the three piano concertos of bela bartok a thesis in …

THE THREE PIANO CONCERTOS OF BELA BARTOK

by

ALICE TERESE STEWART, B.M.

A THESIS

IN

MUSIC LITERATURE

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Accepted

December, 1973

Cop-2

ACKNOWLEDGMENTS

I wish to express deep appreciation to Dr. Paul F. Cutter for

the direction of this thesis and to Professor Richard A. McGowan for

his helpful criticism.

ii

CONTENTS

ACKNOWLEDGMENTS ii

LIST OF EXAMPLES iv

INTRODUCTION 1

CHAPTER

I. THE FIRST PIANO CONCERTO 10

II. THE SECOND PIANO CONCERTO 36

III. THE THIRD PIANO CONCERTO 63

CONCLUSION 90

BIBLIOGRAPHY 99

iii

LIST OF EXAMPLES

Example

1. First Piano Concerto





6, First Piano Concerto




10a, First Piano Concerto

10b. First Piano Concerto

10c. First Piano Concerto




First Movement, Meas. 13-17





Second Movement, Meas. 5-8




Third Movement, Meas. 5-7






14. First Piano Concerto; Third Movement, Meas. 254-272 (Truncated)

15. F i r s t Piano Concerto; Third Movement, Meas. 257-272

(Truncated)

16. Second Piano Concerto; First Movement, Meas. 1-7



13

14

15

17

19

21

22

23

24

27

27

28

28

29

30

32

33

38

39

41

iv

19. Second Piano Concerto











30. Third Piano Concerto
















Third Movement, Meas. 95




First Movement, Meas. 22


Second Movement, Meas. 63





42

44

45

48

49

54

56

56

57

59

60

65

66

77

77

78

82

83

87

INTRODUCTION

Bela Bart(5k is generally regarded as one of the giants of

twentieth-century music. His indomitable spirit and his ability to

absorb outside influences into a distinct and personal style allowed

him to make a unique and important contribution to the literature of

this century.

Bart6k was bom on March 25, 1881, in Nagyszentmikl6s, Hungary,

in a district which is now a part of Roumania. His father was the

director of a government agricultural school and was an amateur musi

cian as well. He died when Bela was only seven years old, however,

so he clearly had little influence on his son's musical development.

Fortunately for the young Bart6k, his mother was a wise and prudent

woman who took pains to see that her son received a satisfactory edu

cation, and she was a constant source of encouragement in his musical

efforts.

In 1889, Bart6k entered the Royal Academy of Music in Budapest

to study piano and composition with Istvan Thomas and Hans Koessler,

respectively. The latter was extremely critical of the aspiring com

poser's work, and due to such setbacks, his activity as a pianist

superseded that as a composer for several years. Indeed, throughout

most of his life, the acclaim accorded him was primarily due to his

extraordinary performing abilities.

The year 1900 brought Bartdk's first meeting with another

brilliant young Hungarian, Zoltan Kodaly, who was to become a life

long friend. Both youths were highly nationalistic, and their

fervor was to spark the investigations into authentic Hungarian folk

music for which they are still renowned. By very painstaking means,

Bartok and Kodaly recorded and transcribed thousands of folk tunes

taken directly from the peasants themselves. It was indeed out of

authentic folk elements that Bart6k developed a Hungarian style not

only independent of German influence, but also possessed of a depth

of national origin lacking in the gypsy music of Liszt and his

followers.

In 1907, Bart5k received an appointment as professor of piano

at the Royal Academy, a position he held until 1934. He despised the

very thought of teaching composition, and for that reason, he never

did, save for a few private students to whom he taught the basic prin

ciples of notation and orchestration. During the years 1934-1940, he

was able to devote all of his time to folk-song research, composition,

and performing tours. It was during this period that be brought forth

several works that are considered by many to be among his most signifi

cant: Music for Strings, Percussion and Celeste (1936), Sonata for Two

Pianos and Percussion (1937) , and the Sixth String Quartet (1939).

In 1940, Bart5k traveled to the United States to perform pub

licly and to observe what his circumstances would be should he decide

to emigrate. The forces of Nazi Germany were penetrating deeply into

Hungarian government and culture, and Bartok realized painfully that

his creative liberty was in grave peril. The decision to emigrate

was made shortly, and after a brief return to Hungary for the purpose

of putting his affairs in order, he and his wife, Ditta, set out to

make a new home in a foreign land. The move was difficult; a man of

fifty-nine years with a profound love for his homeland was not able

to effect such a transplant with ease.

Financial support was difficult to obtain in the United States,

and after a grant from Columbia University ran out, Bartok's income

became dependent upon occasional concert and lecture appearances and

fees for commissioned works. In 1943 his health, which had been a

constant cause for concern throughout his life, took a definite turn

for the worse. His illness was diagnosed as leukemia, and on Septem

ber 26, 1945, he died in New York City's West Side Hospital.

The following is an apt description of Bart6k as man and

composer:

B€la Bart6k was a quiet, shy and retiring man, a composer largely unheralded and ignored during his lifetime. No label such as "impressionism" or "expressionism" was affixed to his style by the critics; he did net develop a "method" or inspire a group of ardent student followers. Yet his contribution to 20th century music was of epic proportion.-'-

The dichotomy of Bart6k's music is perhaps most noteworthy

with respect to the degree to which he drew upon outside sources

while always maintaining his own unique style. In the course of

Nick Rossi and Robert A. Choate, Music of Our Time (Boston: Crescendo Publishing Co., 1969), pp. 37-38.

his life, his work was greatly affected by Brahms, Liszt, Beethoven,

Strauss, Bach, Frescobaldi, and Debussy, to name a few, but all were

readily absorbed, as were the folk elements, into an unmistakable

and personal sound.

The rhythmic element in B crt6k's music is particularly char

acteristic. Its irregular and at times primitive nature reveals some

similarities to certain passages in Stravinsky's Le Sacre du Printemps

This is not indicative of a Stravinskian influence on Bartok; indeed.

Allegro barbaro, a classic example of this rhythmic style, preceded

Le Sacre by one year. Bart6k's strong penchant for irregular rhythms

was principally a result of his folk-song research, but, as all out

side influences, was quickly assimilated to become an integral and

dynamic part of his own style.

His studies in authentic folk music were also of paramount

importance melodically. From the tunes sung to him by the peasants

themselves, Bart6k made extensive use of the pentatonic and various

synthetic scales, as well as the old church modes. These had been

employed extensively by Debussy, but it was only after Bart6k had

discovered them in the course of his own research that he became

familiar with the works of Debussy. The French master's music

exerted strong influence over Bart6k throughout his life, evidenced

not only in the use of modes and pentatonic scales, but also in the

impressionistic of his "night music," in which he evokes the sounds

and sensations of the night.

Although his melodies and rhythms are commonly folk-oriented,

textural treatment was a matter in which he relied heavily upon past

masters. His music is highly contrapuntal, with extensive use of

canon and fugal devices. Material is often presented contrapuntally

in its first statement, and development sections are almost continu

ously contrapuntal, employing canon, free imitation, inversion, and

stretto.

Because of his relatively free use of dissonance, much of

Bartt5k*s music has a brittle, percussive sound; the acrid harmonies

hindered its general acceptance for many years. As with so many cre

ative artists, his motivation was necessarily an inner force, for he

enjoyed little understanding or encouragement from those around him.

It is extraordinary that he pursued his course with such conviction

and calm assurance. From all written accounts, it seems that he

never lost his confidence, but quietly followed his own path without

the defiance of Beethoven and Wagner, the intimidation of Brahms, or

even the despair of ever achieving popular understanding that is

revealed in the writings of Schoenberg. In the years since his death,

however, many of Bartok's works have achieved and maintained wide

popularity and seemingly permanent place in the repertoire.

Perhaps the works which have received the greatest amount of

study and discussion are the six string quartets; because they span

the years 1909-1939, they provide a clear picture of the composer's

creative development. Other works which have gained considerable

popularity are Allegro barbaro for piano (1911), Music for Strings,

Percussion, and Celeste (1936), Mikrokosmos for piano (1926-1939),

and the Concerto for Orchestra (1943).

