion. The manner in which this theme assumes new shapes, takes on new rhythms, at times suggesting this and that element of preceding motives, is fascinating to observe. Milton Babbitt, as if writing specifically about this theme, evidently considers its features generally typical of Bart6k: Bartdk's thematic material . . . consists, characteristically, of a small number of chro- matically related tbnes stated in their minimal linear span. Such a theme can, by alterations of relative durations, metrical lacement, and dynamic emphases, serve as the e aboration of almost any one of its component elements, without 56 sacrificing its initial character. Then, rather than functioning as a fixed unit that is acted upon, such a theme can itself act as a generator, avoiding redundancy through continual variation, getaegegszsgénagzthe same time, continuous phases A long build-up, consisting of a varied ostinato figure in fourths which provides harmonic support for further development of the above-mentioned theme, leads (pggg‘a'pggg accelerando) to a climactic restatement of the first subject, but now on D (m. 333). Some analysts have considered this the beginning of the recapitulation;33 it obviously remains part of the development, however. In addition to the questionable tonal level (D rather than A), after four bars of orchestral statement the piano enters in stretto with a thematic statement on F. The subsequent twenty-six measures reveal overlapping statements of the first subject, often fragmented, on B flat, E flat, F sharp, E, G sharp (inverted statement), and G and F sharp simultaneously. This extremely complex and highly dissonant section is actually a kind of false recapitulation. Not having treated the first subject to developmental procedures previously, Bart6k now does so with a marked degree of intensity. 32Milton Babbitt, "The String Quartets of Bart6k," The Musical anrterly, XXXV (July, 1949), p. 378. 33See Stevens, 0p. cit., p. 233; and Fenyo, Op. cit., p. 165. 57 Mm. 366-482 (Recapitulation and coda): The actual recapitulation, with its straightforward statement of the first subject on A as in the exposition, provides the listener with a considerable measure of relief in addition to aural confirmation of formal orientation. Subsequent materials, though completely rewritten, follow their normal order: transition (compressed), second subject (with rhythmic displacement-—Fig. 5b, p. 34), and coda. The most noteworthy aspect of the recapitulation is the preponderant emphasis on the second subject-its new guise, its extension as a link to the coda, and its final use in stretto as a climac- tic build-up in the last eighteen bars of the movement -—compensating, in all probability, for its total omission in the develOpment section. The coda begins (m. 441) with the transition theme (Fig. 11, p. 51), but soon attaches itself to the second subject which, with a simultaneous reference to the modal scales (Fig. 12, p. 52), leads to the final chord of the movement-—the E chord (minus a third with added major second) heard previously at the end of the first subject. 58 Andante: Episodic Form Mm. 1-90 (Section I): .This "remarkable instru- mental experiment,"34 i.e., the sixty-nine bar dialogue between piano and percussion, constitutes Section I of the Andante; it may be subdivided into two sections: Ia (mm. 1-29) containing no thematic statements, and lb (mm. 30-90) with cantabile motives. Is is made up of repetitions of the rhythmic figure m J. stated in piano, timpani, small drum, and cymbal. The structural function of this section does not become clear until later. A link, with arpeggiated major sevenths and minor ninths given to the piano, leads to Ib. Figure 14 (p. 59) illustrates this section's cantabile motives with their close imitation, one of Bartdk's favorite devices. Five measures later there is a cryptic suggestion of the first movement's second subject (Fig. 15a, p. 59) pre- dicting the more overt climactic statement whiCh follows (Fig. 15b, p. 60). 34Colin Mason, "Bart6k and the Piano Concerto," IE: Ljstenep, LXII (September 10, 1959), p. 412. 59 Fig. l4—First Piano Concerto: Andante, mm. 29-39. _ 7‘- _ ’P/e. , A, / / \.1 r, Fig. 15—First Piano Concerto: (a) Andante, mm. 43-44. fife. 60 (b) Andante, mm. 51-54. \ PM - [W‘s-*7 fr” Imitative treatment of at least two other motives occurs before Section I dissolves into the ostinato figure of the episode, avoiding a clear-cut division between sections. Mm. 91-150 (Episode and link): The episode proper, containing the attributes of a threnody, begins with the previously discussed theme (see p. 23, Fig. 3), builds to a gigantic climax, and subsides into the return of Section I by way of the aforementioned link which first served to connect Ia with Ib. Mm. 151-214 (Return of Section I and coda): The materials of I return in reverse order, abbreviated and rewritten with the orchestra now taking part in 1b. Ia follows, extending into a coda where it is briefly com- bined with the episode theme played by woodwinds. The movement eventually dies away as it began with the repeated eighth-note figures in piano and percussion. The function of this puzzling Ia has clearly become that 61 of both prelude and postlude in one of the earliest of Bart6k's experiments in "arch" form, a structure which sees further experimentation in the Second Eli!!! Concerto and complete fruition in the Fourth and Fifth Quartets. The following Allegro, breaking suddenly upon the final calando and ppp bars of the Apdante, is a sixteen- measure transition which functions as an introduction to the third movement. It has been erroneously labeled a 35 The abrupt tempo change, coda by at least one analyst. however, with a sudden statement by the drums of the rhythm of the coming movement's first subject is ob- viously looking forward, not backward. Trombone glissan- dos predict the significance of the minor third, the first melodic interval of the first subject. Allegro molto: Sonata-allegro Form Mm. 1-216 (Exposition): The theme of the first sub- ject is preceded by four measures of an ostinato figure (played by the orchestra) which continues for fifty-five bars. Here is another example of the driving, relentless rhythm which appears in Bartdk's music throughout his career, last seen in the final movement of the yipla Concerto, a posthumous work. Again, I have indicated with lower case letters important featuresof the first subject (Fig. 16). 35See Fenyo, op. cit., P: 169. 62 Fig. l6——First Piano Concerto: (a) Allegro moltp, mm. 5-14. r- ___ _W ,_ a- 3&.', —_. a“ j 15” . (b) Allegro molto, mm. 30-31. l c W The similarity between motives in first and last move- ments is obvious (cf. Fig. 10). The impetus of the ostinato is carried directly to the second subject, avoiding any kind of transition, though the piano, having left off 63 with the bare octaves, picks up a chordal figure out of which the second subject is derived (Fig. 17a). Fig. l7-—First Piano Concerto: (a) Allegro molto, mm. 56-59. 1 yes IV: 1 2 # '2 . Figures 17b and c illustrate the permutations of 17a which occur within the first thirty-six bars of this sub- ject;36 it should be noted that each is characterized by some form of tetrachord. (b) Allegro molto, mm. 65-67. 1.2 36To avoid confusion with motives a, b, and c of the first subject, I shal henceforth refer to these permutations of II as II and II . 64 (c) Allegro moltp, mm. 92-95. 7H3. 1m C “f \._/ The presentation of II3 is so delayed and prepared by change of texture as to constitute a "second theme" of the second subject. However, to avoid such awkward nomenclature, and since it is so clearly the product of its two associates, it shall remain simply 113. Following a brief developmental treatment of 113, an extended link of some thirty-one measures leads, in- stead of directly to the development, back to a climactic statement of 111 presented fortissimo by the piano in stretto and transformed by extension into the closing theme (Fig. 18). Fig. l8——First Piano Concerto: Allegro molto, mm. 171-175. V ' A 2;... " ’*’“\ W2_ . ‘Ir-C" As with 113 , this theme is subjected to immediate development before joining with a seven-measure link (timpani solo) into the development. The link is note- worthy because it provides a simple example of the 65 curious ambivalence which so frequently characterizes Bartdk's themes (Fig. 19). Fig. 19—-First Piano Concerto: Allegro molto, mm. 210-213e Tmp. f “f It can be seen that, while this rhythm refers back to 112, the repeated notes——significantly given to the tim- pani and thus recalling the introduction—-anticipate the coming reference to the first subject. Mm. 217-356 (Development): The development begins with a simultaneous statement of Ia and 1c by the tim- pani and piano reapectively; but Ib is soon taken up permanently, its presence being constantly recognizable in all but a few measures of this section. The timpani, now playing a pedal on Small C, retains the rhythm of Ia, which is smoothed out eventually into a succession of repeated eighths. An increase in contrapuntal texture and a slackening of pace lead to the fortissimo presenta- tion by the horns of a new theme (III), the derivation of which is discussed on page 22 and illustrated in Figure 2. Not previously mentioned, however, is the effective 2 counter-statement (by trombones, also if) of II neatly 66 fitted in during the tied half-notes of 111 (mm. 257+). All instruments take part in the subsequent deve10pment » of this theme which extends over the next fifty-five measures. A peak of contrapuntal intricacy is reached at measure 320 (Fig. 20, p. 67), where the first seven notes of III, played by strings, are heard in close-range three-part canon. Above this, the piano is given a slightly altered version of II1 (right hand) plus the con- stant reiteration of a fragment of Ib. Terminated after nineteen measures, this contrapuntal melange gives way to a link comprised of II2 in stretto with its inversion, quickly leading to the recapitulation. Mm. 357-534 (Recapitulation and coda): Compressed into half the length of the exposition, the recapitula- tion is also considerably rewritten. For example, the ostinato is changed to a triple pedal on F sharp, B, and E——an inversion of the final chord of the first move- ment; Ib is taken over by the orchestra; and Ic is omitted entirely. The triple pedal leads directly to 3 1 2 II, with a logical omission of II and II . Completely rewritten, the material of II3 is extended into a short link which contains a combined statement of the develop- ment and closing themes. The quickly following coda begins with 112 given a harmonic background distinctly flavored with a Neapolitan-sixth effect (m. 435). 67 Fig. 20-—First Piano Concerto: Allegro molto, mm. 320-324. ‘Prsss I (0'19) 68 Subsequent references to 113, 1c (augumented), and, finally, the closing theme tie up all of the "loose ends" and bring the movement, with a molto crescendo, to an exciting close. CHAPTER II SECOND PIANO CONCERTO Historical Data The Second gigpp Concerto (1930-1931) and the Cantata Profana (1930) are Bartdk's only major works written between 1928 and 1934, the years of the Fourth and Eiggh String Quartets respectively. Except for the Petite §2i£g_(1936), the Second Concerto marks the sole piano composition written within the whole decade 1927- 1937. These years, though almost devoid of piano music when compared with the abundant harvest of 1926 alone, are rife with folksong transcriptions for various media. At least ten such publications date from this period, including, among others, Twenty Hungarian Folksongs for voice and piano (1929), and the Twenty-seven Choruses for two- and three-part children's or women's chorus (1935). Not all of the published works from this decade were absolutely new; some were transcriptions of earlier works. For example, the Hungarian Peasant §ppgs for orchestra (1933) are actually transcriptions of Nos. 6- 12, 14 and 15 of Fifteen Hungarian Peasant Songs (1914-17) 69 70 originally written for piano solo.1 Nevertheless, it is clear that at this time Bart6k was more occupied with actual folk songs in one form or another than he was with the more formal types of composition. Surely there must have been some reason for this almost exclusive pre- occupation with the music of the peasants. The answer lies, I believe, in the more formal works themselves, an examination of which discloses a pervading duality of purpose: (1) further experimentation with and final per- fection of the so-called "arch" form; and (2) a gradual sublimation of style. The former is well illustrated in the well-known formal aspects of the Third, Fourth, and Fifth Quartets and in the Second Violin Concerto; the latter is seen as an all-encompassing move away from the extreme harshness of the Eiggg‘gigpg Concerto to the refined idiom of the last works. In other words, the works of 1926-27 constitute the farthest point that Bart6k was to reach in the development of that highly dissonant and percussive style previously discussed in Chapter 1. He must have sensed the stylistic impasse with its fruitless and inevitable redundancy to which he was heading. Thus, while allowing his creative powers a 1Halsey Stevens, The Life and Music pf Bela Bart6k (New York: Oxford University Press, 1953), p. 331. 71 period of retraction and reconnoitering, as it were, he took a kind of cathartic interest in folksong in its purest form, though occasionally pursuing the various manifestations of the arch form. In the last decade of his life, we find that a stylistic sublimation has indeed occurred, growing out of, or at least subconsciously connected with this period of intensive preoccupation with folk music. The Second Piano Concerto represents a conscious and practical effort on Bartdk's part to provide a work more accessible to orchestral players and listeners alike than the First Concerto had proved to be. He has written: I regard it [the First Concerto] as a successful work, though its texture is rather difficult-—it might in fact be called very difficult-both for the orchestra and for the audience. Some years later, in 1930-31, I therefore wanted, in my Second Piano Concerto, to write a kind of com- plementary, contrasting piece, with fewer diffi- culties for the orchestra, and more attractive thematic material. This intention explains the more papular and ligBter cast of most of the themes in the piece. The effort was futile, for the Second Concerto, "thought 3 to be too discordant to be endurable," was hardly more 2Bela Bart6k, quoted in Colin Mason, "Bart6k and the Piano Concerto," Th5 Listener, LXII (September 10, 1959), p0 412s 3R.G., "Reviews of Music," The Music Review, XI (November, 1950), p. 327. 72 successful than its predecessor. However, some EurOpean critics immediately acknowledged the work's excellence, which recalls the early success the First Concerto achieved in Germany. Pointing favorably to specific qualities, the N223 Zfircher Zeitung avowed: Original forces, hardly existent up to now in* EurOpean music, break out in the earnest first move- ment—-accom anied exclusively by wind instruments ——into an e emental Alle ro arbaro; but it is controlled force. A wor of Higher spiritual order, wonderful lasticity and clarity of form, is built in the s OWHmovement from strict alter- nation of piano-recitative (with kettledrum) and muted string sound. And what deep originality in the shaping of the presto middle section, what abundance of fantasy in the demonic finale! This piano concerto numbers among the most important, the strongest works of new music.4 According to Szollosy's catalogue, the Second concer- to was written between October of 1930 and September or October, 1931; it was premiered in Frankfurt on January 23, 1933 with Bart6k as soloist.5 The American premiere was given on March 2, 1939 by the Chicago Symphony Orchestra under Dr. Frederick Stock with Storm Bull as soloist.6 The work was not heard in New Yerk, however, until 1947. 4Musikblatterges Anbruck (Vienna).September, 1934. (Quoted in Stevens, op. cit., p. 77.) 5Andres zollosy, "Bibliographic des Oeuvres Musicales et crits Musicologiques de Bela Bart6k," Bart6k, Sa Vie.e§ Son Oeuvre, Publié sous la direction de Bence—Szdbdlcsir—(Budapest: Corvina, 1956), p. 324. 6See Appendix V1 for a review of this performance. 73 The review of this occasion follows in part: Bartdk's Second Piano Concerto, with Andor Foldes as the soloist, was the major event of the evening. The powerful and original work was written sixteen years ago and has been played by the orches- tras in Chicago, Pittsburg and San Francisco, but this was its first performance in New York. Part of its originality lies in its scoring. The strin s are not used in the first movement at all. We -winds, brasses and many percussion instru- ments provide the accompaniment. In the second move- ment the strings have an important part——they provide an eerie, strange, atmOSpheric quality-— but they are seldom heard at the same time as the piano. Even in the final movement, though the full orchestra is utilized, there are many passages of unique sound. On first hearing, that shorter concluding movement did not seem an adequate resolution to a work that promised so much in the first two sections, but nevertheless the concerto has those qualities which made Bart6k so notable a composer——the passages of almost childlike folk music, the tur- bulent rhythms, the ominousness of our times and the poignant position of the sensitive individual in a world haunted by war.7 The Second Concerto has continued to elicit favorable, 8 sometimes exaggerated praise from today's writers. Even the iconoclastic Andre Hodeir is enthusiastic about the slow movement: The Second Piano Concerto has neither the profound formal unity nor even the stylistic unity of a masterpiece; but, bracketed by two Stravinsky- like first and last movements it does contain a splendidly expansive Andante [gig] which is a truly miraculous achievement in the obscure realm 7R. P., The New YOrk Times, November 4, 1947, 33:3; see Appendix VII for the entire review. 8Paul Collaer, in his History 2; Modern Music, trans. Sally Abeles (New York: Grosset and Dunlap, 1961), p. 346, states unequivocally: "The best orthestral works are unquestionably the Concerto No. 2 for Piano agglggghestra and the Concerto for Violin and—Orchestrad' 74 of musical poetics. The interplay of piano, per- cussion, and strings as they develop a pianissimo counterpoint in superposed fifths attains a serene ecstasy almost comparable in its intensity to the "Mystic Circle of the Adolescents" in the Rite 9; S rin . And yet, like every work or page in which Bart k really hit his stride, this Andante bears such an original, personal stamp that it is impossible to ascribe it to any outside influence whatever.9 A few critics have found the work to be transitional and experimental, pointing to a weakness in the heter- 1.10 ogeneity of melodic materia Some have predicted that, when all three concertos are equally known, it will be the Second which will not quite hold up in comparison 11 with the First and Third. Taking exception to this latter presage, Andor Foldes, concert pianist and pupil of Bart6k, writes: As possibly the only pianist who has played all three piano concertos as well as the early Rhapsody, 0p. 1, many times, I think I am qualified to voice an opinion in this matter, too. Having played the Second Concerto alone some forty-odd times in the past ten years I feel certain that . . . it will be this one of the three concerti that will best stand the hard and cruCial test of time, closely followed by the-for me——equa11y beautiful First Concerto. . . ' In the course of the many conversations I had with Bart6k during his last five years in New York . . . we spoke often about the Second Concerto, which I was studying at that time prior to its 9André Hodeir, Since Debussy: ,A View,p§ Contemporary Music, trans. Noel Burch (New York: Grove Press, Inc., , p. 87. 10See the opinions of Serge Moreux, Bela Bart6k, trans. G. 8. Fraser and Erik De Mauny (London: Harvill Press, 1953), p. 164; and Stevens, op. cit., p. 243. 11See Mason, op. cit., p. 412. 75 first New York performance in November 1947, which I gave with the National Orchestra Association under Leon Barzin (the Stald New York Philharmonic Symphony Orchestra having been unwilling to take the 'risk' of a new and untried Bart6k work). Bart6k himself thought rather highly of this work and believed in its final success strongly. More detailed evidence, presented in the following discussion, will throw more light on the work's quality. General Traits Character Contrasting rather sharply with the formidable character of the First Concerto, the Second is at once lighter in tone, even gay and ebullient in the first movement. The incessant bustle which prevails in the first movement is highly reminiscent of the Baroque concerto grosso, and is only one of several Bach-like traits. Some writers would attribute this to an d,13 a influence of Stravinsky's neo-classical perio point which is supported, for example, by the emphasis on wind instruments and total exclusion of strings in the Allegro. However, a comparison of this ConCerto 12Andor Foldes, Letter to the Editor, The Listener, LXII (OCtober l, 1959), pp. 533-34. 13See the discussion by Otto Gombosi in his article, "Bela Bart6k," The Musical Qparterly, XXXII (January, 1946), p. 4. Mr. Gombosi adds, "Bartdk's occupation with 17th- and 18th-century Italian keyboard music may have brought about the same results." 