Bartók: Concerto for Orchestra by David Cooper

By David Cooper

Bartók's Concerto for Orchestra has confirmed to be essentially the most popularly winning live performance works of the 20th century. it's noticeable by way of its champions for example of Bartók's seamless combination of japanese ecu people tune and Western paintings song, and by means of its detractors as indicative of the composer's creative compromise. This ebook includes a dialogue of the ancient and musical contexts of the piece, its early functionality heritage and important reception. it is also the 1st entire movement-by-movement synopsis of the Concerto, in addition to unique technical information regarding the paintings.

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Extra info for Bartók: Concerto for Orchestra

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The melodic structure of songs is determined by reference to the text lines of the lyrics, and the terminal pitch of each line is noted using a combination of brackets and boxes. Thus I I D E represents a song whose first line ends on F5, whose second line ends on D5, and whose third line ends on B4. The metric (number of syllables per line) and rhythmic structure of each line is identified, and where all lines share the same metre or rhythm they are described as isorhythmic or isometric respectively, where they have differing metres or rhythms they are called heterometric or heterorhythmic.

Its completion, in which black-note pentatonic elements dominate (bars 82-93), can be seen as an example of what Schoenberg calls liquidation - the gradual removal of 39 Bartok: Concerto for Orchestra Ex. 11 First subject Allegro vivace Ex. 17 The second part of the thematic group, following a 2/8 bar rest (bar 94), is a lyrical melody played by the upper strings in a chain of open-voiced second-inversion triads - perhaps a late tribute to the influence of Debussy - and presents a more regular and lyrical foil to the previous idea, although allusions to the opening allegro figure appear as contrapuntal asides.

Although Lendvai's theory does clarify Brahms's tonal scheme, it does not satisfactorily explain the tonal relationships in Bartok's Concerto for Orchestra. 1 Here the fundamental tonality is F, the second subject appears in the exposition 'in' B (a substitute tonic), and is recapitulated first in A (substitute dominant), then in G (substitute subdominant)! A fuller discussion of the problems of Lendvai's axis theory will be reserved for the final chapter. 2 This chromaticism results from the superimposition of different modes which share the same fundamental note (a method Bartok describes as 'polymodal chromaticism'):3 it is not the result either of altering scale degrees or of the regular throughput of the twelve pitchclasses of atonal music, and it can produce passages of considerable harmonic and tonal ambiguity.

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