Besides the three concertos for solo piano and orchestra, Bar-

taik wrote a Rhapsody (1905), his first published work, which was com

posed originally for solo piano and later scored for piano and orchestra

for his entry in the Prix Rubenstein in Paris. A Scherzo, Op. 2, was

also written for piano and orchestra, but, as the Rhapsody, is heard

very little in the standard performance of repertoire. The only other

work for piano and orchestra is an orchestral transcription of the

masterful chamber work. Sonata for Two Pianos and Percussion into the

Concerto for Two Pianos and Orchestra. The latter version is prac

tically never heard, however, leaving the work, for all practical

purposes, a part of the chamber repertoire.

The first two of the three solo piano concertos are not among

Bart6k*s better-known works, while the third has acquired a position

of comparative popularity in the repertoire. The distinct differences

among the concertos can perhaps be attributed to the different stages

of the composer's development in which they were completed, but con

sistency of compositional procedure is present beneath the outward

contrasts.

The first concerto was completed in 1926, the same year as the

Sonata for piano, and the similarities in treatment of the piano are

obvious. The concerto is the epitome of the composer's use of both

piano and orchestra for percussive ends, a concept that can be traced

back to the Allegro barbaro of 1911. It was undoubtedly this percus

sive use of the piano that suggested Andr^ Hodier's remark that Bart6k

2

"transformed his piano into a veritable iron tank." The work is cen

trally located in Bart6k's creative development and has much in common

with the Third String Quartet (1927), one of Bartt^'s most brittle and

3 "severely classical" works. It seems that the third quartet marks a

turning point in his development, the farthest extreme of his unrelent

ing, percussive style, after which his music gradually becomes more

mellow.

By the year of the second concerto's completion (1931), the

winding down of Bart5k's percussive style is already felt, although

it is still present in places. The second movement introduces the

composer's characteristic "night music" to the piano concerto form.

This musical evocation of bird song and creatures of the night was

Introduced in the fourth movement of the Out of Doors suite for

piano (1926) and heard again in the central movement of the Fourth

String Quartet (1928). A concern for symmetrical design is felt

more strongly in this concerto than in either of the others, reveal

ing a characteristic of the period in which it was written.

The third concerto was the last work completed by Bart6k.

He was gravely ill when he began work on it, and labored desperately

^oel Burch, trans.. Since Debussy (London: Seeker and Warburg, 1961), p. 92.

^James Goodfriend, record notes for Th e Six String Quartets, Columbia Records D3L 317.

8

to complete it before his death. In actuality, the last seventeen

measures were not completed, but the sketch provided a clear indica

tion of how it was to be finished; and Tibor Serly, a friend and

pupil of the composer, took over the task. The calm and assurance

of the work is unique among the composer's larger repertoire; its

aesthetic is so far removed from that of the first that, upon

initial hearing, one would scarcely imagine they were conceived by

the same mind. But the similarities are there upon closer examina

tion, and there is no doubt that this farewell work is the farthest

extreme of the more melodious style that evolved following the Third

String Quartet.

The chapters that follow provide detailed formal analyses of

the three solo piano concertos. Formally, Bart6k was a classicist,

and the opening movement of each concerto is cast in some semblance

of the Classical sonata form. Unlike the solo concerto form of Mozart,

with its double exposition and multiplicity of themes, Bartok uses the

standard sonata form, which in its Classical usage, is illustrated

below with typical tonal levels.

Exposition

First theme group (I) Bridge (Modulatory) Second theme group (V) Closing (V)

Recapitulation

First group (I) Bridge (Non-modulatory) Second group (I) Closing (I)

Development

Treatment of material in Exposition in various keys, employing sequences, contrapuntal devices, etc.

Coda

Sometimes in Mozart, became standard with Beethoven.

The Classical idea of sonata form, as developed by Haydn and

perfected by Mozart, is principally that of conflict between contrast

ing themes, contrasting tonalities, or, most commonly, a combination

of the two. After developmental treatment of the exposition themes,

one enjoys the musical satisfaction of hearing the material in its

original form in the recapitulation, where the conflict in tonality

is resolved as well.

With Beethoven, the sonata form reaches epic proportions as

a harmonic and developmental vehicle. The development section is the

heart of the form, expanding the material by such means as sequence,

fragmentation, fugato, and, always, tonal conflict. The climax of

the movement is reached as the enormous tension created therein

resolves into the recapitulation. The return of material is even

more dramatic due to Beethoven's capacity for increasing the signif

icance of a theme in the course of a movement. The unassuming first

theme of the Third Symphony, for example, provides no indication of

the monumental work it will unfold, but by the end of the first move

ment, the material has gained a new dimension. In this way, the form

becomes an organic whole, constantly developing and expanding in

depth and grandeur.

How Bart6k regarded this form and other simpler forms and

employed them in the concerto idea, is the subject of the following

chapters.

CHAPTER I

THE FIRST PIANO CONCERTO

When Bartok's Concerto _I for Piano and Orchestra was premiered

in New York in 1928, it was greeted by such descriptive phrases as

"unmitigated ugliness," "tonal chaos," and "one of the most dreadful

deluges of piffle, bombast, and nonsense ever perpetrated on an audi

ence in these environs." Despite this inauspicious beginning, the

work has gradually become accepted as an important contribution to the

twentieth-century repertoire.

Despite the fact that extreme dissonance was nothing new in

1928 (Stravinsky's Le Sacre du Printemps made its appearance in 1913),

Bart6k's bold and biting idiom was startling, indeed, to some lis

teners, anti-musical. But perhaps most difficult to accept was the

concept of the piano as an instrument of percussion. For two cen

turies, composers and performers had been concerned with the problems

of lyricism and tone, attempting to create sounds on the piano that

resembled those of the voice or more lyrical instruments. A percus

sive sound was considered a bad sound, and, according to the style in

which most piano music is written, this holds true. In the first

piano concerto, Bartok unashamedly features the piano as a solo per

cussion instrument and makes a convincing case for the idea that

^Henrietta Strauss, "Music," The Nation, 126, 7 Mar 1928, 273

Cincinnati Enquirer, 26 Feb., 1928.

^H. Noble, Musical America, 28 Feb., 1928.

10

11

percussion can indeed be eloquent. As always, he reveals an amazing

capacity for rhythmic expressiveness, and he manipulates the basic

elements of rhythm and intervals to create motives upon which the

entire concerto is based.

The work was written for a large, romantic orchestra, con

sisting of flute, oboe, clarinet, bassoon, and trumpet (two of each);

piccolo, English horn, and bass clarinet (one of each); four French

horns, three trombones, timpani, and strings. In addition, Bart6k

calls for a substantial batteria, or battery, referring to the per

cussion section, exclusive of the timpani. The members and function

of this section will be discussed in connection with the second move

ment, in which they are most prominent. It should be mentioned here,

however, that in his preface Bartok states that the percussion instru

ments should, if possible, be placed directly behind the piano.

Halsey Stevens states that Bartok considered the concerto to

be "in E minor," and this is, undoubtedly the major tonal level. The

first movement is in classical sonata form, and it conveys a literal

interpretation of the Latin verb from which the term concerto is

derived, concertare (to fight). From the opening double pedal-point

to the final chord—struck first by piano, then orchestra, rather than

simultaneously—the movement is a bitter, relentless struggle. There

are two primary theme groups in the exposition, but every motive is so

closely related that one comes to realize that almost all the material

The Life and Music of B^la Bart6k (New York: Oxford University Press, 1967), p. 233.

12

is derived from one motive, stated in the introduction. Consequently,

the movement is very closely constructed, containing no extraneous

material.

The following outline presents a summary of the formal plan.

More precise analysis, particularly of the development section,

follows.