76 with a Stravinsky work from his neo-classical period-— e.g., the Concerto for Piano and Wind instruments—— merely discloses the preponderant dissimilarities, revealing only the most superficial resemblance, if any at all. It is further inconceivable that the man who has made the following statement could have influenced Bart6k to any appreciable degree: I consider that music is by its very nature essentially powerless to express anything at all, whether a feeling, a state of mind, a psychological mood, a phenomenon of nature, and the like. Expression has never been an inherent prOperty of music. flag is by no means the purpose of its existence.1, Bart6k, diametrically opposed to such a stand, says, "I cannot conceive of music that expresses absolutely nothing."15 Henry Cowell, in a general description of the Second Concerto, hints at the characteristically Baroque demo- cratic treatment of soloist and orchestra, but curiously relates the work to Prokofiev's style: This work, although giving the piano an important part, is not a concerto with orchestral accompaniment; rather the piano is one of the total number of in- struments that contribute to the musical whole, and is much more integrated with the rest of the orchestra 14Stravinsky, quoted in Joseph Machlis, Introduction pp Contemporary Music (sew York: W. W. Norton, 1961), p. . 15Bart6k, quoted in Joseph Machlis, ibid., p. 183. 77 than is the case in most concertos. The general style, witty and SOphisticated, is not ungelated to that of Prokofiev of the same period.1 The phrase "witty and SOphisticated" could apply, with a stretch of the imagination, only to the Allegro. The Adagio, with its somber dialogue between the strings and piano with timpani, is not unlike the philosophical Andante con moto in Beethoven's Fourth Piano Concerto, though Beethoven's "meaning" is clear while Bartdk's is not. The sudden displacement of mood from the icy calm of this Adagio to its Presto episode is a paradoxical juxtaposition of Opposites, perhaps partially explained by the following perceptive comment on Bartdk's personal- ity: The portrait of the man and his work consists of diametrically opposed features: frailness and energy, critical mind and naiveté, modesty and self-reliance, icy aloofness and fiery humanity, accuracy in minutiae and generosity in matters of importance, virgin purity and elemental sen- suality, the cool concentration p; research and the ravishing fever of creation. The Allegro molto is a tempo-giusto rondo of un- relenting drive and force. Its pitch of excitement mounts with each return of the ritornelle, finally achieving an almost orgiastic frenzy. The Coda which follows on 16Henry Cowell, "Reviews of Records," Th2 Musical Quarterly, XLI (April, 1955), pp. 261-262. 17Combosi, 0p. cit., p. 8. 78 the heels of this last ritornelle reverts back to the jovial mood of the first movement, ending the piece on an unconvincing cheerful note. It is as if Bart6k, sud- denly aware of having been diverted from his avowed purpose, returns to the "lighter cast" of the first movement, giving the final measures of the coda an incongruously flippant atmosphere. This, to my mind, is a more serious flaw than the aforementioned heterogeneity of melodic material. Melody There exists, it is true, a large amount of juxtaposed chromaticism and diatonicism in this con- certo. The melodic material is noticeably of both types. Even the material of the first subject of the Allegro contains both elements; but the purpose is undoubtedly structural, and will be discussed in the subsection on Form. The majority of motives, in the Allegro at least, immediately illustrates the composer's effort to make them more tuneful in the popular sense: primarily diatonic, they are quite singable and appealing to the ear. There are further instances of the interpenetration of motivic character, such as was met with in the First Concerto. For example, the second subject motive, first presented as a vivid contrast to preceding material, eventually assumes the rhythmic exuberance of the first subject, becoming almost indistinguishable from it. 79 The Adagio Opens with a twenty-two measure melody given to muted strings playing non vibrato. It is one of the most extended melodic expressions in the three con- certos (Fig. 21). Fig. 21-—Second Piano Concerto: Adagio, mm. 1-22° VL /\ ~—\ Characteristically modal, it remains Phrygian for eight measures, becomes more chromatic at the climax, and ends with a reference to its Phrygian beginning. The following statement by piano and timpani contributes a tinge of 80 melancholy with its downward-falling lines, and is sug- gestive of the parland -rubato type of folk music in its rhythm and melodic decoration (Fig. 22). Fig. 22——Second Piano Concerto: Adagio, mm. 23-24. T/mP. tr, ‘7“ ‘7 \WW 5% + . .2 2’ ante; ¥l ,. \ 7 This section becomes more dramatically assertive in a subsequent appearance, the references to folk music—— repeated-note motives, meter changes, emphasis on the melodic minor third, and the timpani pedal-being now unmistakable (Fig. 23). Fig. 23-—Second Piano Concerto: Agggip, mm. 44-47. t tn M A. «A2- I»M-M 2., 81 The ritornelle of the Allegro ppipp contains the only new melodic material in this movement. All episodes are derived from motives in the first movement. Because of its compact range, achieved by an almost static repetition or revolution about a minor third, the ritornelle recalls the introduction theme of the First Concerto. Its ggmpp-giusto rhythm is of more interest than its melodic quality. The reappearance and trans- formation of first movement material in this final movement will be discussed and illustrated in the sub- section on Form. Tonality and Harmony Substantiating the evidence offered in Chapter I concerning Bartdk's approach to tonality, the following statement, made by the composer in 1929 (a year or so before the Second Concerto was commenced), is especially pertinent: It is . . . true that in my recent works I make for clearer definition of tonality than in many of the things I wrote a few years ago. Not that I have ever indulged in 'atonality' as practiced by Schbnberg and others; in the works I refer to tonality (in the broad sense of the word, of course) is not lacking, but at times is more or less veiled either by idiosyncrasies of the harmonic texture or by temporary deviations in the melodic curves. 1 have no theoretical views on the subject of tonality or atonality. In my works it just happened thus.18 ’ 18Bela Bart6k, quoted in "Bart6k's Musical Theories," The New York Times, May 19, 1929, IX-9:6. 82 It is thus understandable that the tonal centers in the Second Concerto are even clearer than those of the pre- ceding concerto. The first subject of the Allegro commences with an explicit establishment of G major through thirty-one measures of pandiatonic writing; there follows the chromatic Part 2 of this subject, a section which pur- posely dodges clear tonal centers by means of sustained tritones in the horns surrounded by a bustle of chromatic activity elsewhere. The material of Part 1 returns with statements in G minor and C major, ultimately closing in G major. The second subject, also pandiatonic in har- monic technique, is characterized by more frequent changes of tonality, though they are always clearly manifested. Subsequent material in deve10pment and recapitulation is treated in similar fashion with the additional feature of several brief pedal points. Conspicuously absent in the Allegro are the long ostinatos so often noted through- out the First Concerto. Sometimes considered to be the most obvious characteristic of the composer's style at all stages,19 Bart6k most often uses the ostinato to build a high degree of tension, a trait which would be incongruous with the effervescent character of this move- ment. The coda, following the overtly pandiatonic 19StuartThyne, "Bartdk's Improvisations," Music and Letters, XXXI (January, 1950), p. 40. 83 cadenza, not too surprisingly begins with an extremely chromatic section of twenty-eight measures, but soon gives way to the return of first subject material, ending with a Mixolydian cadence on G. The Adagio begins with twenty-two measures given to strings alone moving in half- and quarter-notes. The resulting vertical sonorities are derived primarily from chords of the fifth, some of which contain as many as five perfect fifths stacked one above the other. The first chord, for example, is spelled F, C, G, D,_A, and E. Root movements in seconds predominate, while cadence- points involve almost entirely the above-mentioned chord on F and its duplicate on C. It is not clear until the final cadence of the movement exactly which of the two levels is meant to be the over-all tonality. The alter- nate sections with piano and timpani also contain specific reference to tonal levels. The £35322 episode, like Part 2 of the first move- ment's first subject, is highly chromatic, toccata-like figuration. Though difficult to perceive aurally, tonal levels exist, sometimes only by the most attenuated means-—short pedals scattered about, numerous repeated notes, an occasional diatonic fragment-—all of which suggest, in varying degrees, tonal backgrounds. 84 The return of Section I with its chords in fifths eventually finds the tonality of C given pre-eminence in the final cadence. Each ritornelle of the Allegro mglgg is characterized by an ostinato with two alternating pitches a minor third apart. The piano figuration, though usually consistent within the tonality suggested by the ostinato, occasionally implicates another key and thereby creates a kind of bi-tonality. The episodes in this rondo employ melodic material from the first movement; consequently, the degree of tonal establishment in each episode corresponds with that of whatever first-movement motive is being used. The first episode (m. 45), for example, uses the second motive of the first subject of Movement 1, a motive which is clearly based on G; hence, this episode is equally clearly based on G. The chromatic motive of Part 2 of the first subject is also given chromatic treatment in the third episode (m. 162). The coda, beginning with a high degree of chromaticism, eventually settles on G, ending, like the first movement, with a Mixolydian cadence in this key. G, then, is the obvious tonal center of the Second Concerto. It is a notable fact that, when Bart6k obscures the tonality with chromaticism in this work, these sec- tions are invariably flanked by others with aurally perceptible key centers. 85 It was seen that the predominant chord-structure of the First Concerto was based on fourths. Here, it is a structure of superimposed fifths that is most strongly in evidence.‘ Mention has already been made of the pile-up of perfect fifths which constitutes the first chord of the Adagi . There are numerous other such formations to be found in the first movement, though few appear in the last. The beginning of the second subject of the first movement illustrates this typical feature (Fig. 24). Fig. 24——Second £1339 Concerto: Allegro, mm. 74-75. A I fik. /' /’ —-/ Tone clusters, completely absent in the first and third movements, are briefly encountered in the Presto episode of the second movement (Fig. 25). Fi . 25——Second giggg Concerto: Adagio (Presto episode , m. l . ' e." r l 86 Stevens mistakenly considers these to be Bartokis most advanced use of the cluster technique.20 Though the actual size of the clusters is greater here than any- where else in the three concertos, the tempo (£52352), dynamics (pp), and quantity (about twenty-six measures) considerably lessen their significance in this Concerto as compared with their extensive use in the First (cf. Fig. 7, pp. 45-46). It should also be noted that major and minor triads and full chords, open octaves (without additional sevenths or seconds), and extensive passages in thirds are much more prevalent in this work than in its predecessor. These harmonic aspects, alone, could be considered har- bingers of the refined idiom of the Third Concerto. Rhythm Like the First Concerto” the Second has many meter changes which are not aurally perceptible as such. Un- like the irregular meters of the former, however, those of the present work are more often regular than not. Two irregular meters are found in the Allegro (5/8 and 3/4 + 1/8), but they occur only eight times within the entire movement. The unusual meter 3/4 + 1/8, though similar to 9.33.1.2 those well-known Bulgarian meters such as which Bart6k often uses, does not suggest, in this 20Stevens, 0 . cit., p. 242. 87 Concerto, a specific connection with folk music. Appearing only five times in the Allegro but never in consecutive measures, they could just as easily have been notated 7/8 without destroying the pattern of accents. The second movement also contains only two irregular meters (5/8 and 7/8); the third movement, none. The Allegro, with the rhythmic vitality of a Baroque concerto grosso, is characterized by an almost er etual motion in sixteenths and eighths. The figure Jgj , plus its accentual variants, is particularly outstanding. Syncopation, though pervading the orchestral part throughout the movement, does not assume importance as a rhythmic factor until the beginning of the second subs ject. This section, played by piano and percussion, has the following rhythm: % and later: There are relatively few tempo changes; an occasional Tranquillo (second subject, Part 2), or poco allargando check the toccata-like forward drive of the movement. 88 The Adagio contains a reference to the parlandoa rubato style of folk song. Given to the soloist and marked gig adagio ( Jk= 80 = 72), this section has the following rhythm: The Presto episode of this movement is rhythmically un= eventful; 205 of its 206 bars are in 2/4 meter, the one exception (m. 193) is in 3/4. Following an unchanging pattern, the rhythm of the Allegro mglgg may be summarized thus: ritornelles in 2/4, eighth-note duplets predominant; episodes in 3/4, eighth- note triplets predominant. The ritornelle always begins with a wind-up such as the following: sostenuto (one measure), accelerando (three measures) to Egg allegro (lJ = 188) which continues to the episode. Consistently merked 25322 ; (TJ = 150), the episodes c ntain no tempo changes. The coda begins Presto ( .= 88), but, as in the first movement, eventually returns to 1:339 L with the triplet figuration of the episodes. 89 It is clear from the above discussion that rhythm in this work would nowhere present the difficulties en- countered in the earlier one. Gyorgy Sandor, confirming this fact, tells of a successful performance of the Second Concerto (with the Philadelphia Orchestra) for which he had only one rehearsal scheduled several weeks prior to the concert.21 This would hardly be adequate preparation for a "successful" performance of the First. In short, the relative simplicity of rhythmic problems in the Second Concerto is another aspect which Bart6k must have considered in making the work more accessible than its predecessor. Counterpoint Imitative counterpoint is, once again, the pre- dominant quality in the polyphonic writing. Outstanding contrapuntal devices exploited are: simple close-range imitation; canonic passages; figuration in simultaneous inversion; motives treated in simple and retrograde inversion; organum-like chord streams; ostinato; and the usual devices of augmentation and diminution. The use of close-range imitation is as typically Bartdkian as any other feature of his style. Its use was noted in the discussion of the First Concerto; it 21Interview with Gyorgy Sandor, June 7, 1963. 90 is also in evidence in the Third; but its most extensive use is typified in the Allegro of the Second. In this movement alone, over half of its 307 measures contain easily recognizable instances of such imitation, some of which are typical examples of Bartdk's canonic writing. Obviously, with such a vast selection available, an arbitrary choice for illustration is inevitable. With future purposes in mind, however, I have selected an orchestral passage (Fig. 26) which illustrates the canonic writing under discussion, and which will be referred to later under the section on Form. Fig. 26——Secgnd gigng Concerto: (a) lle ro, mm. 24-28. 04k. a, ifi‘—] > 91 (b) Allegro, mm. 211-215. Orch. Figure 26a shows the first appearance of this tutti which occurs in the exposition; motive fl is presented in direct 22 Figure 26b illustrates its return in the recapitu- form. lation with motive 3 presented in retrograde inversion. It has been stated that "Bart6k considered this passage to be a canon in many voices."23 Also, the constant repetition of motive 2 creates a homogeneous texture 22Motive a is the initial motive of the first sub- ject in the AlIegro. 23Vernon usson Taylor, "Contrapuntal Techniques in the Music of B la Bart6k" (unpublished Ph.D. dissertation, Dept. of Music, Northwestern University, 1950), p. 129. 92 which borders on an ostinato effect, a quality which frequently characterizes Bartdk's canonic writing.24 Close-range inversion, sometimes simultaneous inversion, is another contrapuntal trait often found in this Concerto (Fig. 27). Fig. 27-—Second Piano Concerto: (a) Allegro, m. 32. 23‘s. (b) Allegro, m. 44. 241bid., p. 211. 93 Figure 273 shows the simultaneous inversion of a chromatic figure from Part 2 of the Allegro°s first subject, while Figure 27b illustrates the close-range inversion of an "involute" motive.25 The Presto episode of the second movement also contains examples of both features. The recapitulation in the first movement finds all of the exposition material subjected to free in- version. The most advanced instance of this has been illustrated in Figure 26b. Organum-like chord streams achieve approximate mirroring in the second subject, first movement (Fig. 28a), and in the Adagio sections of the second movement (Fig. 28b). Fig. 28——Second Piano Concerto: (a) Allegro, mm. 81-83. 25This is Stuart Thyne's apt term. In his article, "Bartdk's lm rovisations," Music 32g Letters, XXXI (January, 1950), p. 38, he eprains: “ I use the term involute to describe a type of melodic line, very common in Bart6k, which is constantly turning back on itself but with chromatically altered notes." 94 (b) Adagio, mm. 1-2. 1.133(st , _ ldn'v. I“ " 7P" e pp Further use of this ancient imitative device is found in the last movement, and, indeed, in numerous other major works ranging from Bluebeard's Castle (1911) to the Third Piano Concerto. Apart from the canonic passages which create an ostinato effect, there are few ostinatos of any length in this Concerto; the longest (thirty—seven measures) appears in the first ritornelle of the Allegro £2122. Others (Allegro, mm. 15-23 and mm. 32-35; Presto, mm. 124- 140) are considerably shorter, less conspicuous, and 95 always varied to some degree. It was mentioned previously that Bart6k usually employs the ostinato to build tenw sion; this is borne out by the fact that his most extene sive use of the device in this work is found in the Allegro mglgg, a movement highly charged with emo- tional stress. In a comment pertinent to this issue, Humphrey Searle maintains that, while ostinato effects are eminently suitable for dramatic purposes, they are rarely effective in contrapuntal writing.26 It is significant that Bart6k has largely avoided them in the first two movements. In preceding sections of this chapter, I have called attention to certain Baroque qualities which exist in the Second Concerto, albeit in twentieth- century apparel. The emphasis on contrapuntal writing alone is enough to establish parallels; but there is a more Specific comparison available which would in- dicate that Bart6k was more than subconsciously using the techniques of 18th century composers as a model, especially for the Allegro. The deve10pment section of this movement, using imitative counterpoint as its most prominent feature, contains a passage that bears a striking resemblance to an imitative sequential pattern 26Humphrey Searle, Twentieth Centur Counterpoint (New York: John de Graff, Inc., 19345, p. 52. 96 in Bach's Two-Part Invention No. 13. I have paired the two passages in Figure 29; the similarities are obvious. Fig. 29a—-Second Piano Concerto: Allegro, mm. 159=16l. ' K‘ C i 7/ //\ /" Fig. 29b—-J. S. Bach, ng-Part Invention £2; £3, m. 4‘6- ./-\ 97 Assuming that the allusion was conscious, the develOpment of motive 3 probably reminded Bart6k of the A Minor Invention, and he forthwith included his imitation as a kind of lagniappe, no doubt, for those who might recognize the reference. Orchestral and Piano Writing The instrumentation for the Second Concerto as listed in the score is as follows: Flauto piccolo (anche Flauto grande), 2 Flauti, 2 Oboi, 2 Clarinetti in si bemolle, 2 Fagotti, Contra-fagotto (anche Fagotto), 4 Corni in fa, 3 Trombe in do, 3 Tromboni, Tuba bassa, Timpani, Batteria (piccola cassa [tamburo], triangolo, gran cassa, piatti), Violini I, Violini II, Violoncelli, Contrabassi.27 The strings do not play in the first movement. The Adagio sections of the second movement employ strings alternating with piano and timpani, while the 232253 episode utilizes full orchestra. The last movement is also scored for full orchestra. A glance at the score of this work immediately” reveals an orchestral treatment quite different from that in the First Concerto. Very few instances of the 27Bela Bart6k, II. Konzert ffir Klavier und Orchester (Vienna: fifiiversal Edition, I932), p. ii. 98 percussive employment of instrumental groups occur here. Figure 26, used above to illustrate contrapuntal writing, may also serve as a typical example of the prevailing orchestral texture. The preponderance of counterpoint is primarily responsible for the complex texture of the first movement in which individual in- struments come to the fore, often presenting salient motives. The trumpet, for example, begins the first subject material in measure 2 with motive 3; this is followed by motive b in the piano. Oboes announce motive g in measure 6. This dispersal of important thematic material continues throughout the movement, creating further similarities to the concerto grosso of the Baroque. Instrumental effects do not attract the listener's attention until the gaggig where, at the outset, the strings are given the direction Egggg,il,pgggg Egg sording, 92g vibrato. In the following,gggg§g, flickering colors are achieved by ingenious combinations of instruments, texture contrasts, and special effects such as the following: Pi . 30-Second Piano Concerto: Adagio (Presto episode , m. 1 . Hrs; C. PP ”1 99 28 3., aperto (senza sordino). Marked piano or pianissimo for more than two-thirds of its 206 measures, this kalei- doscopic section is "another excursion into the realm of 'night music."‘29 One of the most impressive instrumental effects in the entire Concerto occurs at the return of the Adagio following the Presto episode. Figure 31 (p. 100) illus- trates the brilliance of this section with the trumpet on C"', reinforced by triangle and piano. This leads to a shimmering return of the chords in fifths now pitched a fifth higher and indicated 52; ponticello and tremolando. Such a passage requires hearing in context to be fully grasped; once heard, it will not be soon forgotten. The Allegro mglgg presents no especially noteworthy facets of orchestration. Except for the coda, the main body of the movement is depicted in harsher, more somber tones than the preceding movements, recalling the general aura of the First Concerto. The percussion section, though prominently employed at times, is not exploited. Of all the instruments, the timpani assumes the most important role, particularly in 28 29 Ibid., p. 61. Stevens, op. cit., p. 242. 100 Fig. 3l——Second Piano Concerto: Adagio, mm. 207-210. , ,./#'“*~~\m// 463310 e / ‘e Trjl. Th the final Adagig (i.e., following the Eggggg in the second movement). Here, no longer confined to tremolando utter- ances, it takes a real part in the dialogue, rhythmically echoing the dramatic eighth-note octaves in the piano (mm. 23-30) in an emphatic confirmation of their import. 101 Contrasting with the multifarious directions noted in the First Concerto, there appear in the Second only two such indications concerning the manner in which the percussion instruments are to be played. These occur as footnotes within the score, rather than as part of the prefatory remarks. For example, a footnote on page 4 requests that the tenor drum be played on the rim when the note stems are down, in the middle when the stems are up. On page 13, another footnote requires the tri- angle to be played with a wooden stick except for notes marked with a plus sign; the latter are to be played with a metal stick. It is quite probable that Bart6k, fully aware of the orchestral difficulties in the First Concerto,30 purposely resisted the temptation to advance further percussion effects in the Second, or even to duplicate the complexity of those already explored in the First. 0 The piano writing is of a degree of virtuosity unmatched in any other piano concerto known to me. Ordinary technical requirements such as passages in octaves, double sixths and thirds, plus wide leaps and Presto runs——all common devices since Liszt-—are given excessive reign in this work. In addition, there are 30See Bart6k quote, p. 71. 102 unusually awkward hand positions, passages in double seconds, scales which traverse the keyboard in im- possible tempos, cluster chords in sixteenths ( = 184) marked pianissimo, and numerous extended passages in double octaves which would tax the endurance of three pianists. These pianistic demands differ from those in the First Concerto in that the latter especially involve new devices which, though extremely awkward at first, become relatively simple after certain adjustments are made (e.g., abandonment of traditional hand positions for certain effects, and new thumb requirements). In other words, Bart6k seems to have been experimenting with new pianistic devices in the earlier work, whereas here he was to fall back on more common techniques, but with unprecedented disregard for their "playability." It must be assumed that the work was quite playable for him. Evidence has been given which proves that Bart6k was determined to make the Second Concerto "easier" than the First, but this concern was primarily with thematic material, not piano writing. It is not illogical to conclude that, as a concert pianist of considerable fame, he was quite aware of the public success which a pianistic Eggglgg £2525 like this one would achieve. It is only due to his genius-—comparable to that of fl 103 Brahms in the B Flat Concerto——that the work did not become an empty showpiece. The most difficult passages, in fact, are so completely integrated within the total structure and prevailing texture, that the pianist who has labored for months to conquer them must be content with a mere Pyrrhic victory. It would be impossible to illustrate all of the difficulties the pianist must cope with in this work. Few of them are individually noteworthy, anyway; it is rather their omnipresence which is so staggering. For example, the soloist plays in 284 of the 307 measures in the Allegro; he has not one measure's rest in the 208-bar grgsgg in the second movement; and in the Allegro r_n_9_]_;_t':_o_ he plays in 261 of the 326 measures. It remains, then, to point out the few requirements which, like those in the First Concerto, find Bart6k experi- menting with new effects, whether difficult in execution or not. Figure 28a, p. 93, illustrates contrary motion arpeggiandi, an effect which appears here for the first time in the concertos, though one of its earliest uses in Bartdk's piano music is found in the Elegies (No. 2) of 1909. ‘ Tone clusters are represented in Figure 25, p. 85. Obviously, unnatural hand positions would be required to encompass the notes written. However, the real difficulty with these clusters arises from the rapid tempo and the dynamic level. 104 The most unusual figuration, occurring in the Presto episode, is the long passage in double seconds, partially illustrated in Figure 32. Fig. 32—-Second Piano Concerto: Adagio (Presto ,m- - s episode Though it would be possible to finger the passage as double-notes, the thumb is obviously intended to play the white-key seconds while the second and third fingers play the others. As noted so frequently in the previous work, an agile thumb is an absolute necessity for the soloist in these concertos. Passages in seconds have often appeared in piano literature——examp1es may be found in Ravel's Gaspard g5 l5 Egg; ("Scarbo"), Prokofiev's Third giggg Concerto (last movement), and, most recently, Barber's ELEEE giggg Concerto (last movement). But I can recall no other work in which the pianist must contend with double seconds, especially at this speed. 105 It should be noted that on most American pianos it would be literally impossible to play all the notes in this Concerto, not because of the redoubtable difficulties, but because of keyboard range, there being several passages which require notes beyond the present span of the standard keyboard. For example, measure 295 in the Allegro con- tains Sub-contra F and G, measure 305 another G. There are other instances in the following movements in which notes are written below Sub-contra A, the lowest note obtainable on most concert grands. The First Concerto contains no such requirements; the Third, only one-— a Sub-contra G found in measure 730 of the final movement. Bart6k undoubtedly had in mind certain European instru- ments which have these notes available. Bdsendorfer of Vienna, for example, has produced pianos with a compass 31 In of eight octavese—from Sub-contra F to E""'. every case, it is the extended bass range that would be problematical; the extreme high register is never required. The above discussion, though necessarily limited in length and illustration, will perhaps indicate something of the prodigious difficulties which face the soloist in the Second Concerto. ‘Mosco Garner, in his otherwise 31Thompson, Oscar, (ed. ), The International C clo edia of Music and Musicians (New York: Dodd, Mead and 00., I939),_ p. . 106 penetrating essay on Bartdk's concertos, observes that, "while the First Piano Concerto, admittedly, poses con- siderable problems for both player and listener, this .,,32 cannot be said of No. 2 . . A cursory glance through the score will refute this ridiculous statement. Form Synopsis: The Allegro, a sonata-allegro form, begins with the exposition of two subjects, each of which has three distinct parts. The development of this mate- rial is primarily given to devices of imitative counter- point. The recapitulation presents the first subject in inversion and is followed by a cadenza for the soloist. The second subject, whose position was usurped by the cadenza, never returns as a separate section, though its main motive constitutes the major thematic element in the extended coda immediately following the cadenza. The second movement is an episodic form. The first section, Adagio, consists of a dialogue between muted strings and piano with timpani. The episode, Presto, implies a three-part structure within itself and is characterized by a high degree of chromaticism and 32 C r «341 B rtdk " certo ed. Ralph h¥flczBa1€imofe: Pgngain Book§?£1 , p.’333. v. 107 only one motive of importance. A compressed return of the Adagio ends the movement. The Allegro mgigg is a rondo form with the following scheme: A B A C A D A Coda. Its most noteworthy feature is the use of first-movement motives in each of the 33 episodes. The ritornelle contains the only new thematic material. Allegro: Sonata-allegro Form Mm. 1-118 (Exposition):. Part 1 of the first sub- ject contains three motives——a, b, and c——which are immediately introduced by trumpet, piano, and oboe within the first six measures of the movement (Fig. 33).34 Fig. 33——Second Piano Concerto: (a) Allegro, mm. 1-3. T1 340, a‘"%"_—" W W 1 f 33The last movement of the Second Violin Concerto, though a sonata-allegro fonm, also uses transformed thematic material from the first move- ment. 34For the purpose of convenient comparison, the motives illustrated in Figures 33 and 34 are also shown as they appear in the recapitulation. 108 (a') Allegro, mm. 181-183 (recapitulation). ...—...... I... 109 Despite the fact that b and 5 could be considered variants of g, I have distinguished them because each maintains its own identity throughout the movement. It will be seen that this motivic delineation is also corroborated by the separate treatment each is given in the last move- ment. Presented in stretto and tossed about by various instruments of the orchestra, this material occupies exclusive prominence in the first twenty-four measures of the Allegro. At measure 25, a link (Fig. 26a, p. 90) based on motive 5, leads to Part 2 of the first sub- ject. This seven-measure link, previously discussed with reference to canonic writing (p. 91), assumes considerable importance in the Allegro (and the Allegro mglgg, as well), appearing five times within this move- ment alone. It is clearly suggestive of the repeated section-endings in Bach's concertos, and herewith func- 35 Part 2 is sufficiently tions in much the same manner. contrasting in a number of qualities (chromaticism, triplet figuration, new motive) to be considered an episode despite the rhythmic relationship of its motive (g) to the motives of Part 1 (Fig. 34, p. 110). 3SCf. Bach's Brandenbur Concerto No. 2 (first movement) and the Concerto for Two Violins igwggminor (first and third movements). 110 Fig. 34——Second Piano Concerto: (a) Allegro, m. 33. (b) Allegro, m. 200 (recapitulation). 35.1 at (z > I Stevens rightly points out that, due to its length plus the fact that it leads to a repetition of Part 1, this section should not be considered a transition.36 This type of episode, with its chromatic triplet figura- tion, reappears in later works such as the Second Violin Concerto (1, mm. 56-72) and the Vigig Concerto (1, mm. 41-50). Its chromaticism serves as a foil to the pandiatonic writing of Part 1, and therefore clarifies the over-all structure of the first subject. The return of Part 1 commences with motive b; motive 3 follows and leads quickly to the second appearance of the above- 36$tevens, o . cit., p. 241. He erroneously adds, however, that it Es Part 2 of a ternar form. Surely, its quality is contrasting rather t an developmental, and thus constitutes the episode in an episodic form. I’l 111 mentioned link which now culminates in a chord con- structed of superimposed fifths (E flat, B flat, F, C. G. D). R.elwated like a fanfare, this’chord predicts the approaching fifth chords of the second subject. Beginning with a continuation of the rhythmic drive of the first subject, the second subject does not imme- diately present the expected contrast. Like its pred- ecessor, however, it consists of three parts; it will be the middle part that will provide the "feel" of a second subject. Part 1, with its chords in fifths, is played by piano, tenor drum, and timpani; it is almost introe ductory in effect since it contains no recognizable motive. However, its syncopated rhythm (see p. 87) and its intervallic content give it a pronounced individuality. Part 2 of the second subject (Fig. 28a, p. 93) follows shortly. Though its texture may-be con- sidered an outgrowth of Part 1, it provides contrast in tempo and dynamics (Tragguillo and piggg), and has a distinct motive (g) as well. Descending sequences (mm. 91-94), consistent within the arpeggiated texture of Part 2, lead back to Part 1 which, after four measures, is cleverly combined with an extraordinary transformation of motive 5 (Fig. 35). .Fig. 35—-Second Piano Concerto: Allegro, mm. 99-101. Hrnajgnd 3 4 ‘2' j 1 J I T 7 l J -1>-—1 ff ' Vrlv 112 With this transformation we have an instance of inter- penetration of character: (1) the Tragguillo motive is now made to fit the rhythmic drive of Part 1 of the second subject, (2) it is given the syncopated ending of motive b of the first subject, and (3) it has assumed the chromatic quality of motive g of the first subject.37 Treated in stretto imitation and fragmentation, this material eventually leads to the closing section or codetta (Fig. 36). Fig. 36—-Second Piano Concerto: Allegro, mm. 109-110. 19‘ The codetta is constructed entirely of stretto imitations, sometimes expanded, of the involute figures illustrated in Figure 36. The insistence on G flat (top note) gives way to A, and finally to C, whereupon the exposition is brought to an abrupt close. 37One other remarkable aspect of this "new" motive e is its striking similarity to the ostinato motive in the first movement of the Fourth Quartet (Alle ro, mm. 15+, also, Allegro omolto, mm. 15+). 113 Mm. 119-180 (DeveIOpment): Motives g,‘2, and g occupy most of the substance of the development. They are combined, imitated in stretto, inverted, extended and fragmented. Motive 3 gives rise to the two-part- invention-like writing illustrated in Figure 29a, p. 96. It might be noted that Bart6k frequently writes in this contrapuntal idiom, examples of which may be found throughout his music in such diverse works as Mikrokosmos (Vol. III, No. 91), Eggtygggg£.!iglig‘gggtg (Vol. II, No. 30), and the Adggig religioso of the‘Ihigg.giggg Concerto. In measure 169 a fragment of motive|§ is inverted for the first time; this leads to a pile-up of motive‘g into the link (Fig. 26a, p. 90). The inversion of motive.§ forecasts the recapitulation, while the link predicts a section ending. Mm. 180-307 (Recapitulation, cadenza, and coda): The recapitulation would appear on the surface to be extremely compressed. 0f the first subject, the materials of which 38 Part 1 is reduced to are now presented in inversion, twenty measures (thirty-two in the exposition); Part 2 is given only twelve measures (twenty-six before); the return of Part 1 is omitted except for its final ten.measures (i.e., the link, now with motive 5 in retrograde inversion); 38See Figures 33a', bg,c', and 34b, p. 108 and . 110. It should also be noted that this inversion of mater als in the reca itulation occurs in other works such as the Second Viol n Concerto (first movement, m. 194+) and the Fifth Quartet (first movement, m. 126+). 114 and the second subject is omitted entirely. In all, the recapitulation up to the cadenza contains forty- two measures as compared with the seventy-four of the exposition. However, the cadenza consists solely of first subject material and thus replaces the return of Part 1 of the first subject, adding thirty-two measures of its own. Curiously, and perhaps accidentally, the exposition (seventy-four measures) and recapitulation plus cadenza (forty-two Plus thirty-two) now balance mathematically, a proportion which is ordinarily avoided by contemporary composers. The fifty-four bar coda would seem, then,to create an imbalance in the form. Psychologically, however, the movement is incom- plete without it, especially since its first twenty- eight measures deal with a slightly varied motive g of the second subject which was omitted in the reca- pitulation. Hence, we have in this movement further evidence of the manipulation of traditional forms with which Bart6k was preoccupied throughout his life. Adagig: Episodic Form Mm. 1-63 (Section I): Using.a simple alternation of two features, this opening section has the following scheme: A B A B A., Letter A represents the segment in which the strings play in organum-like chords of the fifth, pianissimo and - 66-69; letter B stands for 115 the £13 £8.13. ( J2: 80-72) statements by piano and timpani (see Figs. 28b, p. 94, and 22, p. 80). Typically, repetitions of A and B are always rewritten, occasionally expanded or curtailed. A twoameasure codetta based on B ends Section I, but simultaneously links it with the episode by means of the timpani roll. Mm. 1-208 (Episode):39 The.§£gggg episode, despite its perpetual motion in sixteenths, suggests a three- part structure which I shall label C D C. Measures 1 through 80, or thereabout,40 make up Part C in which the following motive (Fig. 37) is prominent: Fig. 37——Second Piano Concerto: Adagio_ (Presto episode),mm. 81- . ’ r epis. mo‘h've ...-i 0 0b. 2’ This motive, the only melodic feature of the Presto, is surrounded by swirling chromatic runs in the piano and ? other atmospheric writing in the orchestra. At J , 39At this point measure numbers in the score inexplicably begin again with l. ' éoAs with many section divisions in Bart6k, and .other composers as well, the analyst is hard put to it to say exactly where one section ends and the next [begins.. I have chosen measure 80‘aslthe junction because the texture-has thinned downxto its finest degree at-this point; in measure 81 it gradually begins to thicken-into the cluster chords which mark the middle section. T «'7 IN» ,116 measure 81 the texture begins to change; at first quite thin in the solo piano, it increases to the thickness of the tone clusters illustrated in Figure 25 (p. 85) which are matched in the strings by a similar pile-up (here mostly whole-tone in construction) marked 222, This section (D), more typical of Bartdk's "night music" than section G, contains minuscule rhythmic fragments given to the winds and brass; though lacking in melodic features, the preponderant rhythms .fi]. and m J recur frequently enough to be considered out- standing. A segment completely given over to orchestral effects, D ends with a consistently thinning texture, eventually giving way to an abbreviated return of C.. The only noteworthy change in this return is that the chromatic motive is inverted. . Mm. 1-41 (Repeat of Section I and coda): Figure 31, p. 100, illustrates the two-bar link and return of the Adagig. Somewhat compressed-—now A B A B-the Agggig also finds the two components of the previous dialogue brought together, though each still maintains its initial identity. For example, the piano embellishes the string writing with a trill on C"' which extends through the first statement of A; in the second measure of B, the strings are noted accompanying the timpani roll with a trgmglgndg effect in the lower registers. 117 And so it goes throughout this restatement of Section I. The movement is brought to an end by a short five- measuregcoda, played by piano, timpani and strings, suggesting a final amalgamation of the disparate elements of the Adagio. Allegro mg_1_tg: Rondo Form Mm. 1-44 (Ritornelle): The short introduction, consisting of a fortissimo blast by the bass drum which sets off a two-measure ascending arpeggio figure in the piano, is quickly followed by the first ritornelle in this rondo. Highly characteristic of the well-known Dionysian aspect of Bart6k's style, the subject of this section revolves about a minor third (E f1at-G flat) for the most part, recalling similar themes in numerous other works (e.g., the 25395 Suits, second movement; and the Second Quartet, second movement). Introduced and accompanied by the timpani which is given an ostinato in minor thirds (C——E flat), this subject (Fig. 38 IL 118) constitutes the only new material in the last movement. It is repeated, extended, and treated to canonic imitation before being abruptly halted at measure 45, whereupon the first episode appears. 118 8——Second Piano Concerto: Allegro molto, 3 mm. 7-F1g. ff:- Mm. 45-73 (Episode 1):41 Double octaves in the piano announce the most important motive of this episode (Fig. 39, p. 119). 41It would be impracticable to illustrate all of the derivations from first-movement material which make up the substance of this and later episodes. It should suffice to show only the salient motivic transformations and to merely cite all others, presuming that the interested reader will have a score available for more detailed comparison. “ r. I.“ 119 Fig. 39—-Second Piano Concerto: Allegro molto, mm. 45- 7.. £42. 