Introduction Exposition Development

Meas. 1-37 Meas. 38- 64 1st group Meas. 163-180 65-100 Bridge 181-188 101-130 2nd group 189-233 131-162 Closing 234-248

249-269 270-333

Recapitulation Coda 334-366

Meas. 366-387 1st group Meas. 463-482 388-408 Bridge 409-440 2nd group 441-462 Closing

It opens with a thirty-seven-measure introduction, pitting a

six-measure low B pedal in piano and timpani against an A in horns

and trombones. The uneasy momentum stops for three measures as the

brass sustain an ominous Bb-M-G#-A_ chord. The pedal resumes, this

time to be interrupted by a rhythmic motive in the horns based on a

minor third, £-Ab (Ex. 1). As is so often the case with Bartok, it

is not an extraneous motive, but one upon which almost every other

principal motive in the movement is based, both rhythmically and

intervallically. After six measures, the double pedal makes a two-

measure appearance. At m. 22, the bassoons, in octaves, state a

Example 1. First Piano Concerto; First Movement, Meas. 13-17

13

slightly modified version of the minor third motive, this time on the

level of E //-G#. The timpani enters a final time on B , but by this

time the piano has moved up to A. The two instruments participate in

a short rhythmic dialogue, and an accelerando leads the piano into the

exposition and statement of the first theme group. The tonal level

seems to be A, which is somewhat confusing in the light of Bartok's

description of the concerto as being in E. In any case, the basic

material is twelve measures long, and contains four important motives,

referred to here as a_, b , c_, and d_ (Ex. 2). Motive b reveals both F_

and F// present melodically, creating an ambiguous D minor-major sound.

Motive c_ is derived from the introduction motive, and motive , a

seemingly insignificant sixteenth-note upbeat, will be heard many

more times. The woodwinds imitate the last two measures of the group,

and c[ is the basis for a closing of the first group in meas. 50-65.

The bridge begins in m. 66, with parallel thirds in the piano

and motive jd used to signal each change of tonal level. Rhythmic

compression heightens the tension as the thirds are sequenced up by

step, and the climax is reached in m. 82, significantly on JB,

14


PU o ^y- -,#- -^ t ^ ju

t ^ r f:^ - ^

f t. ^ff

f Hte H-

dominant of the dominant in the key of A_. The piano revels in para

llel . chords, while the strings continue with the d^motive. The

horn and trombone have the most important material at m. 82, stating

a motive that will be of developmental interest (Ex. 3). Already the

motive is in canonic inversion, the horn providing the imitation at

the distance of one measure. The rhythm of the motive is maintained

at m. 94, although the scalar motion has become stepwise oscillation

between two notes. Against this, the piano plays rising octave trip

lets, and the passage ends in conflict—the same chord struck alter

nately by piano and orchestra six times. This has produced the


15

Tryj^yd 5 y J J >—A >

T^vfcft r f-Vr Tf

sense of a tonal center on E , which, being a fifth above A, would be

the logical key for the second theme group in a classical sonata form.

The second group offers temporary relief from the severity of

the material thus far. Strings prepare with an E-F//-B chord, and the

piano enters with a light eight-measure phrase, again derived from the

introduction motive. The piano continues with a sixteenth-note excur

sion in changing meter derived from motive d until a ritardando signals

a return of first theme group material in m. 131. At this point a

case might be made for the beginning of the development section, since

the first material is present on a different tonal level, C. However,

this material is not treated developmentally, but, rather, is repeated

almost in its entirety, deleting only the closing to the first group

and the central portion of the bridge. Thus, the material in meas.

131-162 functions as a closing section, as the sforzando chords in

alternation between piano and orchestra, this time struck eight times,

provide a more fitting close to the exposition, and the feeling at

m. 163 is definitely developmental.

16

The development is principally contrapuntal, although the tex

ture is not dense. The tonal plan is not so far removed from the

traditional concept as might be imagined. The development begins on

the level of G, and travels to D (m. 181), C (m. 226), and Bb (m. 270).

This resolves down a fifth, presumably into the recapitulation, to Eb,

but development continues, touching on F, Bb, F//, and finally B,

resolving up to A, just as the pedal B in the introduction moved up

to the level of B at the beginning of the movement.

The bridge motive (Ex. 3) opens the development, again treated

in canon one measure apart, but this time in a free mirrored form between

various pairs of instruments, rather than the exact inversion of the

exposition. First clarinet and second bassoon state it first, for seven

measures, followed by bass clarinet and English horn for seven and fin

ally oboe and second bassoon for seven measures. The other woodwind and

brass instruments contribute the head of the motive, but do not complete

it. The piano enters with rhythmic material constructed in diminished

octaves (D-Db) and major seconds (Db-Eb), and this serves as a transi

tion into the next section of the development, beginning in m. 189.

The brass and woodwinds reinforce the intervals of the preceding

piano material, and the piano continues with cadenza-like figurations

and glissandi. The second clarinet and bassoon state the ascending

bridge motive in octaves, as the piano descends into treatment of the

introduction motive (Ex. 4). Intervals of diminished octave and major

second are again present, and a triple pedal-point (D-Db-Eb) gives the

passage a static quality. The bridge motive reappears in m. 221,


17

l\fi 'lCLt\(,

n t c 7—^-^ C^l-

^t± m. C^ \drhpi

^>^-

f V'D

7;^J J j i j - -J-r^ TU \ '.-V

fT—^-F f _ - 3 ^

in canon at the second, between the second clarinet and bassoon, and

the section that began in m. 189 is transposed up to the level of G-

Gb-Ab. In meas. 234-244, a canon based on derivation of the introduc

tion takes place between piano and clarinet. At the same time, a C--G_

ostinato is treated in canon between the bass line of the piano and

the contrabass, reinforced by the timpani. The woodwinds state the

bridge motive again in m. 245.

Beginning in m. 249, parallel thirds, which are derived from

the opening of the bridge, are presented in the piano in the same

rhythm as in the preceding section. The material is in imitation at

the ninth in the piano, extending to m. 270. The woodwinds accompany

with the upbeat figure from motive d.

In m. 270, the ostinato returns in the piano on Bb-Eb-Ab,

accompanying the same material, and particularly establishing the

importance of the Bb level. In m. 286, strings and bassoons take

18

over the ostinato, which lasts thirty measures. Soloist and orchestra

compete in a relentless accelerando, presumably to the recapitulation.

Indeed, it appears that the recapitulation might occur at the Tempo I

in m. 334, with the return of motive a_. However, the propulsion of

the development is not resolved, and, more importantly, the motive

enters sporadically on many different tonal levels, none of which is

the original, A. The woodwinds state it first on D, then the piano,

entering on an upbeat F. The clarinets screech it on high Bb, then

strings and flute on Eb, piano on F#, a pianissimo entrance in the

strings carrying fragments of the motive in imitation, and, finally,

a desperate Fx-G# entrance in the piano. After several more measures

of changing meter and fragments of the a_motive, horns and trumpets

dramatically present the return of the motive, at last on the correct

tonal level, A. In bitter mockery, the trumpets and trombones slide

down through motive b , playing the F and F// simultaneously (Ex. 5).

The piano enters immediately to play it as it was heard in the exposi

tion and continues on with the entire first theme in essentially the

original form.

The closing of first theme material, utilizing motive d_, is

shortened considerably, and the parallel , chords are deleted from the

bridge. The piano plays the octave triplets, ascending, as opposed to

the descending motion in the exposition. Beginning in m. 409, the

piano plays a brilliant oscillating chord cluster, while the strings

treat motive d_ in exciting folk rhythms characteristic of Bartok.

19


'Tr* rnlsc •'! vifiTTr

This breaks in m. 415 for a rhythmically compressed return of the second

theme. After more chord clusters and treatment of motive d_, an extended

statement of the second theme is presented in meas. 425-441, where,

rather exceptionally, a key signature is found. No key signature appears

in the orchestra, however, and the passage was probably written in this

way to facilitate reading.

Material from the second group is exploited for sixteen measures,

after which the parallel thirds from the bridge return for nine measures.