5 It will be seen by a comparison of this figure with Figure 33b, p. 108, that motive b has been rhythmically transformed into the octave triplet figures. The two orchestral measures which follow, harmonically based on fifths and melodically on seconds, are also derived from mm. 6-7 in the Allegro; in addition, the following material of this episode, mm. 54-72, is derived from mm. 13-31, first movement. The final bars (mm. 66-72) include a transformation of the tutti link which was frequently alluded to in the discussion of the Allegro, and illustrated in Figure 25a, p. 90. At this point, the link, rather than actually leading to the ritornelle, is boldly interrupted by it at measure 73. Mm. 73-93 (Ritornelle): Less than half as long as its initial presentation, this ritornelle is partly rewritten: the tonal level is new (ostinato on F and A flat, motive on B flat and D flat); the piano has octaves rather than single tones; and the range is 120 noticeably extended. It has barely gained impetus when the second episode, as if in retaliation, abruptly announces itself. Mm. 94-137 (Episode II): The material of this section is based on motive 3. Its present appearance is illustrated in Figure 40 (cf. motive _c_, Fig. 33:}, p. 107). Fig. 40-1§ggggg‘§i§gg Concerto: Allegro £2159, m. 95. 2ft 5: A Following this, it is presented in inversion and then 'succeeded by other first-movement material beginning at bar 110. The following twenty-seven measures are derived from both direct and inverted statements of Part 2 of the Allegro's first subject (direct, mm. 32-57; inverted, mm. 200-211). A considerably freer adapta- tion of the material than was employed in Episode I may be noted here. Again the link serves as a culminating factor which is followed by the penultimate appearance of the ritornelle. 121 Mm. 138-161 (Ritornelle): Only slightly longer than its second appearance, this section presents the subject on yet another tonal level (ostinato on E and G, subject on C and E flat) and in inversion. Mm. 162-206 (Episode III): The final and longest episode employs two more elements from the Allegro, the second subject's motive g and the closing section material. Figures 41a and b may be compared with Figures 35, p. 111, and 36, p. 112, respectively. Fig. 41-—Second Piano Concerto: (a) Allegro molto: mm. 162-163. (b) Allegro molto, mm. 178-179. 122 Much expanded in this presentation, Episode III reaches its greatest climax with the expected appearance of the link (mm. 195-206), which now'matches the retro- grade inversion treatment to which it was subjected just before the cadenza in the Allegro, measures 211-221. Mm. 207-254 (Final ritornelle): In another, perhaps more subtle manipulation of first-movement features, the ritornelle now assumes the character of a cadenza for the soloist, here paralleling the exact placement of the first-movement cadenza, but using the elements of the ritornelle-—ostinato (E sharp——G sharp) and sub- ject (C sharp——E)-—both given to the piano. The timpani, previously the instrument which played the ostinato, does not enter until some twenty-four bars later. The bass drum, which does accompany the piano in these first twenty-four measures, merely emphasizes the frenzied rhythm in this most climactic statement of the ritornelle. This time, the ritornelle is ex- tended into an enormous build-up, with full orchestral forces, to the coda. Mm. 255-326 (Coda): Accompanied by triplet passage-work in the piano, tremolo strings, plus tim- pani and bass drum, the woodwinds and brass state a further transformation of the Allegro's mOtive g of the second subject, the motive which was already used 123 in slightly varied form in the coda of the first move- ment. Presented here in inversion, its direct association with the initial appearance of motive g is especially tenuous since in this case, it is actually a transfor- mation of the Allegro's coda motive, and is thus derived from a derivation! After eighteen measures in which it is imitated in stretto, inversion, and simultaneous in- version, this motive assumes yet another face (Fig. 42); but this time it is one which is much more clearly related to its progenitor (cf. Fig. 35, p. 111). Fig. 42——Second Piano Concerto: Allegro molto, m. 275-279. .Pabke I de/GG. Its augmentation and contrapuntal treatment over the next sixteen bars, plus accompanying indications (ggige, espressivo), serve to abate the furious drive of the preceding measures to an appreciable degree. Following this, the ubiquitous tutti (i.e. the link material) is predicted by,fragmented statements of motive a augmented in both direct and inverted form (Fig. 43, p. 124). 124 Fig. 43——Second Piano Concerto: Allegro molto, mm. 290-295. The movement ends brilliantly with a final, extended statement of this tutti in which motive a, retaining the triplet rhythm of its previous presentations, is combined in direct and inverted form. Despite the fact that the coda has slowly dispelled the hard-driving primitive forces which characterize the ritornelles and some of the episodes, this bright, almost joyful ending seems to be an incongruous epilogue in which the composer has somehow missed the mark, perhaps through a sudden effort to compensate for the exciting but decidedly less ingratiating character of the movement as a whole.42 425ee above, under the discussion of the general character of this work (p. 78). CHAPTER III THIRD PIANO CONCERTO Historical Data The ggggng‘gigng Concerto (1930-1931) is the last solo concerto Bart6k wrote for his own performance. The piano works which follow this Concerto include the 29.92.99 9.9929 (1936). the Manama Percussion (1937), the transcription of this Sonata the Mikrokosmos (1926-1937), and the _T_l_1_i_r_gl_ _P_i_§_n_g Concerto (1945). Of these compositions, the Third Concerto is the only one which was never played by its composer. It was originally intended for the famous duo-piano team, Bartlett and Robertson, as a concerto for two pianos,1 but as time passed, Bart6k, with his erratic malady becoming more and more severe, significantly changed his plans and scored the work as a solo concerto. Gravely ill before he could finish the scoring, the composer labored painfully at the orchestration of the third movement, aided by his son 1Serge Moreux, Bela Bart6k, trans. G. S. Fraser andzsgik De Mauny (London: Harvill Press, 1953), p. O 125 126 2 Peter, who drew the bar-lines for him. Five months after Bartdk's death, the Third Concerto was premiered in Philadelphia by Gyorgy Sandor with Eugene Ormandy and the Philadelphia Orchestra. Howard Taubman reviewing the New York premiere two weeks later, includes, with his favorable evaluation of the work, further informa- tion concerning its composition: The concerto was Bart6k's last finished work. During his final days he drove himself to complete it. When he died, the concerto, with the exception of the last seventeen bars, was fully scored. The final bars were sketched in a musical short-hand employed by the cemposer, and the were deciphered and scored by his friend and colleague, Tibor Serly. It is Mr. Serly who throws further illumina- tion on the way Bart6k fought to finish the concerto. "Bart6k worked feverishly to the very last to complete the concerto," he wrote, "and it was touching to note that he had prematurely scrawled in pencil the Hungarian word 'vege' -—the end-—on the last bar of his sketth copy, as though he were desperately aiming to reach it. On no other score had he ever written the word."3 Evidently, very few people knew of the workfs existence until after Bart6k's death. Gyorgy Sandor, for one, recalls no mention of it at any time during his frequent visits with Bart6k when the composer was critically ill.4 There is also evidence that, in the - 2Halsey Stevens, The Lifg‘ggg'gggig,gf éla art6k(New York: OxfEEH University Press, ), Po . 9 3Howard Taubman, POrmandy Offers Bart6k Concerto," The New York Times, February 27, 1946, 20:2. See ‘Kppendix.9111‘for the entire review. 4Interview'with Gyorgy Sandor, June 29, 1963. 127 early stages of the concerto's composition, Bart6k even tried to keep it a secret from his wife Ditta, a concert pianist who had also been his pupil and partner in numerous duo-piano recitals. Peter Bart6k, in a letter to a friend, has written: During this time at Saranac Lake the summer preceding Bartdk's death in September “Father was very busy with some musical work, composing; there were two compositions in progress simultaneously. One of them was the Viola Concerto written for Primrose, and the other was something Mather should not know about. I am not sure why, but as if [sic] I remembered him telling me that it was a surprise for her.5 _ The vicissitudes that beset Bart6k's last years in America are well-known; undoubtedly they bear a very practical relation to the compelling urgency which spurred him on to the completion of the work. He must have known that his illness was incurable,6 and realizing that his SPeter Bart6k, quoted in_Agatha Fassett, The Naked Face of Genius (Cambridge: The Riverside Press, 1958), p. 3537 6Erno Balogh, in his article "Bart6k's Last Years," Tempo, No. XXXVI (Summer, 1955), p. 15, writes: "By Spring 1944, it was evident that it was leukaemia. The doctors were able to control this with medication and with blood transfusions. But whereas in 1944 they found only 6,000-8,000 white blood cells, by January 1945 this had risen to 100,000 and when he returned from the summer resort in the Adirondack mountains in September 1945, it had jumped to 250,000. He spent his last days in the hospital, mostly in pain and half coma, then slipped into full Coma and gradually burned away until death came shortly after 11 a.m. on September 26, 1945." 128 wife would be left without financial security, probably intended the Third Concerto as a kind of legacy for her, perhaps hoping that she would be able to introduce it and achieve some earnings through this and subsequent performances. Certainly, the work's less demanding piano 7 writing would alone suggest that he intended it for someone other than himself. It is doubtful, however, that Ditta Bart6k ever played the Third Concerto. I have discovered no reference to any performance by her following her husband's death. As mentioned above, the reception accorded the Concerto's premiere was most favorable. It was acclaimed an admirable work—-one which any composer should be proud to have as his last testament-—and truly representative of its composer's genius. To quote again from Taubman's discerning review: Again it was clear how rare and ori inal a musical mind the world had lost when Be a Bart6k died last September. ' It is a fine work noble i content and fair in proportions. The ideas in the three movements are as bold and original as much of Bart6k's other music, and the writing has the mastery one expects from him. Though the composer was seriously ill, the vigor Of his intellect was apparently undiminished. His concerto moves from beginning to end with un- ' ' deviating assurance. _And there is-—most affecting of a11-a serenity in the slow movement that could only be the work of a man who had risen above the pains of the flesh. The concerto will appear again on orchestra programs; it bears repeating.7 7Taubman, 0p. cit. 129 Some have considered the Third Concerto Bartdk's greatest work. Thomas Fenyo, a student of Bartdk's piano music, writes: All thin 8 considered, the Third Concerto is not only Bart k's last work, but—EEFEa s s greatest as well. It represents the final, distilled essence of a unique musical style, a supreme achievement of one of the musical giants of our century.8 Such enthusiasm, though widespread and continuous since the work's presentation, is not entirely represen- tative of all critical reaction. Obviously, the work, though unquestionably one of Bartok's most approachable and appealing compositions, was still too Bartdkian for some. A Mr. McNaught of the Musical 2912.3. wrote: ". . . the music is still queer and wild and a little bit mad. [It] has a few passages that do not genuinely make sense . . ."9 The avant-garde composer and writer, Andre Hodeir, while favorably inclined toward the first two concertos, was apparently greatly disappointed in the Third, "the banality of which is inexplicable and dis- turbing."10 8Thomas Fenyo, "The Piano Music of Béla Bart6k" (unpublished Ph.D. dissertation, Dept. of Music, Uni- versity of California at Los Angeles, 1956), p. 239. 9W31McNaught, "Bartdk's Third Piano Concerto," The Musical Times, XCI (June, 1950), p. 229. 10Andre Hodeir, Since Debuss : A View of Contem orar Music, trans. Noel Eurcfi (New”Y3rk: Grove Press, Inc., 1961), p. 87. 130 Aumore specific criticism has been made by Mosco Carner, an erstwhile Bart6k enthusiast. He writes: To the present writer . . . [The Third Concerto] is lacking in that significance of invention such as we have come to expect of a composer of Bart6k's calibre. . . . here I venture to suggest two reasons which may account'for certain failin s of this work: the one, that Bart6k attempte to become still more 'pOpular,' more accessible to the American public than he did in the Concerto for Orchestra: the other, that the insidious disease (leucaemia) of which he was to die soon after the near-completion of this cpncerto, had begun to af- fect his creative powers. 1 Thus we have a clear division of opinion. By some, the Third Concerto is considered to represent a_crowning achievement, an epitome of the stylistic sublimation which marks Bart6k's late works; others insist that the work is at the bottom of a creative decline which, to some degree, was inevitable in view of the disease which afflicted the composer. Just how carefully the work in question has been studied before such opinions are advanced is usually impossible to ascertain. Probably, the most reliable comments are those of Bartdk's biogra- phers, Moreux and Stevens, who not only have probed deeply into the composer's life and career, but who also have devoted a vast amount of time (and space in their books) to the study of Bart6k's music. Their conclusions 11Mosco Garner, "Bela Bart6k," The Concerto, ed.3§s1ph Hill (Baltimore: Penguin Books, 1952), p. e ; I. \ 131 as to the merit of the composition find the latter opinion untenable. Moreux states: The Third Concerto is one of Bartdk's most attrac- tive works, and shows his genius in its most perfect flowering. It is the work of a master who no longer seeks to set himself roblems or, rather, who con- denses problems in fe icitous formulae, and circum- scribes them with a harmonious gesture. It is both 'in the tradition' and extremely personal-—a syn- thesis at once of classicism and modernism, of pure music and folk-music.12 And Stevens: The Third Concerto is nowhere atavistic. What- ever its faults, the composer cannot be said to have turned back over the way he had come——the composer of the Rhapsody of 1904 could have written it only after his techniques had matured through all the intervening works.1 Finally, and perhaps most significantly, Bart6k him- self has said:,"With maturity comes the wish to economize -—to be more simple. Maturity is the period when one finds just measure."14 This observation contains the key to the controversial quality and character of the Third Concerto: economy and simplicity of statement-—just measure. 12 13 Moreux,-op. cit., p. 203. Stevens, op. cit., p. 253. 14Béla Bart6k, quoted in David Ewen, The Complete Book pf 20th Centu Music (Englewood Cliffs: Prentice- Hall, Inc., 1960), p. . 132 General Traits Character Vincent Persichetti has admirably summed up the work's qualities in the following comments: The first movement is a mixture of song and dance with a clarion air. Paradoxically, one notes a freedom of motion born of folklorish ornamenta- tion mainly in the singing parts, while the era- besque dances flow quietly. Throughout the concerto there is a reserve that restrains each outburst. The dance in the opening movement, which melts into a solo flute close, typifies the serenity that inevi- tably wins out. The Adagio religioso is a delicate chorale prelude with the disposition of Bach. Its chorale and weaving accompanying figures have beauties that linger through the turbulence of the trio-like murmurings. The rondo-finale is vigorous and stormy, kept under control by its slow harmonic rhythm and a skeleton framework. This compact brilliant virtuoso work is so ingeniously scored that even extremely fragile piano passages manage to sound over a heavy orchestra. The piece . . . brin s Bart6k's recent tendencies to their greatest rea ization. One of these was a liking for satin-finished dissonances which are so carefully arranged in a attern of fluc- tuating harmonic tension as to seem a most consonant. Composed under adversity and impending tragedy, this beautifully optimistic work brings to light the indomi- table spirit of its composer, a spirit not unlike that of Beethoven's which was so magnificently revealed in the figpigp Sypphony. The Heiligenstadt Testament has shown posterity what mental anguish Beethoven endured during the early stages of his deafness; yet the Thigg,§ypppppy is. 15Vincent Persichetti, "Philadelphia Honors Bart6k," Mammals. XXIII (Spring. 1946), p. 126. .3 133 the work of an unshaken Titan responding to tragedy, not with all-enveloping self-pity, but with noble and trium- phant affirmation. Shmilarly, though not in the same epic way, Bart6k has given us an indication of his astonishing strength of character and final peace of mind in his Third Concerto. Jacques de Menasce considers the Adagio religioso the core of the work's philosophical import: It is the spiritual tranquility of this section out of which the entire work evolves. The ethereal lightness of the first movement and the unrestrained optimism of the final one are the legitimate antici- pation and ignfirmation of the feeling expressed in the Adagio. If we are reminded of Beethoven's fortitude by the character of this work as a whole, the Adagio religioso calls to mind other similarities, this time with the Andante con 17 The two p259 of Beethoven's Fourth Pippp Concerto. movements differ in over-all structure, but both exploit antiphonal effects between soloist and strings (Beethoven's are antithetical, Bartdk's complementary); both express deep inner convictions of universal truth (Beethoven giVes us a "philosophical" value-judgment on the question of force versus gentleness, or power versus poetry, or the 16Jacques de Menasce, "The Classicism of Béla Bart6k," Modern Music, XXIII (Spring, 1946), p. 87. 17It was noted in Chapter II (p. 77) that the Adagio of the Second Piano Concerto suggests a connection (albeit more tenuous Efian Here) with this Beethoven work. «1" 134 brute world versus the ideal, while Bart6k declares the indissoluble bond between nature and Religion, as he con- ceives it); finally, similar endings in the piano, of most affecting pathos, lead without pause to energetic rondos (note the Sggpg‘il‘gppgp in Beethoven, the Attacca in Bart6k). Since it is well-known that Bart6k revered Beethoven and studied his scoresassiduously, such paral- lels as these are far more likely to be conscious or sub- conscious emulations than mere "interesting" coincidences. It is likely that Bart6k's rapidly failing health was considered by him more an annoyance than a catastrophe. His feverish fight for time to complete the work betokens » a powerful will which, as Moreux points out, undoubtedly gained strength from the knowledge that the hated Razi hegemony was at last annihilated.18 In addition, other events, such as his nomination and election to the new Hungarian Parliament,19 the acclaim accorded his Concerto £25 Orchestra, new commissions, plus his work on the Milman Parry Collection of Yugoslav folk music must have buoyed his spirits immensely. In short, the Third Concerto in no way discloses its composer as a man who faces personal tragedy. The words serenity, lightness, optimism, refine- ment-—a11 used repeatedly to describe the pervading quality of this work-—indicate the final distillation 18Moreux, 0p. cit., p. 200. 195.99 Lbs _lgvg York Times, April 28, 1945, 6:4. 135 of that stylistic sublimation which had its origins as far back as 1927 in the period immediately following the First Piano Concerto. Melody The Third Concerto is replete with melody., It is now possible to speak of full-fledged themes in this work. The long pgppp-gippgp theme of the first subject, first movement, instantly contrasts with the potpourri of short motives which characterized both of the earlier concertos, though, as Figure 44a (p. 136) shows, this melody still bears the unmistakable stamp of its composer's folksong heritage-—its rhythm, modality, and emphasis on the per- fect fourth verify the kinship. It is obvious that the Second and Third Concertos are separated by a great amount of music in which the development of this new concept of melody may be traced. One need only be reminded of such familiar works as the §ggpnggiplip Concerto, the Sigpp §££ipg Qpartet, and the Concerto £25 Orchestra, calling to mind their melodic features, to see that melody had come to mean something quite different in Bartdk's late style. Figure 44b (p. 137) illustrates the appearance of this first subject in the development section. The clipped rhythms have been eliminated, certain intervals altered, and the entire quality has been transformed into a legato, cantabile song. Bart6k, in other words, is up to his old tricks of thematic transformation. 136 Fig. 44—Third Piano Concerto: (8) mm. 2-11. 1" 137 (b) Allegretto, mm. 76-84. The second subject contains two themes, the second of which is especially noteworthy from the point of view of melody (Fig. 45, p. 138). Exhibiting features similar to the first subject, this theme is particularly characteris- tic of Bartdk's use of major and minor thirds, a double inflection which is met with in his harmonic structures as well. It should be noted that the first subject also contains an instance of this feature. Most noteworthy in the Agpgip religioso is the chorale-like melody given to the piano and framed by cadential extensions in the strings. -Figure 46 (p. 139) illustrates the five phrases of this chorale. The second phrase, except for the last two measures, is an inversion of the first. The rhythm of the first three phrases is exactly the same; the fourth phrase, beginning like the 138 521%; 45—Ihird. Elana Concerto: _A11_g__e rettO. “M others, is extended into nine bars. The intervals, mostly diatonic, are simple, the widest being the perfect fourth. The occurrence of a chorale in Bart6k's last work calls to mind the parallel in Berg's Violin Concerto. In an interesting article which compares the two composers, Jacques de Menasce writes: "Between Berg and Bart6k there exists a close relationship, as close as any between such masters as Beethoven and Schubert, or wagner and Liszt."20 He further states: The iistener to both works [Berg's Violin Concerto and Bartok's Music f2; Strings, Percussion, ppfi Celeste] experiences similar visions and emotive reactions: there is in each case that startling novelty of message——a message always, never just an anecdote—- and the always surprising novelty of sound, one might almost be tempted to say, of a new vibration. To sum up the impression of likeness, of kinship between them, I should say one finds, from the very _4 20Jac ues de Menasce, ”Berg and Bart6k," Modern Music, XXI,R0. 2 January-February, 19 4), p. 77. 139 start, an analogy of musical perception and similarity of purpose.21 gigs 46—-Third Piano Concerto: Adagio religioso, mm. 1 - . 7% l. 211bid., p. 79. It should be added that this article was written before Bart6k composed the Third Concerto; thus, Mr. de Menasce could not have known that Bart6k's last work would further substantiate his analogies. 140 The Allegro giyppg is a vigorous EEEpQ-giusto rondo. Its ritornelle subject, unlike that in the Second Concerto's final movement, is a long-breathed energetic melody full of syncopation, encompassing an octave in range (Fig. 47). The repeated notes, syncopation, and regular phrase struc- ture are reminiscent of many tgppp-giusto folk tunes. Fig. 47-eghigg‘gippp Concerto: Allegro vivace, mm. 141-156. ff... Allegzoijafg ________ __ __________ .--—---—-~——_--_—---_--. The first episode is fugal. Its Dorian theme (Fig. 48, p. 141), recalling in character the first subject, first movement, of the Concerto f2; Qrchestra, is even more classical in phrase-length than the ritornelle theme. Again, the wide range contrasts sharply with the tight, narrowly-spaced motives of the First and Second Concertos. Also, the triadic sequences in the last three bars are indicative of the late style. 141 Fig. 48-Third Piano Concerto: Allegro vivace, m. 228-2360 Other melodies of note will be pointed out and illus- trated in the discussion of the work's form. With very few exceptions, the melodies of this Concerto seem to be free of the fetters which bound most of Bart6k's earlier themes (such as those kept well within a narrow range, revolving about a single tone; and others obviously designed to convey a musical idea with utmost economy), and disclose, as Moreux put it, "the work of a master who no longer set himself problems."22 Tonality and Harmony It can be surmised that the melodies illustrated in the preceding section have harmonic backgrounds which are almost as "traditional" as the melodies themselves. If the establishment of tonality was clearer in the Second Concerto than in the First, it is not surprising to find tonal clarity in this work exceeding that of its predecessor. 22See p. 131. 142 Beginning in E, the first subject of the Allegretto remains in this key (with references to the dominant and subdominant) through the first seventeen bars, after which the orchestra presents the theme in G major. The following transition clearly begins in G flat, containing repeated ff dominant-seventh chords in this key—-D flat, F, A flat, and c flat (mm. 27, 28, 30)—but settles on an a flat pedal over which another dominant-seventh is constructed. The first theme of the second subject, immediately fol- lowing this chord, presents an unusual and effective resolution: E flat, G, B flat, and D flat resolve to E, G, B, and D. But it is the tonality of the upper three notes (G major) which the ear chooses as the new key. This is more clearly confirmed by the following measure (45) which is in C, the subdominant ofG. . Such ambiv- alence (i.e., the chord E G B D which 322233 more like G B D E) is abandoned with the appearance of the second theme of this subject which unquestionably establishes G as the intended tonality. It is in this key that the exposition ends. The development begins with an A flat pedal in cellos and basses, an A flat arpeggio figure in the piano, and the transformed first subject in woodwinds, also in A flat (see Fig. 44b, p. 137). After twelve measures of this key, the level rises a step to B flat for another twelve measures, after which the second theme of the second 143 subject is developed first in C, then D, and finally F sharp. A sort of "chromatic slide" in six-four chords which ends on a trill in the violins on F double-sharp and G sharp leads to the recapitulation with the first subject stated once again in E. Thereafter, the tonalities follow the standard classical scheme——second subject in B (with a twodmeasure reference to the subdominant: mm. 173-174), and coda in E. The Adagio religioso, in episodic form, is made up of three sections. The chorale, mentioned earlier, framed by canonic string introduction and cadential extensions, never departs very far from C, its tonality. Phrase 1 cadences on G; phrase 2 on an E major-minor seventh; 3, on F; 4, deceptive cadence on A; and 5, on C. The string writing which punctuates the phrases of the chorale, always retains or extends whatever harmony the preceding chorale-phrase ended on. The episode, another example of Bart6k's "night music," is less chromatic than the similar sections in the two earlier concertos. The first fourteen measures are built firmly on an Aumajor triad (sometimes with added sixth); but, typically, they are not without free and colorful use of non-harmonic tones scattered about the orchestra. This harmony gives way to an E triad which, for seven measures, likewise anchors the tonaltlevel. At measure 79, the E chord shifts to a tone cluster on D. Beginning ianissimo, these next five measures build to a 144 fortissimo climax in which the initial D, F sharp and A (plus B and G sharp) are expanded into an F sharp minor seventh chord with major and minor third. This latter structure resolves in the following diminuendo to a G major triad (with added notes) which in turn gives way to F. The return of the chorale at this point re-establishes C major in the first and subsequent phrases, though its final cadence resolves surprisingly, but mmoothly, on E. The Allegro gigggg, a rondo which contains two fugal episodes, begins with the ritornelle subject (Fig. 47, p. l40).unquestionably in E. Remaining in and around this key for its entire statement, the ritornelle comes to an end with fifteen measures of repeated E's (played by the timpani) which function as a link to the following episode. Figure 48, p. 141 illustrates the subject of this first episode which, though modal, is based on C sharp; it is given a tonal answer. Subsequent entries are in F (Mixolydian) and E major before the return in C sharp, which quickly leads back to the ritornelle. The second episode is basically in B flat, its sub- ject being a simple_diatonic scale. The second fugal section occurs within this episode; its subject is given entries on A flat, E, C, and B. The return of the ritor- nelle, again on E, leads to the coda which is the most chromatic section of the entire Concerto. Nevertheless, traditional chords, though juxtaposed in chromatic fashion, 145 prevent atonality, and the last seventy-one bars settle down first to an extended section in A major, and finally to a series of Mixolydian cadences on E which end the movement. With E thus unquestionably established as the tonal center of the Third Concerto, a few noteworthy chord structures remain to be pointed out. Dissonant chords are the exception rather than the rule. The most typical structures are simple major or minor chords, sometimes without the third. Numerous pas- sages are found which contain series of chords such as that shown in Figure 49. Fig. 49—-£hi£g giggg Concerto: Allegro vivace, mm. 368-369. ff: 1}" Six-four chords are common, as are seventh chords; the latter structure is especially notable in the homophonic chorale section. Tone clusters, used in the previous concertos for purposes of rhythmic drive and emphasis as well as color, are infrequently encountered in this one. 146 Significantly, the barbaric element is almost totally ab- sent; when clusters are used, then, it is their color value that is emphasized. The episode of the Adagio religioso, for example, contains the most extensive use of clusters in this work. Figure 50, showing a measure from this section, when compared with Figures 7 (pp. 45, 46) and 25 (p. 85), illustrates the considerable difference—— one might say refinement-—in tone-cluster technique which now occurs. Fig. 50——Third Piano Concerto: Adagio religioso, m. 58. VU flm One dissonant formation which appears to be retained from the earlier style is found in two of the ritornelles of the Allegro vivace (Fig. 51, p. 147). The added seconds and sevenths, however, give way to sixths, then fifths, and finally open octaves in the succeeding measures of this passage, and such structures are never given the martellato effects which they achieve in the other concertos. 147 Fig. 51—-Third Piano Concerto: Allegro vivace, mm. 182-183. fha One other chord structure is particularly charac- teristic of Bart6k's late style. Figure 52 (p. 148) il- lustrates this formation. It is quite as often presented melodically, and conSpicuously occurs in other works such as the Second Violin Concerto (Allegro Egg trogpo, mm. 286 m—both melodically and harmonically), and the Concerto £25 Orchestra (Giuoco gellg coppie, mm. 8+). Intimately associated with Bart6k's familiar and long-standing use of juxtaposed or simultaneous major and minor thirds, it usually has an aural effect suggestive of false relations. The above discussion points to the fact that, so far as tonality and harmony in the Third Concerto are concerned, "simplification has set in" (to use David Ewen's phrase);23 and is this not, compared with the complexities of the earlier style, another instance of "just measure"? 23David Ewen, op. cit., p. 13. 148 Fig. SZ—Third Piano Concerto: (a) Alle retto, mm. 40-41. {Hum/B if-\b CLM‘ Vc. ,' w (b) Allegretto, m. 62. f 149 Rhythm There are few rhythmic complexities in the Third Concerto. The prevailing triple meter (3/4) of the Allegretto is interrupted only four times in 187 bars; the changes, 2/4 and 4/4, are employed for two reasons ——namely: to clarify phrase structure when figures are extended (mm. 33, 39, and 89), and to slow the tempo at a section ending (m. 153). The rhythms of the individual subjects of this movement, though simple, are nonetheless interesting, at times compelling. The first subject, for example (Fig. 44a, p. 136), with its combination of dotted notes, sixteenth rests, and thirty-second notes, acquires its distinctive character primarily through rhythm. Capable of creating arresting rhythmic patterns through- out his career, Bart6k often does so in this final work by means of the simplest devices. Not shown in Figure 44a, though a part of the first subject, the following illus- trates how the composer's imagination keeps a sequential pattern from being merely repetitive: Allegretto, mm. ll-12. 150 Allegretto, mm. 100-103. : fit-1'43““ Section I of the Adagio religioso, rhythmically straightforward because of its chorale-like character, has its 4/4 meter changed only twice (to 3/2),both changes occurring in the cadential extensions played by the strings. The episode, continuing in 4/4, contains a few bars in 3/4, but the listener is aware only of the per- sistent eighth-note pulse; the flickering motives which are sprinkled about the orchestra above a prevailing A tremolo in the strings obscure the meter. The chorale section returns with its rhythm very much as before—- predominantly 4/4 plus a few bars in 3/2. The Allegro vivace, excepting its second fugal episode, is in triple meter throughout. Cross rhythms between piano and orchestra characterize several bars of each ritornelle; that is, the piano, in 3/8, is played against the orchestra, which, though also in 3/8, achieves the feel of 3/4 over a span of two measures. Hence, the over-all effect is 6/8 (3/8 for two measures) against 3/4, 151 and may be illustrated thus: The first meter change occurs at measure 427 where the energetic 3/8 gives way to 2/4 (Jk- I), this section remaining duple for fifty-six measures. The Presto coda is notated in 3/4, but where the 3/8 was marked J.= 92, the coda is marked A: 96; therefore, the change is almost imperceptible. Pervading the ritornelles and therein clearly estab- lishing a folksong association, syncopation, as illustrated above, is the most notable rhythmic feature in this move- ment. The episodes, though individual in character, con- tain no noteworthy rhythmic traits, their distinguishing features being attained by other means. Irregular meters, prevalent in the First Concerto and present to a lesser degree in the Second, are nowhere found in the Third. The temptation to exaggerate the significance of this as a feature of Bart6k's late style is mitigated by the fact that such signatures are found in both the Concerto £25 Orchestra and the giglg Concerto. Exactly the same may be said of tempo alterations, another 152 element much in evidence in the first two concertos, but absent in the Third. To be sure, rhythmic simplification had "set in" by the time the Third Concerto was finished, but certainly not to the total exclusion of these two stylistic features so typical of Bart6k's music. It is doubtful that he would ever have abandoned rhythmic irreg- ularities, since they are so intimately connected with-— indeed, presumably derived from——music of the peasants. Counterpoint Though imitative counterpoint still plays a large part in the polyphonic writing of the Third Concerto, it is not until the finale that the texture approaches the degree of complexity noted throughout the preceding one. In the Allegretto, there occur numerous instances of close-range imitation; the transition between first and second subjects (mm. 27-43) is riddled with it, as is the closing theme (mm. 62+). The first half of the deve10p- ment section, however, is surprisingly free of any kind of imitation, its texture being entirely homOphonic. At measure 92, just about mid-way through the development, the orchestra quickly takes up a fragment stated in the piano, and thereafter the procedure is more typical of Bart6k's developments. Fragments of first and second sub- jects are combined, inverted, imitated in stretto, etc., but since the development itself is brief, this process is rather short-lived. 153 The second movement opens with imitative string writing which borders on canon (Fig. 53). Fig. 53——Third Piano Concerto: Adagio religioso, ms 1‘4. qu Adm§°TttQ°l° Jztg //£J_ ‘7 ;;;--T_,:\\ PP \,,“g__,/ Pf ‘ -——/ Each succeeding statement is similarly treated. The "night music" section is full of short motivic fragments which are tossed about the orchestra and imitated in aug- mentation and diminution. At measure 79 (Fig. 54) the piano begins an impressionistic figuration which, con- tinuing for five bars, provides another example of the simultaneous inversion of an involute figure, a contrapuntal 154 feature often noted in the Second Concerto. The effect, in this instance, is purely coloristic, its contrapuntal sig- ficance slight. Fig. 54——Third Piano Concerto: Adagio religioso, m. 79. With the return of Section I, the orchestra is given the chorale, the canonic statements being replaced by brief cadenza-like flourishes by the piano. Accompanying this orchestral presentation of the chorale, the piano has two- part contrapuntal writing highly reminiscent of Bach's Inventions (Fig. 55). 9gig. 55——Third Piano Concerto: Adagio religioso, m. - 7e The movement ends with a reference to the initial canonic writing in the strings, confirmed and briefly imitated by the piano. 155 The two fugal episodes in the rondo have the most notable contrapuntal writing in the Concerto. The first episode (in four voices) is unusually conventional in form. The subject (Fig. 48, p. 141), itself classical in phrase-structure and based on C sharp, is given a tonal answer. A nine-bar episode based on the descending thirds of the subject leads to the third voice, which is stated by violins. The answer to this statement is accompanied by a contrapuntal associate which was first presented with the initial answer. Its presence here suggests the func- tion of a countersubject, which, in fact, it has been called by one analyst;24 but it never reappears, nor is it sufficiently contrasting with the subject to attract attention during its two brief statements; consequently, there are no grounds for considering it a countersubject. Another episode (fifteen bars) follows, leading to a single statement of the subject in F Mixolydian, which is immediately joined with the second exposition at measure 292. Here, each voice enters two measures apart in stretto, the first two inverted and the final two in direct statement. The final episode which follows is an inverted presentation of the second episode (cf. mm. 269+ and mm. 306+). This leads to a climactic recapitu- lation of the subject, first heard in unisons and octaves, 24See Vernon Husson Taylor, "Contrapuntal Techniques in the Music of Béla Bart6k" (unpublished Ph.D. disserta- tiorlahDept. of Music, Northwestern University, 1950), p. . ‘ 156 and subsequently fragmented in stretto, of which the imita- tions now occur one measure apart. Naver reaching a final cadence, the fugue, in a climactic build-up, joins with a shortened version of the ritornelle at measure 344. The second fugal episode is shorter and somewhat less traditional in form. Actually, it contains only four major statements of its subject, without intervening epi- sodes, and is thus more fugato than fggg, whereas the first episode attains the proportions and quality of a 2255 figs fugue. Its subject (Fig. 56) is stated on A flat, E, C, (plus stretto in free inversion on E flat), and B. Fig. 56-—Third Piano Concerto: Allegro vivace, mm. 427-435. We. 2’ The stretto presentation (mm. 443-451) is the most note- worthy section, its texture remaining admirably lucid throughout because of the widely separated voices. This movement's fugal writing cannot be considered fully characteristic of Bart6k's fugues in general. Whereas the mgggg opsrandi in these episodes-—certainly the first——is similar to Bach's fugal procedure, Bart6k's 157 other fugues bear a closer tie with Beethoven, especially in the types of subjects. Robin Hawthorne, noting this fact, writes: The subjects of the fugues from the Concerto for Orchestra, the fifth Quartet, and the Sonata for *Two Pianos and Percussion have Beethoven's way of be- ginning with big gestures and relapsing into long 'running'figures. Perhaps mos Beethovenish of all is the way i which Bart6k has enlarged the idea of fugue. It has been suggested that Bart6k's fugue subjects tend to grow organically after their first appearance. Bart6k has in this detail left the development of fugal form a stagefurther on than he found it. '. . . Beethoven brought the form upto date. That is what Bart6k has done.' Or anic growth of material, ‘as-Opposed to the dividing 0 'material into its con- stituent elements, is a recognizable symphonic proce- dure of thetwentieth century, and Bart6k has brought fugue into line with this procedure. . . In a sense, fugue has always been a form involving organic growth; the simplest and most primitive fugues had to grow from exposition to coda, or they were no fugues. But to this Bart6k has added the possibility of the same metamorphosis of the subject itself, rather than the presentation of the same subject in new lights.25 0 C There may be no evidence of such "organic growth" in either fugal episode of the rondo, but the writing itself, if traditional, indicates no lessening of the composer's contrapuntal skill.26 25Robin Hawthorne, "The Fugal Technique of Béla Bart6k," _T_h_e_ Music Review,x (November, 1949), pp. 284-285. 26Stevens, op. cit., p. 252. 158 Qrchestral and Piano Writing The scoring of the Third Concerto was almost complete when Bart6k died. Tibor Serly, the composer's pupil and friend, deciphered the last seventeen bars of the third movement which were left by the composer in a kind of musical shorthand; also, with the help of Eugene Ormandy, Louis Kentner, and Erwin Stein, Serly added certain markings that were deemed necessary to give a complete picture of 27 the work. The score's prefatory remarks also include the following information: Only a few expression marks and tempo indications, and no metronome marks were found in Bart6k's score. Had he lived on, there is no doubt that he wouldr‘ have edited the concerto as meticulously as was his habit. Bart6k's own indications are printed in the score in large type. The additions are in small type or in brackets: The initial tempo indications of the' lat and 2nd movements (Allegretto and Adagio Religioso) arerBartdk's but he wrote no tempo indications in the 3rd movement.23 The listed instrumentation calls for 2 Flutes, 2 Oboes, 2 Clarinets in A, 2 Bassoons, 4 Horns in F, 2 Trumpets in C, 3 Trombones, Tuba, Timpani, Percussion, and Strings;29 omitted in this list, but also required at various points within the score, are Piccolo, English Horn, B flat Clari- net, and Bass Clarinet. The Percussion consists of 27Prefatory remarks, Bela Bart6k, Concerto No. B‘fgg Piano g§g_grchestra (London: Boosey and HawEes,-T947). 