This reversal of theme recapitulation might be suggestive of Bartok's

regard for symmetry (cf., Fifth String Quartet, first movement, recapitu

lation), but, more likely, the thirds signal a return of the closing

section that ended the exposition. It was not necessary, nor would it

have been fitting, to bring back the first theme, since its dramatic

recapitulation should be left without further comment. Materials in

the horns, trumpet, and trombone, taken from the last part of the bridge,

form a short transitional passage, and the coda begins in m. 463 with an

intense eighth-note pedal in the strings on £-F//-M-A//-E . The piano

enters a measure later with the first four measures of the second group,

in canon between the hands. Then, employing the first four notes, bar-

line displacement, and canon, Bartok creates an enormous closing momentum,

20

At m. 474, the woodwinds state the rising bridge motive in imitation at

the distance of one measure, and the entire force moves relentlessly to

the final chord, -F#-£-B^.

The second movement is perhaps the most extraordinary in the

concerto. To an even greater degree than the first movement, it relies

on rhythmic and intervallic elements as opposed to harmonic and melodic.

In ternary form, its initial and concluding sections are based on a

simple rhythmic motive of three eighth-notes. The central section is

a polymodal episode presented by the woodwinds over a piano ostinato

based on the three-note motive.

Once again, the piano is employed as a percussive instrument,

even more directly than in the first movement. The entire first sec

tion is performed by the battery, or percussion section, and piano,

with a belated entrance by the woodwinds. Strings and brass, with the

exception of the horns, are absent from the movement. The battery con

sists of: two side drums, one with and one without snares, con corde

(c.c.) and senza corde (£. c_.) , respectively; triangle; four cymbals,

two hanging, two to be played against one another; bass drum; and gong.

The percussion is for three performers, exclusive of timpani, and Bar

tok provides meticulous instructions for how each note is to be played.

A numeral placed beside a note refers the performer to the preface,

where the specific instructions are given.

A close examination reveals remarkable creativity in develop

ment of a simple rhythm and certain intervals, the following being

most important: seconds, both major and minor; fourths, perfect and

21

augmented; major sevenths; and major and minor ninths. Enharmonic

spellings, such as a diminished octave rather than a major seventh,

probably have no significance tonally, but are used for the sake of

readability. Bart6k felt that the traditional system of notation

was inadequate for twentieth-century music based on a system of

twelve more or less equal tones.^

The movement opens with the motive of three eighth-notes in

the timpani, answered by three consecutive dotted quarter-notes on

the hanging cymbal. The rhythm is maintained on beats two and three

on the side drum, s_,£. The piano enters in the fifth measure with the

three eighth-notes in seconds and the dotted quarter-notes in fourths

(Ex. 6). This is repeated three times, with the number of measures

ass igned to the dotted-quarter note reduced by one each time.

Example 6. First Piano Concerto; Second Movement, Meas. 5-8

<a^so

8

p . 6 0 . Emo L e n d v a i , Bgla Bar tok (London: Kahn and A v e r i l l , 1971 ) ,

22

At irregular intervals, the timpani enters with the three eighth-notes,

while the other percussion instruments follow the phrasing of the

piano. In meas. 21-29, there is a short transitional passage in the

piano, composed of sixteenth-notes in major sevenths (Db-C). The pas

sage is flowing and rhapsodic, in contrast with the brittleness of the

opening material.

In meas. 30-39, the material is more melodic, bearing a notable

resemblance to the introduction motive in the first movement (see Ex. 1)

It is contrapuntally conceived and is accompanied by echoes of the three

eighth-notes in the side drums. The lines are constructed in major and

minor seconds, and a three-measure unit is treated in canon at the aiag-

mented and perfect fourth, respectively, in the three upper voices

(Ex. 7). The bass states the first motive of the canon in inversion

in m. 35.


23

Bartok employs his characteristic major-minor sound in meas.

39-50 with a D-F-J/Z-A chord which recalls motive b in the first move

ment (see Ex. 2). The three-note rhythmic motive is retained in this

passage; harmony is static, and there is no recognizable melody. A

third idea appears in m. 51 (Ex. 8), although it is related inter

vallically to what has gone before and cannot free itself from

association with the basic three-note motive. The motive returns in

a clearcut form in m. 60, and, five measures later, is treated in

stretto between piano and side drum, s.c_. , the latter entering with

the motive on the third note of the former. They continue the motive

by alternating notes for three measures, and the oboe makes the first

non-percussive appearance in m. 69.

The material in the oboe, as well as that of the flute and

clarinet four and eight measures later, respectively, is again


24

constructed of major and minor seconds and appears to be merely a fore

cast of the woodwind entrances that will begin in m. 91. The motive is

in four-part stretto, in meas. 72-73 and again in meas. 76-77, in the

three voices of the piano and the side drums (Ex. 9). In meas. 79-81,

the piano states a two-voiced canon at the major seventh, which leads

back to the motive. A short, two-part stretto between the hands

develops into an ostinato pattern of major sevenths in m. 85. This

ostinato marks the beginning of the central section of the movement

and prevails throughout the section beneath a polymodal and contra

puntal web created by the woodwinds.

The clarinet begins in m. 91, with a melody on A Aeolian. This

is then stated on E Aeolian in the English horn beginning in m. 100,

followed one measure later by a free inversion in the bassoon on F//

Mixolydian. With the next entrance, the melody begins to undergo minor


r/'g /I o

_^y t_!tr if-^r

^

25

alterations on each hearing, creating almost continual variation or

development. The oboe enters in m. 108 on A Aeolian, one measure later

in the clarinet on Bb Mixolydian, and, in m. 119, in both flute and

clarinet, on A Dorian. The entire woodwind section is in force by

m. 126, joined by the horns, and mounts to a climax in m. 131. Inten

sity gradually diminishes after this, and the middle section fades to

pianissimo in m. 142.

The piano has by no means been uninvolved in the excitement of

this section. Bart6k uses the ostinato to build up enormous chord

clusters, and the gradual thickening and rapid thinning of the clusters

strongly enhance the drama of the climax. The ostinato begins with two

notes, a major seventh, in each hand. After twelve measures, with the

entrance of the English horn in m. 100, a middle note is added, creat

ing a perfect and augmented fourth in each hand. This prevails for

nineteen measures, and with the dual entrance of flut*e and clarinet in

m. 119, it is thickened to five notes. After seven measures, the point

of climax is reached with the entrance of the horns and the high unison

wailing of flutes, oboe, and clarinets, and the clusters are increased

to six notes. Seven measures later, the tension begins to relax, and

the clusters are diminished—three measures of five notes, three of

three, and three of two. The cluster technique may be a questionable

one, but it cannot be denied that Bartok used it here in an intelligent

and logical manner.

In m. 142, the transitory passage heard in m. 21 returns, with

minor changes. It leads, as in the opening section, into a melodic

26

line of major and minor seconds, this time heard in the woodwinds, while

the piano presents the three-note motive. This leads to the D major-

minor sonority in m. 159, similar to that of m. 39, and the material in

meas, 165-169 is comparable to that in meas. 51-55. This time, however,

the two-part canon at the minor second is between piano and woodwinds.

The three-note motive is again treated in stretto from piano to

clarinet to timpani to side drums, £.^. and s.£_. , respectively. A clos

ing section featuring the motive and echoes of the major seventh transi

tional passage begins in m. 178, and the coda begins in m, 188, A brief

recall of the middle section by the clarinet and bassoon fade quickly,

and the movement is left to close with the three-note motive from which

it started. It is heard in stretto again among piano, timpani, and

side drums, then left to piano and side drum .c_. only. The tempo

changes to Allegro in m, 215, and a sixteen-measure transition leads

into the finale without a pause.