28Lot. cit. 29Loc. cit. 159 Timpani, Xlephone, Triangle, Small Drum, Cymbals, Bass Drum, and Gong. The over-all orchestral texture, compared with that of the First and Second Concertos, is astonishingly light, in view of the sizable instrumentation, which is similar to that of the First Concerto (cf. p. 39). It is, of course, the treatment of the instruments that differs here. John weissmann, noting this, remarks: The lightness and transparency of the orchestra- tion is a conspicuous factor in this Concerto': . . Bart6k achieves this by exploiting the sonority-values 'of individual instruments, and the subtly balanced timbres resulting from the'blend of their inherent: 'tone'qualities:' hence the many passages of chamber- orchestra effects . . .30 ' This comment is particularly applicable to the many lyrical passages which are often diaphonous in texture, full instru- mental sections being rarely employed. The brass section, for example, seldom appears as a body; trombones are only heard in two measures throughout the first movement (mm. 144-5); the tuba is not used until the last movement. Contrasting with the extensive use of percussion in the earlier works, here the battery is sparsely employed: the gong is given two notes (mm. 128 and 132, Adagio religioso); the xlephone is used only in the episode of the second movement; the bass drum is confined to brief 3oJohn weissmann, "Bart6k's Piano Music," Béla Bart6k: _A Memorial Review (lbw York: Boosey and Hawkes, 195 , p. 75. 160 appearances in the last movement; and the other instruments, excepting timpani, though utilized throughout, are infre- quently heard. It should be noted that there is much doubling, espe- cially in first and third movements. Unlike the heavy percussive quality often obtained in the First Concerto by thick dissonant chords given to homogeneous groups of instru- ments, the lighter quality of the doubling in this work is achieved by a more delicate touch, wherein octaves and uni- sons, sometimes thirds and sixths, constitute the predominant duplication of intervals. It follows that individual instru- ments do not attain a high degree of soloistic importance, though the few solos that are heard appear in prominent places-—for example: the horn phrases which herald both beginning and end of the development section, first move- ment; the two-measure flute solo which recalls the first subject theme three bars before the end of the same move- ment; and the timpani solos in the rondo which connect ritornelles with episodes. Unusual instrumental effects, prevalent in the other piano concertos, are rarely encountered in this one. Aside from ordinary indications (pizzicato, Egg sordino, etc.), a few glissandi and pgngg d'arco directions——trademarks of Bart6k's string writing——are the most unusual markings in the strings. Most of these effects occur within the epi- sode of the Adagio religioso, a section which, with a 161 similar but shorter passage in the giglg Concerto (second movement, mm. 30-40), constitutes Bart6k's last evocations of the sounds of the night. Ranges are kept well within normal bounds. Most of the instrumental substitutions, contrasted with the fre- quency——bordering on preciositye—of such changes in earlier works, are required here because of range limitations.31 Finally, the Adagio religioso contains an enigma which, though perhaps not entirely within the province of this discussion, is worth mentioning. The string canonic writing which Opens this movement is accompanied in eleven of the fifteen measures by the B flat clarinet playing in the low register a phrase which, with its sustained whole notes but distinctive melodic quality, has the suspicious appearance of a cantus firmus. Investigation discloses, how- ever, that it bears no melodic relation either to the canonic phrases in the strings or to the chorale phrases in the; piano, and, furthermore, is never heard again. Surely there was some reasoning behind the inclusion of this line. It is possible that Bart6k had in mind the color value of this instrument in its low register, blending with the Violas; but if so, why limit its use to one appearance? Or there is this possibility: the second 31See, for example, Alle ro vivace, m. 176+, where the second oboe and second clarinet must change to English horn and bass clarinet, reapectively, for five measures, the notes/of whichlwould be unobtainable without sub- stituting instruments. 162 note (Small A, written Small B) is sustained through three measures of a G chord, thus briefly adding a mellow dis- sonance which could not be obtained by the strings due to the canon. But this dissonance is soon resolved into an E chord, and thereafter, the notes are harmonic with but one exception——a quarter-note passing tone; so it does not seem likely that its purpose is purely harmonic. Yet an- other possible explanation is that Bartdk may have initially intended to give this phrase additional significance in the movement, but as time grew shorter, he was forced to press on to the completion of the work, not taking time for the rather esoteric involvement such an inclusion would create. I can think of no other reason why this phrase was incorporated this one time within the string texture. Nor have I discovered any reference to it in any of the sources consulted during my research for this project. Such a digression may appear unduly lengthy and in- quisitive, especially since no conclusion is possible. However, Bart6k's purpose is usually so meticulously clear in matters of orchestration and instrumentation, no less than in thematic usage, that the slightest deviation always seems significant, the phenomenal "oneness" of the man's mind instinctively avoiding superfluity. Considering the ambiguous nature of this clarinet passage, I therefore have felt it worthy of comment. 163 The piano is no longer treated as a percussion in- strument in the Third Concerto. There are no passages which demand the martellato effect so often noted in the First Concerto, and even to some degree in the Second. The fiendish technical difficulties of the other works are re- placed here by more reasonable requirements which, though brilliant and still challenging to any pianist, are not formidable. If some of the writing in the First and Second Con- certos is unplayable by small hands, the Third offers no such problem, there being none of the chords in ninths and tenths which occur so often in the first two works. As observed earlier, Bart6k was not writing this Concerto for his own performance, but, quite probably, for his wife Ditta, whose pianistic gifts and limitations the composer would naturally have been aware of. It is not unlikely, then, that the Third Concerto, certainly no amateur's vehicle, offers a clear picture of Ditta Pasztory's pianis- tic prowess, an exceptional ability which is vouched for by Gyorgy Sandor.32 Probably the most prevalent type of writing is that immediately observed in the first subject of the Allegretto -—the duplication of a single line in both hands, in this 32Interview with Gyorgy Sandor, June 29, 1963. 164 instance, two octaves apart.33 In the recapitulation, the same technique is employed, but with double notes (predominantly fifths) given to each hand.34 This dupli- cation or doubling, also noted in the orchestration, con- tinues as the most obvious feature of the piano writing in the second subject, the development section, and reca- pitulation of the Allegretto; in the episode of the Adagio religioso; and in the ritornelles of the rondo. Many passages in octaves, usually without added notes -—still another kind of doubling—-occur in first and last movements. The transition between first and second sub- jects (Allegretto, mm. 27-43) is a typical example. Stag- gered octaves (i.e., octaves alternated between hands) appear in the closing theme, first movement, in the form of trills (mm. 62-63); in the last movement coda (mm. 705+), recalling a very similar passage in the final coda of Schumann's A 29:29.11 m Concerto; and in a chromatic as.- cent which ends the composition in a brilliant manner comparable to the final bars of Tschaikowsky's g Flat Minor Concerto. 33Except for the difference in thematic character, the beginning of this Concerto is very much like that of -Rachmaninoff's Third Piano Concerto. In both works the orchestra begins with a quiet accompanying figure, above which the piano states the first subject theme in octaves. 34Other examples of restatements in fifths (and sixths) will be found in the third part of the Marcia of the Sixth String Qfiartet° in the Concerto for Orchestra (Ele is)' an in t e Sonata for Solo Violin (Presto). The tec nique is another characteristic of Bart6k's "late" style. 165 There is an abundance of finger-work throughout the Concerto. Arpeggios, seldom found in either First or Second Concerto, are given a Brahmsian treatment in the development of the Allegretto (Fig. 57). Continuing for twelve measures, this figuration [which is unique in the piano concertos, and therefore not to be exaggerated in significance, though it certainly adds to the evidence of "conservatism" in this work] supplies the harmonic support for the development of the first subject heard above in doubled woodwinds. Fig. 57-—Third Piano Concerto: Allegretto, m. 76. fit. Other arpeggio figurations occur at mm. 109 and 111, first movement; mm. 70 and 122+, second movement; and in the coda of the third movement. This last citation deserves illus- tration in that it provides a very late example of Bart6k's ambivalent third scale degree, here incorporated into a decorative arpeggio figure and typically given to both hands an octave apart (Fig. 58, p. 166). 166 Fig. 58—-Third Piano Concerto: Allegro vivace, mm. 697-700. /" \ Scale passages and other similar figuration may be noted in the Allegretto, mm. 18, 66-68 (a G scale with B and B flat, exactly like the scale which ends the first movement of the Second Concerto); in the Aggggg religioso, mm. 79+ (see Fig. 54, p. 154), 93, 100, 109 (the cadenza- like cadential extensions referred to earlier); and in the Allegro vivace, mm. 428-451, 672-697. Special effects, rare in the orchestration, are prac- tically non-existent in the piano writing. Even more than in the Second Concerto, Bart6k relies on the piano for con- tent rather than for effect; that is to say, the piano assumes the dominant role in conveying the major ideas of 167 the work. As John Weissmann has put it, "Bart6k's most urgent concern was the clear expression of his last musical message."35 Harein undoubtedly lies the governing principle which is responsible for the refinement and avoidance of 08- tentation in the work as a whole. Form Synapsis: The Allegretto is a sonata-allegro form following the traditional scheme of exposition (first sub- ject; transition; contrasting second subject with two themes; closing theme; codetta), development, recapitu- lation (the material being restated in its initial order, and with the second subject in the tonic),and coda. The Adagio religioso is an episodic form of which the most noteworthy features are: (1) the antiphonal treatment in Section I, achieved by canonic string writing off-set by chorale-like homophony in the piano, and (2) the "night music" episode. A strict, "older" (not sonata-) rondo with two fugal episodes is the form employed in the Allegro vivace. The schematic outline, with letter A representing the ritornelle, is as follows: A B A C A Coda. 35John weissmann, o . cit., p. 70. 168 Allegretto: Sonata-allegro Form Mm. 1-74 (Exposition): Beginning with a gaggi- tremolo in second violins and violas accompanied by tim- pani,the introduction, if it deserves to be so called, lasts but a measure and a half; continuing thus, with gradually increasing orchestral forces, the undulation becomes a background for the first subject stated by the piano beginning in the last part of measure 2 (see Fig. 44a, p. 136). After seventeen bars, the theme is taken up by the orchestra for the following nine measures in which adumbrations of the second subject are also heard (mm. 21- 22). The transition (mm. 27-43) is almost entirely pre- sented by the piano, the orchestra punctuating the forceful double-note statements with a few fortissimo chords, and the strings assuming a purely accompanimental function a bit later. Three bars of octaves heard in canonic imita- tion with the answering voice inverted lead to the final sequences of the transition, where a descending.Chromatic figuration in the piano (over an E flat pedal in cellos and basses) glides smoothly and without interruption to the second subject. 1 Containing two themes, which I shall label II and 112 , this subject (mm. 44-61) presents a typical contrast with the rather martial vigor of the first subject. Its first theme (Fig. 59, p. 169), marked grazioso by the 169 editors, is more typical of Bart6k's earlier themes or motives than an initial glance might suggest. Notwith- standing the flourishes in thirty-seconds, the primary notes of the motive lie within a very close range and revolve about a repeated note. Fig. 59—-Third Piano Concerto: Allegretto, mm. 44-45. 2 After the orchestra has repeated this idea, II is pre- sented (Fig. 45, p. 138). Again, with little activity in the orchestra, the piano is given priority in this statement which, within nine measures, merges with the closing theme (Fig. 52b, p. 148). This rising and falling motive, having 170 a triadic basis plus repeated notes and trills, may be con- sidered derived from both transition (ascending motion plus repeated notes and skip of a third) and II2 (triads and trills). Its often-encountered melodic outline has been 2 in referred to earlier. Intimately associated with II the reSpects mentioned above, this theme is extended into a codetta (Fig. 60) which ingeniously combines the gestalt of previous thematic elements-—name1y: the descending chromatic figuration noted in the final bars of the tran- sition, and the rhythm and basic intervals of 112. Fig. 60—-Third Piano Concerto: Allegretto, mm. 68- 9. The final bars of this codetta, one of Bart6k's most pleasing inSpirations, is illustrated in Figure 61 (p. 171). Like similar instances noted in the earlier works, the music at this point reflects both the material immediately 171 preceding (the thirds of II2 and the closing theme), and following (the development of the first subject). Fig. 61-Third Piano Concerto: Alle retto, mm. 72- 4. {n4 Hrn M; can ”VJ. f Mm. 75-117 (Development): The arpeggios illustrated in Figure 57 begin the development. In the next bar, the first subject is stated by woodwinds in a transformation which has been discussed earlier (Fig. 44b, p. 137). At bar 87 the piano takes up the theme, subjecting it to fur- ther alterations which climax at bar 96 with a £2523 reference to II1 now stripped of unessentials. Three 2 bars later, II enters the development and is subsequently 172 combined with a fragment of the first subject in a build-up to the recapitulation. The final bars of this section con- tain an impressive statement by horns of the closing theme motive in augmentation, first inverted and than direct (mm. 110-113). Mm. 118-187 (Recapitulation and coda): Trills in second violins, having started eight bars before, even- tually settle on F double-sharp and C sharp in another subtle suggestion of the "ambivalent" third scale-degree. This trill replaces the tremolo which previously supported the initial statement of the first subject; it recalls the similar connecting device employed in the Viglg Concerto.36 The first subject is rewritten in double notes (fifths) which create simultaneous inversions at first (Fig. 62), but is exactly the same length as it was in the exposition. Fig. 62——Third Piano Concerto: Allegretto, mm. 118-120. ~ 36See Viola Concerto, first movement, mm. 79-80. In this instance the tri eads into the deve10pment section and is played by the solo instrument. 173 There are, of course, several changes-—Bart6k could never have brought himself to the literal repetition of a section ——but they are primarily matters of rescoring; no new material of note is introduced. The orchestral repeat of the first subject, in G before, is now transposed to C, leading, as before, to the transition. Shortened to nine measures (as compared with seventeen in the exposition), the transition begins with the canonic octaves (cf. mm. 37-39) now given a descending pattern, rather than the ascending pattern of the exposition; this creates the ef- fect of an inverted transition. The following chromatic figuration, also freely inverted, leads again to Ill. The entire second subject is transposed,in the classical manner, to the tonic E, is shortened by two measures, and is rescored. At the beginning of II1 (m. 154), string glis- sandos are heard for the first time in this Concerto. 112 attains an even more capricious quality due to its re- writing. Its octave displacements (i.e., the thirds that now are tenths) continue up to the closing theme, stated here by the orchestra in a stretto pile-up of the initial motive (m. 170). At measure 175 the piano re-enters with the codetta material (see Fig. 61, p. 171) which, having assumed the octave displacements of I12 , is extended into a coda of thirteen.bars. The pianissimo ending, with the solo flute reference to the first subject followed by an 174 echo in the piano of the alternating thirds of the codetta, is an exquisite retrospective moment; it also masterfully adjusts the mood for the coming Adagio religioso. Adagio religioso: Episodic Form Mm. 1-57 (Section I): This section embodies an antiphonal treatment of two elements: (1) strings playing pianissimo in writing which borders on canon, and (2) cho- rale-like chordal statements by the piano. Thus, contrast is sharply established not only in timbre or color, but also in texture, the one sonorous body being polyphonic, the other homOphonic.37 The initial statement by strings is the longestw—fifteen bars; all other statements appear to function as extensions of the final chord of each chorale phrase. There are five such phrases (see Fig. 46, p. 139): the first three are five measures in length, the fourth is nine measures, and the last is seven. The emo- tional and structural climax of the group occurs at the beginning of the fifth phrase, which momentarily departs from the pervading calm of this section. Its moving out- burst, though short-lived, perhaps reveals the inward agony which Bart6k must have felt at this time; and though, 37Chorale-like homophony appeari in the Concerto for Orchestra (second movement, mm. 12 -164) also provides Effiking contrast as an episode in the humorous Giuoco delle coppi . 175 like Mozart, he was not one to "wear his heart on his sleeve," there are moments in his music when emotion is not consciously withheld. Mm. 58-88 (Episode): This section, the most fully developed example of the "night music" idiom in the three concertos, incorporates actual bird-calls which Bart6k had notated in Asheville, North Carolina when he was vacationing there in 1944.38 Stevens suggests, with good reason, that this appearance of the idiom-—the progenitor of which is found in the suite Out pf Doors in a movement dedicated to Ditta Pasztory and entitled "Musiques nocturnes"—-is a subtle confirmation of the composer's presumed intention to write the Concerto for his wife.39 Built on the inter- vallic elements of the bird-calls (Fig. 63), the structure of this section appears to be free, but closer examination discloses a simple ternary form: A A' B A". 6Figé 63——Third Piano Concerto: Adagio religioso, m. 0- e O 38Stevens, op. cit,, p. 251. 39Ibid., p. 251. 176 Part A (mm. 58-71) consists of two statements of the four- measure motive shown in Figure 63 plus a four-measure extension of its Aymajor sixth-chord harmony; A' (mm. 72- 78) finds the same material repeated, but now with only one statement of the motive, the first two figures of which appear direct (piccolo and oboe), and augmented in eighth-notes (cellos and violas) and quarters (piano). Part B (mm. 79-83). beginning with the involute figures in the piano (see Fig. 54, p. 154), with references above in woodwinds to various elements of Part A, builds to a shimmering climax in bar 83. At 84, there is a forth- right but abbreviated return to the motive of A.which con- stitutes A". This, then, leads smoothly to the return of Section I. Often misunderstood from the standpoint of structure and purpose, these impressionistic sections contain some of Bart6k's most enchanting inspirations and reveal an influence of Debussy and Ravel from which Bart6k 40 was never completely free. Tibor Serly has commented on Bart6k's fascination with the nocturnal atmosphere of the Hungarian plain which inspired in the composer a devotional 41 feeling. The music of this movement clearly arises from __1 TH 4oSee Sandor Veress's illuminating article, "Bluebeard's Castle," Béla Bart6k: A Memorial Review __(New York: Boosey and Hawkes, 1950), pp. 41-42, where he discusses the Debussy influence, 41Mentioned by Mosco Garner, 0 . cit., p. 346. 177 such a psychological association. Quoted here partially as an example of the quality of critical writing Bart6k's works have been subjected to, and also to show that fre- quently no attempt is made to understand the music, the following is a comment on this episode made by a writer for the Musical Iimgg: As a middle section the composer chooses to send‘ *us a cloud of gnats and fireflies. we ask why insects should be allowed to interfere with a church service, and the answer comes pat: 'why not?'42 Mm. 89-137 (Return of Section I): The fifteen bars of canonic string writing are omitted at the return of Section I which finds the chorale now entrusted to wood- winds. Underlying each phrase, the piano is given Bachian two-part counterpoint (illustrated previously in Fig. 55, p. 154) which culminates in quiet cadenza-like flourishes replacing the orchestral cadential extensions noted earlier. The phrase-lengths remain the same except for the last, which, originally seven bars, is extended to thirteen bars, its expressive climax being taken overby strings in their first appearance in this final section. The last four bars find the strings returning to their canonic writing with the piano briefly confirming this idea, and at the same time curiously suggesting the ending 42W. McNaught, 0p. cit., p. 229. 