The third movement of the concerto is truly remarkable for its

economy. Its form is also the classical sonata form, but is not as

clearly constructed as the first movement. Because its motives are so

closely related, it is often difficult to determine exactly what is

being developed, and the recapitulation is changed greatly from the

exposition. The basic plan is as follows:

Exposition Development Recapitulation

Meas. 1-50 1st group Meas. 210-356 Meas. 357-387 1st group 51-88 Bridge 388-396 Bridge 88-116 2nd group 396-462 2nd group 117-147 Transition Coda . expanded 148-209 Closing Meas. 462-534

27

The first motive is anticipated in the transition by the drums

and timpani, while the trombones make jeering glissandi. The movement

proper begins at the Allegro molto, where the orchestra begins an

ostinato that extends fifty-five measures on the tonal center of E.

The piano enters with a rhythmic motive on E that is similar to the

opening motive (a.) of the first movement. The complete first section

lasts through m. 50, but it is composed of three main motives (Ex. 10)

that are repeated and alternated in interrupted phrases that move

melodically to the dominant (m. 18) and up melodically back to the

tonic (m. 51). It might be noted that motive b bears a resemblance

to the sixteen-note motive d_ in the first movement. Once again, the

motives are constructed in major and minor seconds.

Example 10. First Piano Concerto; Third Movement

a. Meas. 5-7

b. Meas. 11-14

28

c. Meas. 30-31

M.i^ ^t±^

S^

The bridge begins in m. 51, with the strings overlapping the

ostinato for five measures, while the piano plays percussive chords

(G#-D#-E ) in alternation between the hands. In m. 57, the piano pre

sents a motive that will be the basis for most of the movement, stating

it in canon at the seventh for six measures (Ex. 11). At this point,

the tonal level appears to be C//, due to the apparent dominant, G//, in

the strings, and, in m. 63, it moves to B for a sequential statement of

the chords heard in meas. 53-56. The bridge motive returns in m. 65,

Example 11. First Piano Concerto; Third Movement, Meas. 57-62

^1- - .i;

29

initially in canon, but it quickly begins to change and develop into a

pattern of contrary motion between the hands (Ex. 12). This contrary

motion is an idea that will be of great importance in the course of the

movement. Scalar material related to the bridge motive is heard in the

oboes, clarinets, and bassoon in contrary motion in meas. 76-81. In

meas. 84-88, the piano states a sequential canon at the twelfth, based

on the head of the bridge motive. The accompanying figure in the piano

in m. 88 prepares the entrance of the second group, which is stated

first in the trumpet (Ex. 13). The principal motive of the second

group is a free inversion of the head of the bridge motive. The tonal

level is not clear, but after each phrase, the piano and woodwinds rise

to an apparent resolution on A. The trombones have the motive next, in

imitation at the fourth, one measure apart. Beginning in m. 103, there

is a stepwise answering phrase in fifths in the oboe and English horn,

also derived from the bridge motive. This is promptly treated in canon

by the bassoon one measure later, and the clarinet enters another


30


^

I^&^R4 ±. r__#.

measure later with similar, but not exact, material. In m. 110, oboe

and clarinet participate in a canon at the octave with bass clarinet

and bassoon, one measure apart. This passage never really resolves,

but moves into a transition in m, 117. The woodwinds state contra

puntal material based on a perfect fourth, but, although their lines

are similar, they are not exact, and no real imitation is taking place,

The key signature is that of F#, and this seems to be the tonal center

of the passage. In m. 148, the level seems to have moved to C//, and

the closing section begins.

Closing material is again taken from the bridge motive, in

canon at the fifth between piano and strings. This lasts for seven

measures, at which time the bridge material is again treated in canon

between the hands of the piano, this time at the interval of a dimin

ished octave and lasting for seven measures. In m. 163, the piano is

again treating the bridge motive in contrary motion, and, in m, 180,

31

the material is expanded into octaves in each hand, still in contrary

motion. Beginning in m, 182, a form of the motive is stated in con

trary motion in the woodwinds, answered by the piano, then heard in

the strings. Continued statements of the same motive are heard in

piano and strings until m. 208. Here the rhythm suggests the open

ing motive of the movement, and the timpani picks it up to lead into

the development in m. 210,

As the timpani presents the motive, the piano plays motive c.

The timpani turns the motive into a two-measure ostinato pattern that

will continue for twenty-six measures. In m, 222, the piano presents

motive b , and it serves as a basis for the next thirty-two measures

of the piano part. The motive is treated in imitation between the

hands, and the line rises steadily by step, with chromatic sixteenth-

note flourishes in the flutes and strings, coming to a climax in

m, 256. At this point, the piano breaks into sixteen measures of an

oscillating chord cluster, which creates a fantastic shimmering effect.

This is a truly remarkable moment in the piece, not only for the

unique sound effect, but also because the horns are presenting what is

almost a new theme on I (Ex. 14), indeed, practically the only real

theme in the movement. It is undoubtedly derived from the bridge

motive, but it is almost as if BarttSk, after a highly motivic exposi

tion, put the various elements together into a long development theme.

As it is initially stated, it is eighteen measures long, but subsequent

statements are shortened. In addition to this, the trombone states

32

Example 14. First Piano Concerto; Third Movement, (Meas. l^^-ni (Truncated)

I t^M-^^ l- ^&-

ft W -' « ^^WW^.

tP

counterpoint that is also based on the bridge motive (Ex. 15). This

is heard in a different instrument every time the main development

theme is stated. In meas. 256-272, the flutes state a treatment of

b that was previously stated in the piano, and, in m. 272, the first

flute takes over the development theme on the level of Bb, The

bassoon is carrying the counterpoint, and the piano is accompanying

with playful sixteenth-note figures, apparently not associated with

any previous motives. In m. 284, the strings enter with the theme

once again on F, with flutes, oboes, and clarinet carrying the

counterpoint, but only the oboe completing it. In m. 290, the

piano's sixteenth-note figure states the theme in the upper octave

on Bb, in a stretto with the strings. In m. 300, the woodwinds state

a compressed version of the theme on F#, while the piano accompanies

with more sixteenth-note figures.

33

Example 15. First Piano Concerto; Third Movement Meas. lbl-111 (Truncated)

}rorr\lot,rse. [~-^^ ^ b^-

3 ^ ff-

In m. 312, the piano states sixteenth-note figures of a minor

ninth, while the brass instruments state the three quarter-notes that

start the development theme, on the levels of A, F//, D, and Bb, each

entry a quarter note closer to the preceding one. A lyrical passage

begins in m. 320, as the strings have a three-part stretto on the first

three measures of the theme. Rhythmic compression creates an acceler-

ando effect, as the development theme is reduced to a motive harking

back to the bridge. After a gentle accompanying figure, the piano

takes over the motive at m. 338, stating it in descending sequence.

A timpani entrance in m. 353 signals the approach of the recapitula

tion, which occurs, in a greatly altered form, beginning at m. 357.

At this point, it is worth noting the apparent significance

with which Bartok treats the timpani. It is used in dialogue with

the piano in the first group, adding rhythmic reinforcement to the

ideas being presented. It drops out at the bridge, and does not

34

reappear until the development. Here it is present so long as mater

ial from the first group is being treated. When the development theme

is stated in m. 256, the timpani again drops out, this time resting

until it is called upon to signal the recapitulation. Bartok seems

to regard it as a herald of the important sections, as well as an

integral part of the first group material.

The piano carries the principal material over, again, an

ostinato in the strings (and timpani). Both motives a and b are

treated by the piano, and b is heard further in the woodwinds in

m. 376. In m. 388 the bridge begins, as the timpani drops out

gradually and the piano moves into a bombastic octave passage. The

second group appears in m. 398 in the English horn with an accompany

ing figure in the piano. The oboe joins in m. 407, and the flutes

take up the material in m. 413. The development theme returns in the

trumpet on C in m. 419, while the piano concerns itself with a varia

tion on the countersubject. The material in meas. 435-451 is based

exclusively upon the bridge motive in its original form, ornamented

with sixteenth-notes in the right hand of the piano. In m. 452, the

left-hand material is strikingly similar to the introduction theme of

the first movement, but it is also the first three notes of the bridge

motive. The hands move in contrary motion, just as the woodwinds are

moving in contrary parallel thirds. The timpani has been struck and

rolled intermittently throughout this section, and it plays its final

note in m. 462. This factor, as well as the closing momentum follow

ing suggests that the coda begins in m. 462. Once again, the bridge

35

motive in contrary motion is the essence of the material through

m. 482. Here the piano plays glissandi, while the woodwinds present

material resembling that of the bridge. In meas. 491-519, the inter

est is entirely rhythmic, with changing meters and offbeat double-

stops in the strings providing characteristic Bartokian excitement.

The woodwind material is decorative in this passage, with virtuosic

runs, trills, and arpeggios in the upper registers.

From m. 519 to the end, a final statement of the durable

bridge motive is heard, again in contrary motion, rising rhythmically

in the piano. The entire orchestra, including timpani, and soloist

move in contrary motion to the final open fifth, E-B.

Bart€k's First Piano Concerto was, and still is, a controversial

piece. Its percussive treatment of the piano, and, especially, the vio

lent nature of almost every measure of the work, move one to question

its musicality. But this brings us to the inevitable question of just

what music really is, and the foolishness of debating such a question

is obvious. Whether or not one considers the concerto a pleasant piece

to listen to, it would be difficult to deny that Bartok communicates

through the work. Although it employed concepts of sound not familiar

to most listeners, it does not come across as an experimental work. It

is a product of Bart<^k's maturity; not his full maturity, to be sure,

but it is in no way a young piece. In a manner reminiscent of Beetho

ven's middle period, Bartok emerges in complete control, sure of pir-

pose almost to the point of defiance, and a master of compositional

technique.

CHAPTER II

THE SECOND PIANO CONCERTO

The Second Piano Concerto was completed in 1931, when Bartok

was fifty years old. It is indicative of the fascination with sym

metry that characterizes the composer's later works. The most obvious

manifestations are the derivation of most of the third movement mater

ials from the first movement and the closeness to arch form of the

second movement. But, on a smaller scale, the melodic devices of con

trary motion and inversion of themes is present to a great degree as

well. The over-all character of the work is very different from that

of the first concerto, although many of the same techniques are

employed. It is generally less percussive and not quite so intense,

and it is conceived in a more virtuosic manner. The chorale of the

second movement looks toward the Adagio religioso of the third con

certo, thus making the entire work identifiable as a middle point in

Bart6k's activity with the piano concerto.

The opening movement is extremely contrapuntal, with a rhyth-

9 mic vitality not unlike that of Bach. The violent rhythms so

prevalent in the first concerto are used to a far lesser degree here,

and the motion seems to be perpetual from beginning to end. The sound

throughout the movement is very bright, due to Bartok's omission of

strings from the scoring.

9 Stevens, The Life and Music of Bela Bartok, p. 241

36

37

The formal plan, featuring a large, ternary first group, is

diagrammed below, including major tonal centers:

Exposition Development

Meas. 1-73 1st group - G Meas. 95-118 1-31 1st statement (Motives 119-135

a, b , £) G 136-154 32-57 Bridge G-Bb 155-172 58-74 2nd statement (Motives 173-179

b , c_, a.)-Bb-G 74-81 Transition Ab 82-94 2nd group - F#

Recapitulation (Themes inverted) Coda

Meas. 180-199 1st group (Motives b, a, c) G Meas. 284-307 200-211 Bridge G 212-221 Stretto on a. V/G 222-253 Solo cadenza 254-283 2nd group (Modified)

The first theme is composed of three motives, stated by the

trumpet, piano, and oboe, respectively (Ex. 16). The prevailing

tonal level is G through m. 31, although the motives are heard on

many other levels in the course of the section. In m. 8, the piano

states motive b in D, then sequences it in C. In m. 10, the flutes

begin an imitative passage on motive £_, followed at the distance of

a measure by the oboes and, one measure later, clarinets. The piano

takes the forefront again in m. 13, with motive b in one-measure

sequences on C, Eb, Gb, and Ab. The effect from here to m. 25 is

almost comic—the horns have developed an ostinato-like pattern of

continuous eighth-notes, reinforced on the afterbeat by timpani and

woodwinds, and it seems as if, at m. 18, the piano discovers that

38

Example 16. Second Piano Concerto; First Movement, Meas. 1-7

he is expounding upon the motive without any orchestral support or

interest. He flounders with fragments for two measures, until the

eighth-note accompaniment fades out at m. 23. The piano regains his

poise and makes a fortissimo statement of motive b . A stretto pas

sage on motive a. follows, again on the level of G, to close the first

statement of the first theme group. First trumpet states it first,

followed two measures later by first horn, and two beats later, second

trumpet. Entrances begin falling one beat apart, with third trumpet,

first trumpet, third horn, first horn, second trumpet, first trumpet,

and third trumpet, followed by fragmentation in stretto: the four

ascending sixteenth-notes at the end of the motive played half a beat

apart by the brass instruments for two measures. A unison statement

of the ascending figure in the woodwinds signals the beginning of a

bridge passage.

39

The bridge is quite lengthy, extending from m. 32 to m. 57.

It is constructed of sixteenth-note triplets, usually in contrary

motion in the piano, with sixteenth-note quadruplets in the woodwinds

and horns. Measures 33 and 34 are in almost exact mirror imitation

between the hands, at the distance of half a beat. The oboe states a

motive in m. 34 that is heard throughout the bridge (Ex. 17). It

bears a close resemblance to all three motives of the first group,

although it is not an exact statement of any of them. Another passage

of mirror imitation takes place in the piano in measures 36 and 37.

The tonality is apparently shifting, as no definite level seems to be

established at any time; however, the clarinet has been emphasizing a

tritone -D-Ab since the beginning of the bridge. The ambiguous nature

of this interval may be a deliberate effort to avoid establishing a

clear tonality. At m. 41, the bridge motive is heard again in oboe and

bassoon and, one measure later, in flute and clarinet. The piano orna

ments with more sixteenth-note triplets. Measures 44 and 45 contain a

mirror canon at the octave in the piano, and m. 46 begins a sequence

Example 17. Second Piano Concerto; First Movement, Meas. 33-34

^ ^ -

40

between the hands, each figure dropping a half-step every beat. The

sequence moves from G to Db by m. 48, at which point the sequence

drops every half-beat for twd beats, and in the second half of the

measure, drops a third on every half-beat. At m. 49, the piano estab

lishes an ostinato pattern that lasts for six measures, while the

woodwinds once again state the bridge motive. Oboe and bassoon state

it one beat apart, followed by a variant of the motive in the clarinet

in m. 50, Bassoon and oboe carry the motive again, this time with the

flute answering on the variant. Repetitions of the motive and frag

mentation extend to m. 55, where the piano breaks the ostinato pattern

and presumably winds up the bridge passage with a continuously repeated

four-note pattern that comes to an abrupt halt in m. 57.

Instead of a new theme, which normally would be expected at

this point, Bartok brings back motive b of the first thematic group,

this time on the level of Bb. It does not remain on this level for

long, moving to F in the following measure, then to C, G, and D in the

three measures after. Because of the instability of the tonal level,

it appears that the bridge has not ended, as Bartok is using motive b

in a surprisingly traditional circle of fifths. In measure 69, motive

c is treated accordingly, moving from Db to Ab to Eb, the dominant of

the key in which this section began. The oboe and clarinet imitate at

the distance of one beat after each statement of the motive in the

piano.

At measure 68, another stretto passage, comparable to that in

meas. 25-30, takes place, again in G, the first imitation at the

41

distance of three beats, and the remaining three at the distance of

one beat. Bartok's construction suggests a ternary first theme group,

another example of his concern for symmetry. The section ends on a

chord built in fifths sounded in the brass instruments.

The chord is picked up immediately by the piano and used in an

exciting rhythmic dialogue with timpani (Ex. 18). This transitional

episode lasts for eight measures and is reminiscent of the percussive

style of the First Concerto. At measure 82, the mood is suddenly

Example 18. Second Piano Concerto, First Movement, Meas. 74-75

I i/y^^^n I

42

Tranquillo, and the second theme group is heard in the piano (Ex. 19).