178 of the first movement by means of alternating thirds (Fig. 64). Fig. 64P-Third Piano Concerto: Adagio reli 1050, m. 135‘1370 Allegro vivace: Rondo Form Mm. 138-227 (Introduction and ritornelle):43 An attacca, Bart6k's marking, joins the second and third move- ments without pause. A three-measure ascending arpeggio in the piano bursts upon the tranquil atmOSphere of the Adagio religioso and leads as a brief introduction to the ritornelle theme. This theme, in pgmpp-giusto character (see Fig. 47, p. 140), is stated forte by the piano, the full string accompaniment further enhancing its vigorous syncopation with accented cross-rhythms. The regular phrase-structure has been mentioned before. At bar 160, a variant of the ritornelle theme overlaps the final measure of the initial statement and leads by way of a link to the codetta. This link, part of which is 43Measure numbers in the score continue from the preceding movement rather than beginning again with l. 179 illustrated in Figure 51, p. 147, contains the only instance of extended parallel seconds in the Concerto. They are de- rived from the ritornelle of which the third phrase contains repeated seconds doubled in both hands in the piano part. The closing section, or codetta (mm. 191-227) retains the rhythm of the ritornelle. Its character is marked by fortissimo chords and octaves in the piano, stated antiph- onally, with equally forceful outbursts in the orchestra. The whole section revolves about E as the tonal center, and in measure 203 an E pedal, which extends to the first epi- sode, confirms this tonality. Another link——a timpani solo on E—-connects the ritornelle with the following episode. Mm. 228-343 (Episode I): The four-voice fugue which constitutes this episode has been discussed elsewhere (see p. 155). Mm. 344-391 (Ritornelle): As mentioned before, the fugue joins with an altered and truncated statement of the ritornelle. The chief features of the latter are instantly recognizable, however, and after twenty measures, the codetta reappears with practically no changes. Again the timpani link is heard, but now shortened from fifteen to ten measures. Mm. 392-526 (Episode II): This section is in three parts, the first of which is concerned solely with the 180 following theme: Fig. 65——Third Piano Concerto: Allegro vivace, mm. 392-396. Lasting through bar 426 (thirty-five bars), this section finds its theme and counterpoint subjected to various imita- tive devices, predicting in texture the arrival of Part 2, a fugato section. 'The subject of Part 2 is derived from the closing measures of Part 1 (mm. 420+); thus, a close relationship exists between sections of this episode. However, the change in tempo (from 3/8 to 2/4), in addition to the fugal development of a new subject (though derived) gives Part 2 the quality of an episode. Hence, we have an epi- sode within an episode——yet another of Bart6k's structural manipulations. The form of this Part 2 has been discussed on p.156, its theme illustrated in Figure 56, p. 156. The return of Part 1 occurs at measure 473, its par- ticipants having exchanged roles; that is, the scale theme is given first to horns and later to full orchestra, while 181 the piano continues throughout with the contrapuntal accom- paniment. At measure 497, this recasting of Part 1 breaks off and becomes a link back to the ritornelle. Mm. 527-643 (Final ritornelle): This statement, more extended than all others, is a tppg‘gg £2323 in matters of rewriting, rescoring and juggling of phrases. There is certainly no evidence of the urgency Bart6k must have felt during the composition of these last measures; on the con- trary, his unyielding wealth of imagination is particularly manifest in the various ways he avoids monotony in the frequently repeated statements of the ritornelle theme which make up this final section. The link to the codetta is eventually latched on to, leading, as before, in a climactic build-up to the closing section. This time, how- ever, the build-up is broken off by a two-measure grand pause at measure 643, after which, in place of the codetta, the Presto coda begins. Mm. 644-768 (Coda): As explained earlier, the tempo does not vary greatly, the quarter-notes of the 3/4 being only slightly faster than the eighths of the preceding 3/8. The first seventy-six measures of the coda bear only the most tenuous connection to previous material, and are un- questionably the most chromatic section in the Concerto. The piano is given a chromatic series of chords, most of which are major or minor in structure. These are encased in a murmuring accompaniment of eighth-notes given to 182 strings and woodwinds. The structure of these chordal phrases is almost exactly that of the ritornelle phrases, and thereby suggests the most obvious connection with pre- ceding material. Scale passages at bars 651 and 657+ recall similar passages given to the piano in the second fugal episode. Also, at bar 674+ the melodic outline of the closing theme of the Allegretto is stated and repeated, but this figure, almost a cliché in late Bart6k, most likely was not intended as a reference to that theme. The piano, at bar 673, drops the sequential chord pattern and takes up a running figure in eighths which eventually settles into the arpeggio figure containing both major and minor thirds illustrated in Figure 58, p. 166. These arpeg- gios, plus the staggered octaves which follow, are reminis- cent of similar figuration employed in the coda of the finale in Schumann's _A Ming; _P_i_a_np Concerto. At bar 721 the meter changes to 3/8 and once again the material of the codetta appears, its elements expanded to include fragmented references to the ritornelle (mm. 741+). A series of Mixolydian cadences, first taken up by the piano beginning at measure 752, is reiterated by the orchestra and extended to the final bar. Through this texture the piano is given a sweeping chromatic octave passage which traverses the keyboard, ending on octave E's in the high register (Fig. 66, p. 183). 183 Fig. 66——Third Piano Concerto: Allegro vivace, mm. 764-768. 184 With the manuscript unavailable for comparison with the published score, it is not possible to ascertain just hoW’much of the final seventeen measures is Bart6k and how much is Serly. Whoever is responsible, probably the both of them, this sky-rocket ending is matched in brilliance by few concertos in piano literature. CHAPTER IV CONCLUSION The preceding chapters have dealt with the three concertos individually in an effort to examine in detail numerous features such as over-all character, melodic writing, harmonic idiom, etc., each chapter ending with a formal analysis. Further discussion would seem un- necessary, even superfluous. It may be of value, how- ever, to take a final, brief look at the works collectively, and to sketch the stylistic development which is so clearly embodied in them. Nbrman Demuth, considering a study of this develOpment in Bart6k's career enlight- ening, has stated: There is no more instructive lesson to be learned in how a com oser can, over a stretch of time, move from strengt to strength and ultimately to refine- ment of thought and expression than through a study of the three £1229 Concertos. It is widely acknowledged that the String Quartets are as completely representative of Bart6k's development as any other homogeneous body of his works. Indeed, they span his entire career in a manner curiously analogous to an 1Norman Demuth, Musical Trends in the Twentieth - Centugy (London: SalIsBury Square, 195277'pp. 271-272. 185 186 arch (the architectonic form that he so frequently adapted to his music), the keystone of which would be the Third and Fourth Quartets. These works represent his furthest departure from tonality, and his use of the harshest dissonance. The Quartets leading up to the key- stone——the First and Second——are balanced by those leading away from it_.the Fifth and Sixth. Where, then, do the piano concertos enter the picture? Being only partly representative of their composer's development, they would form only half an arch—-to force the analogy ——the First Concerto corresponding in position with the Third and Fourth Quartets, the Second and Third Concertos with the Fifth and Sixth Quartets. It is thus seen that the First Concerto appears rather late on the scene, not during an experimental period, but at a time when Bart6k was carrying a stylistic idiom to its maturation. All the features discussed in Chapter I corroborate this fact. The acrid dissonances, fragmented melodies, and percussive orchestral and piano writing represent, along with numerous other qualities, the zenith——and, at once, the dead end——of this idiom, further extension of which would have resulted in chaos. Instinctively opposed to anything approaching anarchy, Bart6k changed his direction, as he had once before when uncomfortably laboring under Straussian influence, and set out gradually on the pathway toward the Third Concerto. 187 The works which follow the First Concerto, though appre- ciably different in approach, nevertheless could not have existed without the preparation afforded by the fulfillment of this earlier style. (Bart6k was to carry another idiom to fruition and then retreat from it in much the same manner: the Sonata £25 239 Pianos gag Percussion, the last work in which these instrumental sonorities are ex- ploited, was anticipated and prepared for in the First and Second Concertos, especially their slow movements.) The Second Concerto, then, being closer in chronology to the First than the Third, is one of the earliest efforts in this change of direction. It was noted that numerous characteristics of the earlier concerto remain in its successor, but the new style is clearly discernible; its elements, in fact, have been prOpounded by the composer himself.2 The Third Concerto marks the final destination of Bart6k's career as well as the culmination of the new style. The important features which pervaded his entire career are still present in this work——the folksong associations, motivic interpenetration, contrapuntal writing, "night music" effects, Dionysian rhythms, etc.-—though they are refined to an essence which, with its immediate appeal, is undoubtedly responsible in large measure for the work's 2See Chapter II, p. 71. 188 greater pOpularity. Hence, the progress was indeed "from strength to strength and ultimately to refinement of thought." 4 Some Bart6k scholars have quibbled over which of the three works is the greatest. Objective inquiry has shown that each work is characteristic of the composer at different periods of his stylistic evolution, that all three concertos bear the unmistakable stamp of his genius. Is it possible, therefore, to select the greatest work from a choice of three such exceedingly representative composi- tions? Who could choose, for example, between Beethoven's Sonatas, Opera 13, 57, and 111, knowing the periods in the composer's career represented therein? The effort to do so is pointless. What is far more important is to evaluate the works with an historical ear, as J. A. Westrup has so perceptively suggested, to consider them within the context of their reapective periods.3 When this is accom- plished it becomes obvious that every masterpiece of what- ever musical epoch must be evaluated on its own terms in relation to the position it occupies within the stylistic develOpment of a composer's total output. One cannot ob- jectively choose one of these works above the others. Had they been written all within a few’months' time, rather than over a span of almost twenty years, such a choice might be possible. 3 J. A. Westrup An Introduction1 to Musical Histor (London: Hutchinson and Co., EE3.,1, p. fl527_"42 189 It has been the purpose of this study to probe as deeply into the works under discussion as a general analy- tical inquiry will allow. But the real proof of any musical masterpiece is in the listening; the ear will often tell us more than the eye. That these works, especially the First and Second Concertos, demand repeated listenings cannot be over-emphasized. Each hearing unveils some- thing new, something previously overlooked. It is perhaps this one qualityh—typical of all of Bart6k's major works ——that makes these concertos eminently worthy of their composer's genius, and of a permanent place in the roll of great piano literature. BIBLIOGRAPHY Music Bart6k, Bela. I. Konzert ffir Klavier und Orchester. New York: Boosey and Hawkes, Inc., 1954. II. Konzert ffir Klavier und Orchester. Wien: Universal—Edition, 1932. Piano Concerto No. 3. New York: Boosey and Hawkes, Etd., 1947.— ’ . Rapszddig. Budapest: ZenemGkiadd Véllalat, 1954. Books Abraham, Gerald. This Modern Music. New York: W. W. Norton and Co., 1952. An Anthology of Musical Criticism. Compiled by Norman Demuth. London: \ Eyre and Spottiswoode, 1947. Apel, Willi. Masters of the Re board. Cambridge: Harvard Univer si—y Press, 1958. Bagar, Rebert, and Biancolli, Louis. The Concert Com anion: A Comprehensive Guide to Symphonic Music. New York Whittlesey House, 1947. Bart6k, Béla. Hungarian Folk Music. Trans. M. D. Ca vocoressi. London: Humphrey Milford, I931. Bart6k, Sa Vie et Son Oeuvre. Published under the fEEECtlon ofB Bence SzabOlcsi. Budapest: Corvina, Bauer Marion. Twentieth Centur' Music. New York: ’ G. P. Putnam's Sons, 1933. 'Béla Bart6k: A Memorial Review. New York: Boosey and Hawkes, l . ' 'Blom, Eric. Stepchildrenlgf Music. New York: The Dial Press, . ’ 190 191 Collaer, Paul. Histor of Modern Music. Trans. Sally Abeles. New York: _Grosset and Dunlap, 1961. C0pland Aaron. Co land on Music. Garden City: Doubleday and 50., I960. . Our New Music. New York: McGraw Hill Book 50., 1941. Culshaw, John. .322 Concerto. New York: Chanticleer Press, 1949. ~ Demuth, Norman. Musical Trends in the Twentieth Centugz. London: SalisBury Square, i952. , Ewen, David (ed.). The Book of Modern Composers. New York: Alfred A. Kn0pf, T950. . The Com lete Book of Twentieth Centu Music. Englewood s: Prentide-fiaii, i965. . Twentieth Centu Composers. New York: Thomas Y. Croweli, I937. Fassett, Agatha. The Naked Face pg Genius. Cambridge: The Riverside Press, [953. Ferguson, Donald N. Masterworks of the Orchestral Repertoire. Minneapolis: THE University of Minnesota Press, 1954. Graf, Max. Modern Music. New York: Philosophical Library, Gray Cecil. A Surve of Contemporary Music. London: ’ Humphrey Miiford , T927. Grove's Dictionagy'gf Music and Musicians. 5th ed., Vol. I. ite y Er c Blom. New Ydrk: St. Martin's Press, Inc., 1959. Haraszti, Emil. Béla Bart6k. Translated by the author in collaboration fiitfi Dorothy Swainson.. Paris: The Lyrebird Press, 1938. Hartog, Howard (ed.). Euro ean Music in the Twentieth Centugy. New York: Frederick AC‘Praeger, i957. Heinsheimer, Hans W. Fanfare for Two Pigeon . Garden City: Doubleday and 60., i952. 192 Hill, Ralph (ed. ). The Concerto. Baltimore: Penguin Books, 1952. Hodeir, Andre. Since Debuss AView of Contempora Music. Trm ms. NoeI Burch. uN Yoik: Grove ress, Howard, John Tasher, and Lyons, James. Modern Music. New York: Thomas Y. Crowell Co., 1957. Krenek, Ernst. Music Here and Now. New York: W. W. Norton Machlis, Joseph. Introduction to Contemporary Music. New York: W. W. Ndrton and Co.,1.961 Mellers, Wilfred. Romanticism $5 the Twentieth Century. Fair Lawn, New Jersey: Esseniial Books, I9 . . Studies in Contem orar Music. London: Dennis fioBson,—Ctd., i957. Moreux, Serge. Béla Bart6k. Trans. G. S. Fraser and Erik de Mauny. Eondon: The Harvill Press, 1953. Myers, Rollo H. Music in the Modern W0r1d. London: Edward Arnold and C5'., I939. (ed.). Music Today. London: Dennis Dobson "”"EE3., 1949. ’ Newman, Ernest. More Essa s from the World of Music. London: John Cal lder, I9T Reti, Rudolph. The Thematic Process in Music. New York: The MacMillan —Co., Igsi. Rosenfeld, Paul. Discoveries of a Music Critic. New York: Harcourt, Brace and C0., I936. Salazar, Adolfo. Music in Our Time. Trans. Isabel P0pe. New York: W. W. Norton and Co., 1946 Saminsky, Lazare. Music pf Our Day. New York: Thomas Y. Crowell Co., 1932. Searle, Humphrey. Twentieth Centur Counterpoint. New York: John de Graff,‘l9 Slonimsky, Nicholas. Music Since 1900. New York: Coleman-Ross Co., I949. 193 Stevens, Halsey. The Life and Music of Béla Bart6k. New York: Oxford—university Press, I953. Swan, Alfred J. Music 1900-1930. New York: W. W. Norton and Co., 1929. Thompson, Oscar (ed.). Great Modern Composers. New York: The World Publishing Co., I943. '(ed.). The International C clo dia 2;.Music and Musicians. New or : , ea an 0., 1939. 'Thompson Virgil. The Art of Judging Music. New York- Alfred A. Knoprj‘19Z8;"' "“" ’ 'Veinus, Abraham. The Concerto. (Garden City: Doubleday, Doran and Co., I944. 'Westrup, J. A. ‘Ag Introduction to Musical Histogy. London: Hutchinson and Co., 556., 1935. Articles Abraham, Gerald. "The Bart6k of the Quartets," Music and -Letters, XXVI (October, 1945), pp. 185-194. Austin, William. "Bart6k's Concerto for Orchestra," The Music Review, XVIII (February, 1957), pp. 21-47. Babbitt, Milton. "The String Quartets of Bart6k " The Musical Quarterly, XXXV (July, 1949), pp. 3774336. Balogh Brno. "Bart6k's Last Years " Tempo No. 36 (Summer, 1955), pp. 12-16. ’ ’ Bart6k, Béla. "Hungarian Peasant Music," The Musical _guarterly, XIX (July, 1933), p. 270. ' . "The Influence of Peasant Music on Modern Music," . _LIemO, NO. 14 (Winter, 1949-50), pp. 20-22, "The Bart6k Revival," Time, XLVII, Part 1 (March 18, 1946), pp. 49-50. "Bart6k's Stepchild," Time, LXXV, Part 2 (March 7, 1960), p. 79. "Birthday6in Budapest," Time, LII, Part 1 (July 19, 1948), p. . "Bluebeardaig Dallas," Time, LIV, Part 2 (January 17, 1949), pp- 5 - 0. Browne. A. G. "Béla Bart6k " Music‘ggg Letters, XII (January, 1931), pp. 3 -43T"' """" 194 Bull, Storm. "The Piano Music of Béla Bart6k," Repertoire, I, No. 1 (October, 1951), pp. 1-5; No. 2 (November, 1951), pp. 70-75; No. 3 (January, 1952), pp. 133-137. Carner, Mosco. "Bart6k's Viola Concerto ".Ihg Musical Times, xc1 (August, 1950), pp. 301-303. '_"""" . "Bela Bart6k," The Concerto, ed. Ralph Hill, Baltimore: Penguin Books, 1952, pp. 3274356. . "Problems of Modern Harmonic Evolution," Music and Letters, XXII (April, 1941), pp. 123-134. . "The Promenade Concerts," The Musical Times, XCI (October, 1950), p. 399. Collins, Adrian. "Bart6k, Schoenberg, and Some Songs," Music and Letters, X (April, 1929), pp. 177-181. "Concerto No. II for Piano and Orchestra," New York Philharmonic Orchestrg Program Notes, (March 31, 1951). Cowell, Henry. "Reviews of Records," The Musical Quarterly, XLI (April, 1955), pp. 261-262. "Dead Man's Diamond," Time, LIV, Part 2 (December 12, 1949), pp. 78-800 de Menasce, Jacques. "Berg and Bart6k," Modern Music, XXI (January/February, 1944), pp. 75:3IT_— . "The Classicism of Béla Bart6k," Modern Music, 7 XXIII (Spring, 1946), pp. 83-88. Elston, Arnold. "Some Rhythmic Practices in Contemporary Music," The Musical Quarterly, XLII (July, 195 ), pp. 3184329. Eyer, Ronald. "Bart6k Anniversary Observed by Columbia Uniggrsity," Musical America, LXXV (October, 1955), p. . Farjeon, Harry. "Modern Harmonic Analysis," The Musical Times, LXXIV (January, 1933), pp. 19-23; (February, 1933), pp. 118-121. Foldes, Andor8 "Bela Bart6k," Tempo, No. 43 (Spring, 1957), Pp. 22'2 o . "Letters to the Editor " 335 Listener, LXII (OEtober 1, 1959), pp. 533-534. 195 Combosi, Otto. "Béla Bart6k," The Musical Quarterly, xxxu (January, 1946), pp.'T31 . Haraszti, Emil. "Franz Liszt——Author Deepite Himself," The Musical Quarterly, XXXIII (October, 1947), PP- ’ Hawthorne, Robin. "The Fugal Technique of Béla Bart6k," ‘23; Music Review, X (November, 1949), pp. 277-285. Helm, Everett, "Liszt and Bart6k," Musical America, LXXXI (December, 1961), pp. 24-25. . . "The Music of Béla Bart6k," Euro ean Music in Efie Twentieth Century, ed. Howard Hartog, New YofE? 'FFEderick A. Praeger, 1957, pp. 11-39. ’ Herbage, Julian, "Bart6k's Violin Concerto," 133 Music Review, VI (May, 1945), pp. 85-88. Hughes Allen. "Bart6k in Stereo " The Saturda Review xiu, Part 1 (April 25, 19595, E'SF—l. """""" Hussey, Dyneley. "The Musician's Gramaghone," The Musical Times, XCIX (October, 1958), p. 54 . Jemnitz Alexander. "Béla Bart6k " The Musical Quarterly xn’c (July, 1933), pp. 260—2625. "‘- """"'"" ’ Kerr, R” M. "From Romanticism to Expressionism and Beyond " The Musical Courier, CXLII (October 15, 1950), pp. 6-7. Lang Paul H. "Editorial " The Musical anrterly XXXII ’(January, 1946), pp: 1313135. ’ . "Editorial " The Musical uarterl XLIV (October, 1958), ’ppfiOT-TSIUT— L—J, Leichtentritt, Hugo. "On the Art of Béla Bart6k," Modern Music, VI (April, 1929), pp. 3-11. Mason, Colin. "Bart6k and Folksong," Music Review, XI (November, 1950), pp. 292-302. . "Bart6k and the Piano Concerto,"lggg Listener, [XII (September 10, 1959), p. 412. (trans.). "Bart6k on Liszt," Monthl Musical Record EXXVIgg Eggptember, 1948), pp. 185-183; (UchEer, PP- ‘ 0 196 Mason, Colin. "Bart6k's Rhapsodies " Music and Letters, XXX (January, 1949), pp. 26-36. . "Bela Bart6k," Grove's Dictiona of Music and Musicians, 5th ed., Vol. I e y'Eric ElomT_New , e YorE: St. Martin's Press, 1959, pp. 463-476. McNaught, w. "Bart6k's Third Piano Concerto," The Musical Times, XCI (June, 1950), p. 229. "Neglected goigs," Modern Music, XXIII (Winter, 1946), PP- ' . "New'Music " Monthl Musical Record LXXIX (NOvember 19491 p. 245. ’ ’ "Partisans on the Podium," Time, LIII, Part 2 (April 25, 1949), p. 65. Persichetti, Vincent. "Philadel hia Honors Bart6k," Modern Music, XXIII (Spring, 194 ), pp. 126-128. Pleasants, Henry and Serly, Tibor. "Bart6k's Historic Contfgbu§:on," Modern Music, XVII (March/April, 1940), pp- - 0- Pollatssk, Laszlo. "B‘la Bart6k and His Work: On the Occasion of His Piftieth Birthday," The Musical Times, LXXIggngéy l, 1931), pp. 600-60 ; (IEEusE I, I93I), PP. - . "Propaganda vs. Facts: Communists Falsify Bart6k's Life in America " Musical America, LXXV (October, 1955), p. 8. (This Is a condensation of an article prepared by the editors of News From Behind the Iron Curtain, published by the Free Europe CommitEEE.) Raymor, Henry. "Hindemith, walton, Bart6k Holsté" The Musical Times, XCVII (January, 1956 , pp. 7-387 "Reviews °§2%“31°:".IE£ Music Review, XI (November, 1950), p. . Saminsky, Lazare, "Bela Bart6k and the Graphic Current in Music," The Musical Quarterly, X (July, 1924), pp. 400-167;."