Again, it is based on fifths, the hands moving in an almost exact

mirror pattern. This figure, motive d., will be of great importance

in the development. Beginning in m. 86, it is treated in stretto by

bassoon, clarinet, oboe, and flute, entering at distances of one, two,

and four beats, respectively. In measures 89-93, the piano treats

the motive in canon between the hands in a descending sequential pat

tern.

The sequence leads directly into the development section in

m. 95 which begins with the percussive material of m. 74. In m. 99,

the horns enter with motive d_ and an extension that appears to be

derived from the bridge motive (Ex. 20). It is repeated a fifth higher

by the horns in m. 103 and heard in close stretto by the woodwinds, in

unison, two beats later. The woodwinds repeat the first fragment of


^'^' ^ - 5 -

43

Example 20. Second Piano Concerto, First Movement Meas. 99-103

ikthdT_t •S.

SH nsB 4 ^ '

the motive an octave higher in m. 106, and the horn enters in the

middle of the measure with a fragment from the second part of the

motive. Throughout the section, the piano treats the material from

m. 74, and at m. 110, it breaks into a two-measure canon at the

octave, using sixteenth-note material loosely based on the second

part of the motive. The canon is sequenced up a half-step in m. 112

and up an augmented second in m. 114. The momentum continues with

the support of the orchestra, until it comes to an abrupt halt at

the end of m. 118. Motive b is stated by the piano in a complete

change of mood, marked leggiero. The flute echoes the statement on

a level a tritone away from the piano's (Db-A_) , and before it is com

plete, the piano states just the first measure on the level of D.

The horn answers on G//, followed by the piano on F. Piano and wood

winds begin a descending sequence on the last four sixteenth-notes

of the motive, progressing D//-C#-B-A-G-C. In meas. 128-131, trombone

horn, and trumpet have a short reference to the stretto passage on

motive a_ that twice closed the first theme group, but it is cut short

by a unison Bb in the orchestra and the four descending sixteenth-

notes. The oboe states motive a, which is again followed by the

A

44

four sixteenth-notes. After a pause full of expectation at m. 135,

the piano begins, less percussively this time, material from m. 74.

The oboes state motive c_, followed by a statement of the same by the

clarinets. Beginning in m. 142, the motive is fragmented, until m.

146, where the piano states the entire motive. Fragmentation occurs

through m. 151, after which a single fragment is sequenced between

piano and woodwinds, \

Beginning at m. 155 is a passage that has been compared to

the invention style of Bach, It does indeed sound very Bach-like,

with a subject derived from motive c_ being treated imitatively by

piano and woodwinds. Right hand imitates left to begin, followed by

clarinet, right hand again, and bassoon, each at the distance of one

measure. Beginning in m. 159, the entries occur one beat apart, some

with the head of the motive inverted and with the statements gradually

being cut short from the original motive. Entries occur in right hand,

left hand, oboe, flute, bassoon, clarinet, oboe, and finally, a state

ment of just the first four notes of the motives by each of the wood

winds. The piano has motive c once again at m. 165, continuously

sequencing, and in m. 169, an inversion of the head of motive a is

heard in the bassoon and horn. This leads to a climax in the winds

at m, 173, at which point the piano takes up the motive in its inverted

form. The orchestra states the motive in five-part stretto, and the

piano sweeps up to the recapitulation, beginning in m. 180.

The return begins with an inversion of motive b . This is one

of the most striking examples of Bart^k's symmetrical design, reminis

cent of the Fifth String Quartet. The brass section enters quickly

45

with motive a in stretto and also inverted, Meas. 182-187 reveal more

Hdrror writing between the hands of the piano. Another piano sweep

comparable to meas. 178-179 leads to another statement of b , and in

m. 193, the clarinets present motive £ in inversion. All the wood

winds join in treatment of £, while the piano ornaments with running

figures. The piano makes a descending glissando to the beginning of

the bridge passage in m. 200, and the triplet figure of the bridge is

also inverted. The bridge motive in the woodwinds is inverted as well,

being tossed about imitatively as in the exposition. In m, 212 one

finds one of Bartok's most creative strokes with regard to symmetry.

The passage that goes to m. 220, leading to the cadenza, is a stretto

section based on a retrograde inversion of the motive (Ex. 21). The

orchestra builds, in contrary motion, to an open fifth on A-D -A,

marked fortissimo.

The solo cadenza falls into three principal sections, although

the entire passage is based on motive a.. The first section lasts

through m. 234 and is concerned with stretto between the hands, the

left hand inverting the motive. Only the first part of the motive is

used in the first eight measures, and from meas. 231-234, the four

ascending sixteenth-notes are developed in imitation. The second


Ho r JI 5

46

section is a continuous statement of the motive in the right hand

against parallel triads in the left. The right hand begins to frag

ment the motive at m. 238, and in meas. 243-244, the section closes

with the last four sixteenth-notes of the motive in descending stretto,

just the opposite of the close of the previous section. The third

section begins at m. 245 with close stretto on the inversion of a_, the

left hand leading this time. In m. 247, the motive is shortened to

the first five notes for purposes of stretto, and this treatment closes

the cadenza.

The recapitulation continues at m. 254, where the clarinets and

bassoons state motive d_. The piano maintains a continuous sixteenth-

note accompaniment throughout: this section. Flute and clarinet state d_

next in m. 256, and the motive that was added to it in the development

is treated in imitation and inversion in meas. 258-259. Motive d_ is in

three-part stretto in horns, bassoons, and clarinets in meas, 260-261,

with fragments of the development motive in the flutes and oboes. The

development motive is in stretto in horns, bassoons, and clarinets in

meas, 261-262, The same motive continues to be heard in stretto at

various times through m, 281.

Measure 282 contains a piano trill that makes the transition to

the coda. The flute states motive a to begin the coda, followed by a

statement of the same by the piano. A two-part stretto between the two

trumpets, one of them with an inversion of the a_ motive, corresponds

with the stretto sections that closed important sections in the bulk of

the movement. The piano plays a virtuosic scale of ascending triad

47

chords, while the trumpet plays a closing fanfare. The piano plays a

sweeping ascending scale, and the ensemble ends on a G Major chord.

The second movement could be analyzed as a ternary form, but

it is suggestive of the arch form that Bartok found so appropriate

for the inner movement of his most symmetrical works. The initial

and closing sections of the movement consist of a strangely beautiful

chorale constructed in fifths, alternating with a dialogue between

piano and timpani. These sections enclose a frantic scherzo which,

in turn, encloses a section of Bartok's characteristic night music.

The following diagram outlines the formal plan:

Opening section (A) Central section (B) Closing section (A)

Meas, 1-22 Chorale Meas. 1-88 Scherzo Meas. 1- 9 Chorale 23-29 Dialogue 89-165 Night 10-31 Dialogue 30-38 Chorale music 32-36 Chorale 39-53 Dialogue 166-208 Scherzo 37-41 Closing 54-61 Chorale (Dialogue) 63-64 Transition

(Dialogue)

The opening of the movement is a beautiful contrast to the

bright timbre of the first movement. Whereas strings were totally

absent from the former, they are the sole participants in the first

twenty-one measures of this movement, a chorale opening on the verti

cal structure of £-C-£-£-A-E^ (Ex. 22). The first violins and violas

are divided, creating a seven-voiced structure, and the upper three

voices move in contrary motion to the lower four. The chorale is in

ternary form, the opening phrase returning in m. 17. The effect is

one of tranquility, as the lines move almost exclusively in whole and

^ , ^ \

-"^

48

Example 22. Second Piano Concerto; Second Movement, Meas. 1-5

i_l 11'. C-

i ¥ 2 ^

-D.

half steps and create an atmosphere of immobility. The section begins

on a chord with jF as the bass note, and it ends on a chord built up

on C , definitely suggesting a tonic-dominant relationship.