— Seiber, Matyas. "Bart6k and His String Quartets," The Listener, LIV (November 10, 1955), p. 817. . "Béla Bart6k's Chamber Music," Tempo, No. 13 '——_———_(Autumn, 1949), p. 31. "Serkin Soloist in Bart6k Concerto No. 1," Musical America, LXXX (April, 1960), p. 23. 197 Smith, George Henry Lovett. "Bart6k's Latest," Modern Music, XX (March/April, 1943), pp. 195-196. Stevens, Denis w. "Bart6k: Second Piano Concerto," Music Survey, II, No. 2 (Autumn, 1949), p. 103. Straus, Henrietta. "Music," The Nation, CXXVI (March 7, 1928), p. 275. Suchoff, Benjamin. "A History of Béla Bart6k's Mikrokosmos," Journal.g£ Research in Music Education, VII (November 2, 3 PP. ISS'Igz. 'Szollo y, Andras. "Bibliographie des Oeuvres Musicales et crits Musicologiques de Béla Bart6k," Bart6k, Sa Vie et Son Oeuvre. Published under the direcEIoh df'Bence SEanIcsi (Budapest: Corvina, 1956), p. 307. Thyne, Stuart. "Bart6k's Improvisations," Music and Letters, XXXI (January, 1950), pp. 30—45. ' ‘ Trimble, Lester. "Music," The Nation, CXC (April 2, 1960), pp. 303-3040 Veress, Sandor. "Bluebeard's Castle," Béla Bart6k: '§.Memorial Review. 'New York: Boosey and HawEes, I955, pp. 3 - . "Vintage Scherzo," Time, LXXXI, Part 2 (March 8, 1963), p. 46. Weissmann, John. "Bart6k's Piano Music," Béla Bart6k: ‘A.Memoria1 Review. New York: Boosey and HafiEes, 1950, PP- 66'71- . "Notes Concerning Bart6k's Solo Vocal Music," Tem o, No. 36 (Summer, 1955), pp. 16-26; No. 38 (Winter, {955-56), pp. 14-20; No. 40 (Summer, 1956), pp. 18-23. Whitaker, Frank. "A Visit to Béla Bart6k," The Musical Times, va11 (March 1, 1926), pp. 220-2727 """"""" Newspaper Articles The New York Times: "New Musiz gt Frankfurt," by Olin Downes. July 24, 1927, VII- : o "Bart6k Makes Debut," December 18, 1927, IX-8:7. "Bart6k, Composer, Here," December 19, 1927, 30:3. "Music," by Olin Downes. December 23, 1927, 16:2. 198 "Bart6k's Musical Theories," May 19, 1929, IX-9:6. "Concert and Opera," April 10, 1938, X-723. "Béla Bart6k WOrk in Premiere Here," by Noel Straus. November 4, 1940, 23:1. "The Art of the Hungarian Composer Bart6k," by Otto Gombosi. may 5, 1940, X'7:30 "Reiner Conducts Haydn Sym hony " by Olin Downes. January 22, 1943, 24:1. ’ "Budapest Elects Exiles," April 28, 1945, 6:4. "Bartgk'z Testament," by Olin Downes. October 14, 1945. "Letters on Bart6k," October 21, 1945, II-4:5. "Ormand Offers Bart6k Concerto," by Howard Taubman. Fe ruary 27, 1946, 20:2. "Bart6k'g zinal Years," by Noel Straus. April 7, 1946, II- : 0 "Concert Features Bart6k Selection," by R. P. November 4, 1947, 33:3. "Bart6k's Quartets," by Bernard Wagenaar. February 27, 1949, 11-7:70 "Story of a Concerto Bart6k's Last Work," by Tibor Serly. December 11, 1949, II-7:4. "Bart6k gribute,"by Tibor Serly. September 25, 1955, II- : ; "Recordsié Bart6k," by Harold Schonberg. August 5, 1956, II- 3 . . Chicago Tribune: "Chicago Born Pianist Heard with Symphony," by Edward Barry. March 3, 1939, 23:6. 199 Other Sources Ahrendt, Christine. "An Analysis of the Second Quartet of Béla Bart6k," Unpublished Master's dissertation, Dept. of Theory, Eastman School of Music, University of Rochester, 1946. Fenyo, Thomas. "The Piano Music of Béla Bart6k." Unpublished Ph.D. dissertation, Dept. of Music, Un versity of California at Los Angeles, 1956. Taylor, Vernon gusson. "Contrapuntal Techniques in the Music of B 1a Bart6k." Unpublished Ph.D. dissertation, Dept. of Music, Northwestern University, 1950. Interview with Professor Gyorgy Sandor, Ann Arbor, Michigan, June 29, 1963. APPENDIX I Review of the Scherzo for Piano and Orchestra From the first tranquil notes of the oboes, on through all the simple, light-hearted melodies of the Scherzo £25 21522 and Orchestra, the music was ingratiating, undemanding -—and, somehow, startling. The audience kept turning to its program notes for reassurance that this really was a com- position by Béla Bart6k. Only now and then, as Pianist Louis Rentner and the London Philharmonic Orchestra performed the Scherzo's British premiere last week, could Bart6k fans find hints of the more familiar dissonances and pounding rhythms of the composer's later career. This was vintage stuff, dating back to Bart6k's early romantic period. And after a long orchestral introduction, Kentner opened a flood- gate of lush, big-fisted chords. Bart6k composed the Scherzo when he was 24, entranced by the windy sonorities of Richard Strauss, and he filled the work with rolling Straussian orchestrated sounds. But the scheduled 1905 premiere never took place. At the last moment, Bart6k withdrew the Scherzo, because Hans Richter (who was to have led the Budapest Symphony Orchestra, with Bart6k at the piano) had not had time to study and annotate 200 201 the master score and there were many mistakes in copied parts. That same year, Bart6k discovered folk music, and his infatuation with Strauss ended abruptly. There were no requests to revive his unplayed Scherzo, and Bart6k set off down the long loud road of dissonance. After his death, in 1945, the Scherzo was found among his papers by his son Bela in Budapest. Today, like all of Bart6k's music, it is embroiled in a discordant legal hassle between his heirs and the Manhattan lawyer who is executor of the estate and who has given Pianist Kentner exclusive performance rights to the Scherzo for the next two years. Though it may sound to some listeners as if it were written to accompany a film, London critics found the Scherzo worthwhile as a backward look into the early out- put of one of the great spirits of modern music. Said Colin Mason of the Guardian: "Although it is not likely ever to find a place in the repertory, we should hear it ,a few’more times yet to savor its humor and originality before putting it on the shelf as an immature work." As for Pianist Kentner, he thinks the Scherzo‘QQEIEiagg‘ang Orchestra is uneven, but, says: "The best part is cer- tainly the last part, where we get to something like the real Bart6k."1 ("Vintage Scherzo," I}mg,LXXXI, Part 2 [March 8, 1963], p. 46.) r— 1All errors, grammatical and otherwise, in this and subsequent appendices remain uncorrected as they appeared in the original source. ~ APPENDIX 11 Review of the Rhapsody The feature of the concert given by the Philharmonic Society last night in Carnegie Hall was the first appear- ance in America, as pianist and composer, of Béla Bart6k. It is to be realized, however, that whatever the causes which led to the result, Mr. Bart6k, as he stands today in his art, was not given adequate representation. He was not given adequate representation, first in the work that he was obliged to play. His piano con- certo had been originally scheduled for this concert. This is one of his latest compositions, performed for the first time at Frankfort-on-Main last July, and it is Bart6k in his most recent aspect as a composer. American audiences may or may not like it when they hear it. But that is not the question. Mr. Bart6k, through exigencies of rehearsal or what not, was obliged to make his American debut by performing his early, interesting, but immature and rather old-fashioned Rhapsody, opus I, for piano and orchestra. The Rhapsody is romantic and nationalist music by a young man beginning to find himself in his art, but it is too long and, if only for this reason, comparatively ineffective. 202 203 Taking full advantage of its title, the piece is so free in style and structure that it lacks cohesion and concentration, and suffers from a over-richness of material. There are enough good musical ideas to make two Rhapsodies instead of one, and both Rhapsodies would be the better for it. What is remarkable in this score, what constitutes unmistakable evidence of the man to come, is the richness of the themes, the distinction of most of them, the warm feeling, the wild imagination, the proudness and melan- choly of many pages. At its best this is superbly potent, racial music. There are, not unnaturally, certain per- ceptible influences, which do not hide the face of a new and significant talent. If this Rhapsody were pruned and revised it might yet be one of the finest jewels in the composer's crown, and it merits such treatment. The piano part of the concert is difficult and original in its technic. Mr. Bart6k played as the composer-pianist with a born instinct for the keyboard, with poetry of con- ception and at times a fury of virtuosity and elan astonishing in a man of his modesty and unostentation. But he was not only misrepresented as a composer of today by the concerto. He was also handicapped by an accom- paniment far from finished or precise in its accord with the soloist or vivid in the presentation of the orchestral part. But Mr. Bart6k will make other appearances here. (Olin Downes,'gpg'§gg York Times, December 23, 1927, 16:2.) APPENDIX III Review of the Concerto for Two Pianos and Orchestra We would like to remember this [the Haydn Symphony which preceded Bart6k's Concerto.£pg‘zyp Pianos on the program] and forget most of what followed. We do not mean to say that the concerto for two pianos and orchestra composed and played by Béla Bart6k and his wife, Ditta Pastorzy-Barték, is anything less than the completely sincere expression of a distinguished contemporary com- poser. It bears his stamp in every measure. The composition was first presented as a concerto for two pianos and percussion at a concert of the Inter- national Society for Contemporary Music in January of 1938. The New Friends of Music performed the original version Nov. 3, 1940. The addition of the orchestra furnishes more instru- mental color than the first scoring. Yet it is questionable if this was what the composer most desired, since the ten- dency in his last period is all toward a beauty which is not sensuous, a treatment of line and rhythm that is severe and often barbaric in atmosphere——a modern Hungarian primitive might be the word for it. 204 205 Back of the music are Mr. Bartok's profound knowledge of ancient Hungarian folklore and his isolation with a very high and pure constructive ideal. It remains that the prevailing effect, to the best of our knowledge and belief, is arid and doctrinaire. There is a hiatus here between that which is profoundly primitive and a modern intellectuality which does not merge with the older idea or convincingly produce new beauty. The concerto, then, was, for us, a disappointment, though it should be recorded that by a large section of the audience it was cordially received. Then came the circus performance of Richard Strauss's "Don Juan," which insufferably cheapened the music. Reiner the interpreter had given way to the ringmaster, and it was a sad aftermath of the occasion. (Olin Downes, 222 Egg York Times, January 22, 1943, 24:1.) APPENDIX IV Review of the Sonata for Two Pianos and Percussion The special feature of the concert of the New Friends of Music yesterday afternoon in Town Hall was the perform- ance of Béla Bart6k's "Music for Two Pianos and Percussion Instruments," which received its American premiere with the composer and his wife, Ditta Pastztory Bart6k, at the keyboards. The work, composed in 1937, was first played in Basle, Switzerland, in January, 1938, and in June of the latter year it was presented at the meeting of the International Society for Contemporary Music in London. In addition to the brace of pianos the score calls for three tympani with pedal; cymbals, triangle, two side drums, bass drum, xlephone and tam-tam. The composition, which is in three movements, consists of an opening allegro molto, with a slow introduction; a "lento" division, and a concluding section with the characteristics of a rondo. It has been referred to as a concerto and also as a sonata, and it was under the last-named caption that it was pro- grammed yesterday. 206 207 Superbly performed by both of the pianists with the expert assistance of Saul Goodman and Henry Denecke Jr., percussionists, the novelty completely diapelled any notion that Mr. Bartdks powers as musical creator had waned in the slightest during late years. In fact, the surprisingly fresh and vivid quality of the entire work with its striking originality and its primitive, quasi- folk spirit, awake memories of the composer's pantomimic music for his ballet, "The WOoden Prince," of 1915. Perhaps the most amazing thing about this extraordinary two-piano composition was its wealth of new and extremely effective sonorities. From the beginning to end, it teemed with novel and unsuspected possibilities of timbre and color. This was as true of the writing for the pianos as it was of the scoring for the keyboards in combination with the pulsatile instruments. Had the work possessed no other merit, it would have been an outstanding achievement viewed simply from the standpoint of its discovery of so many hitherto un- exploited tonal effects. As Mr. Bart6k employed them, the percussion instruments and the pianos did not sound unrelated in character, but became highly unified in their ministrations. 208 But the composition was far more than a complex of fascinating sounds. It was unusually exciting in its dynamism, its enormous vitality, its unrelenting rhythmic urge and its perfection of form. Although Mr. Bart6k has remarked that he prefers to use short themes rather than sustained melodies in his piano compositions, there were certain passages of rather protracted melodic outline in this novelty, such as the tuneful chief subject of the finale, first stated on the xylophone. But most of the time shorter thematic elements were developed with the composer's accustomed virtuosity as contrapuntist. The brief introduction to the opening movement, from the pianissimo roll on the tympani and the brooding initial statement of first piano to the more and more agitated crescendo leading to the barbaric outcries at the start of the allegro proper, formed a fitting be- ginning to a work that must have strengthened the convic- tion of those believing that Mr. Bart6k, who was one of the first to resort to modernism in music with compelling success, still remains unsurpassed in individual and important contributions to contemporary music. (Noel Straus, _T_h_g _pr York Times, November 4, 1940, 23:1.) APPENDIX V Review of the First Piano Concerto . . . A less spectacular case of inflated valuation has been that of Béla Bart6k, the Hungarian composer and pianist. Mr. Bart6k's visit was heralded both before and after his appearances as that of the most "significant" modern composer in Hungary and one of the most "signifi- cant" in EurOpe. In fact, there was a good bit of indig- nation when his latest work, a piano concerto, was pushed aside by Mr. Mengelberg for an early "Rhapsody." Since then we have had a good many others of Mr. Bart6k's works. One cannot in all honesty say that they have added much to the cause for which he now stands. This cause, one must explain, is not the one for which he earned the right to be called significant. In fact, it is just the Opposite; for Mr. Bart6k until late years was laboring to arouse a national musical expression through reviving the national folk-tune. Now he seems to be trying to kill it by disguising these same tunes in modern dress. In his concerto he has abandoned the tunes altogether. The result is not pretty. Broken bits of themes are 209 210 hammered out angrily on the piano and answered by equally angry blasts of the wind instruments. The only sustained motive is that of bitterness; and the sum total is un- mitigated ugliness. Fortunately for Mr. Bart6k, no one knows what it is all about. But unfortunately for us we are afraid to say so. (Henrietta Straus, "Music," 'Ihg Nation, CXXVI [March 7, 1928] p. 275.) APPENDIX VI Review of the Second Piano Concerto Bela Bart6k's second piano concerto received its first American performance last night at the hands of Storm Bull and the Chicago Symphony orchestra. Frederick Stock conducted. Because the soloist, Chicago born and partly Chicago trained, has a great many friends and admirers in these parts, Orchestra hall was crowded for the event. Storm Bull is not at all the angry fellow that his name suggests but a smiling, sunny spirited youth who looks barely out of his 'teens. He gave the concerto a flashy performance and was compelled at its conclusion to stride back and forth between stage and greenroom acknowl- edging the plaudits of the audience. On this, his first appearance at a subscription concert of the Chicago Symphony orchestra, Mr. Bull re- vealed himself ss an immensely facile pianist. Everything comes off_for him without apparent effort. He possesses a good sense of rhythm, and manages to make the music walk along for him in an infectious way. 211 212 The new concerto is a glittering creation whose colors are mostly on the light side. Its headlong line breaks only two or three times to allow place for perverse little poetic episodes. The concerto's free harmonic scheme gives it a pleasant, out-of-focus or oddly angled quality ——as if a photographer should decide that the world is better seen obliquely than head on. That the interpretation of the concerto was authentic is strongly indicated by the fact that Mr. Bull has had the advantage of three years' study in Budapest with the composer. (Edward Barry, Chicago Tribune, March 3, 1939, 23:6.) APPENDIX VII Review of the Second Piano Concerto The prime purpose of the National Orchestral Association is to give orchestral training for young instrumentalists, but under its leader, Leon Barzin, it also manages to give adventurous and interesting concerts. The first of its eighteenth season last night at Carnegie Hall was no exception. Bart6k's Second Piano Concerto with Andor Foldes as the soloist, was the major event of the evening. The powerful and original work was written sixteen years ago and has been played by the orchestras in Chicago, Pittsburgh and San Francisco, but this was its first performance in New York. Part of its originality lies in its scoring. The strings are not used in the first movement at all. wood- winds, brasses and many percussion instruments provide the accompaniment. In the second movement the strings have an important part——they provide an eerie, strange, atmospheric qualitya—but they are seldom heard at the same time as the piano. Even in the final movement, though the full orchestra is utilized, there are many passages of unique sound. 213 214 On first hearing, that shorter concluding movement did not seem an adequate resolution to a work that promised so much in the first two sections, but nevertheless the concerto has those qualities which made Bart6k so notable a composer——the passages of almost childlike folk music, the turbulent rhythms, the ominousness of our times and the poignant position of the sensitive individual in a world haunted by war. Mr. Foldes played it brilliantly, its many diffi- culties troubling him not a whit. His energies were all free to bring the work to realization. And the young performers of the orchestra proved themselves very adept at the many tricky passages that are given to individual instruments. (R.P., _Thg 3533 19351; 339333, Nevember 4, 1947, 33:3.) APPENDIX VIII Review of the Third Piano Concerto Though it was not planned as such, this is turning out to be a sort of Béla Bart6k week. After a program of his music on Monday night by the League of Composers, the Philadelphia Orchestra last night at Carnegie Hall introduced to New York Bart6k's Concerto No. 3 for piano. Again it was clear how rare and original a musical mind the world had lost when Béla Bart6k died last September. The concerto was Bart6k's last finished work. During his final days he drove himself to complete it. When he died, the concerto, with the exception of the last seventeen bars, was fully scored. The final bars were sketched in a musical short-hand employed by the composer, and they were deciphered and scored by his friend and colleague, Tibor Serly. It is Mr. Serly who throws further illumination on the way Bart6k fought to finish the concerto. "Bart6k worked feverishly to the very last to com- plete the concerto," he wrote, "and it was touching to note that he had prematurely scrawled in pencil the 215 216 Hungarian word 'vege"—-the end——on the last bar of his sketch copy, as though he were deSperately aiming to reach it. Oh no other score had he ever written the word." It is a fine work noble in content and fair in pro- portions. The ideas in the three movements are as bold and original as much of Bart6k's other music, and the writing has the mastery one eXpects from him. Though the composer was seriously ill, the vigor of his intellect was apparently undiminished. His concerto moves from beginning to end with undeviating assurance. And there_ ie——most affecting of a11-a serenity in the slowwmovement that could only be the work of a man who had risen above the pains of the flesh. The concerto will appear again on orchestra programs; it bears repeating. The soloist was Gyorgy Sandor, who once had been a student of Bart6k's. He played the concerto with abounding virtuosity and with a warm fellow-feeling for this music. The Philadelphians, led by Eugene Ormandy, played their share admirably. The public, which is supposed to be indifferent to contemporary music, seemed to take to this novelty. (Howard Taubman, _Th_e_ N33 3955 31.222, February 27, 1946, 20:2.) ROOM USE ONLY _. ”a {"1 -“ '93." HIGRN STATE UNIV. LI BRRR 1113111111111 1||1|111111111117111111111111111111115111