Measures 21-29 are a dialogue between piano and timpani, each

entering on C , which closed the opening section. The piano twice

states a slightly ornamented version of a simple melodic descent,

answered each time by a muffled roll from the timpani (Ex. 23). The

next three measures are slightly more dramatic and introduce a signif

icant motive, the minor third, in both piano and timpani.

The return of the chorale in m. 30 is shortened to nine measures;

the piano is already beginning to override its importance. This time it

begins on the level of Ab and ends on Eb, again a distance of a fifth.

It is of the same character as before and is again answered by a roll

of the timpani, followed by dialogue with the piano.

Example 23, Second Piano Concerto; Second Movement, Meas. 23-26

49

\i fw j jg / i i

^ 3 ? t '/pj-j-v tx ^-' v ? - ^ V- (•»•

/C-AP iELEO j^MJl

Again in accordance with the strings, both timpani and piano

enter on Eb. This time the piano inverts the ascending motive of its

first statement and brings the minor third into play immediately. The

section is greatly expanded, the first statement made three times and

the second drawn out into a dramatic piano recitative with continuous

accompanying roll on the timpani. The latter begins at m. 45, con

sisting of three phrases that center around A. Each phrase reaches a

higher peak (B , D , and G, respectively), and the passage ends dramat

ically on C-Eb-B.

50

The chorale returns once again to roimd out the first major

section of the form. It is eight measures in length and is answered

by a single note from the timpani and an echo of the alternating sec

tion from the piano. It begins on E, but rises only a diminished

fifth, to Ab.

The Presto marks the beginning of the second major section, a

demonic scherzo-like area of the piece. Precise analysis of this sec

tion is difficult, as it seems to go by in an instant and we are far

more aware of an over-all effect than of any minute details of con-

struction. The Presto is also in ternary form, the center section

being characteristic of Bartok's "night music." This type of musical

excursion was often used by Bartok as the central feature of a move

ment, as in the second and fourth movements of the Fifth String Quar

tet, or even as the center of the entire work, as in the third of

five movements in the Fourth String Quartet, completed only three

years before this concerto. Here it is, indeed, the central point

of the work. The first section of the Presto lasts until m. 89 and

is a perpetuum mobile for piano. The first seventeen measures are

concerned primarily with chromatic elaboration around certain notes,

most importantly Eb, _D, and £, and finally coming to an eighth-note

resting spot on E. The horns and clarinets provide emphasis on the

weak beats and occasionally participate in chromatic dialogue. In

m. 18, the piano begins thirteen measures of running sixteenth-notes

in seconds and thirds in each hand. Oboe and clarinet have a seven-

measure eighth-note theme that is heard in inversion in flute and horn

51

beginning on the l a s t ha l f -bea t of m. 24. The f i r s t horn joins in

with the o r ig ina l again in m. 26, and the' two versions of the theme

compete through measure 30. The trombones then carry a s l igh t ly

varied form of the theme through m. 35. The piano, in the meantime,

has returned to single-voiced chromaticism in each hand that t r ea t s

this in meas. 36-44, while the winds t r ea t fragments of the theme.

Rising chromatic sequences in the piano lead to i t s statement of the

theme in large c lus te rs in m. 62. As i t progresses down the key

board, the chords diminish in s i z e , un t i l only a s ingle note remains

in each hand in m. 78. The chords j u s t as rapidly increase from here ,

however, and, a t 89, chord c lus te r s make the t rans i t ion into the sec

t ion of night music.

Bartok t ru ly creates the sounds of the night in th is passage,

by means of t r i l l s in the s t r i n g s , b i rd -ca l l s in the high woodwinds,

and mysterious t r i p l e t figures in the horn and trumpet. In meas. 103-

115, the winds are pa r t i cu la r ly ac t ive , with ascending chromatic

s ixteenth-note figures in the upper par ts and t r i p l e t figures in the

lower. All of th i s i s accompanied by enormous sixteenth-note chord

c lus te rs in the piano, some of them covering every note in a given

octave in one hand. At m. 107, the piano part changes to single run

ning sixteenth-notes in groups of five with only a ha l f -s tep between

the hands. The f lu te and piccolo, beginning in m. 108, carry a dimi

nution of the t r i p l e t figure being s ta ted in oboe and c l a r i ne t . At

m. 121, the piano resumes i t s c lus te rs for three measures, then

changes back to running f igures . Curiously, a t m. 124, the horn

52

speaks forth a motive (£-C-p;) that calls to mind the motto of Strauss's

Also Sprach Zarathustra. This observation may very well be nothing

but speculation or a coincidence, but what makes the similarity par

ticularly interesting is the fact that Strauss and, particularly,

Zarathustra had served as a source of inspiration to Bartok in 1902,

when he was floundering in his compositional efforts. However, the

motive does not stop at this point, but continues to reiterate the

same pitches both up and down over a period of thirteen measures.

The woodwinds are reveling in trills and grace-note figures through

out this passage, and the strings have set up a four-bar pizzicato

ostinato pattern that lasts until m. 140, where the piano joins in a

varied form for four measures. The muted horn triplet from the

beginning of the night music section reappears in m. 155, along

with the bird calls in oboe and clarinet.

These references to the opening of the night music bring the

section to a close, and at m. 166, the first section of the Presto

returns, varied and shortened to about half its original length. The

first part is the same length, seventeen measures long, employing

basically the same materials as before, but at times the motives are

in a different order or inverted. In m. 182, the eighth-note motive

returns in the woodwinds, corresponding to m. 17 of the Presto. This

time, however, the piano retains its single-line accompaniment rather

than going into the seconds and thirds of the previous time. The sec

tion ends, in m. 204, on the same level, Eb, on which it started.

53

A three-measure transition and a trill lead to the return of

the Adagio, shortened and somewhat changed in character. The chorale

has lost its sense of tranquility, as the strings tremolo each chord,

and the piano carries its trill over the strings, creating a tense,

nervous atmosphere. The chorale lasts nine measures, beginning on

Db and ending on Ab, preserving the tonic-dominant relationship.

The piano-timpani dialogue is in one section, not separated

by the chorale, and accompanied by tremolo in the strings. The

descending motive of the piano is highly ornamented and is heard

twice before the piano proceeds into the phrase that presents the

minor third. In m. 17, the figure ascends, leading directly into the

recitative. It is even more dramatic this time than in the opening

section, as the string tremolo heightens the tension, and the timpani

participates by bold eighth-note statements in what sounds almost like

a rhythmic stretto with the piano. Following this passage, the same

length as in the first section, the chorale returns. It is no longer

in tremolo, but it has a submissive sound and lasts only five measures.

The piano enters with one last echo of its descending motive in its

original form. The low strings play the first six notes of the E Major

scale, and with the piano take an unexpected turn to C Minor for the

final chord. The effect is unsettling, as if, by subordination of the

chorale, the diabolical has somehow won out over the sacred.

The third movement has little really new thematic material, but

draws upon themes from the first movement and the minor third motive

from the second. It might best be described formally as a developmental

rondo, as the minor third motive, expanded into a primary theme group,

54

alternates with the first movement material. Retaining the motive

labels designated in the first movement to indicate the transformed

version of first movement motives, the formal plan is as follows:

Introduction A (m 3rd theme) B (i»£) Transition A £ (£>£)

Meas, 1-6 7-44 45-73 73-77 78-93 94-137

Transition A p_ (d,a) A (Accompanied cadenza Coda

Meas. 138-143 44-161 162 206 ZtlTAf''^^^ ^^^'^^^ 207-303

The movement opens with an ascending pentatonic scale, minus

one note, played by the piano. After a fortissimo minor third (-_F)

is sounded in the full orchestra, the timpani enters with a minor third

figure on C-Eb. After a three-and-one-half measure introduction, the

piano enters with a minor third theme (Ex, 24), This is closer to the

Example 24, Second Piano Concerto; Third Movement Meas, 7-14

hMcif^Ji-X

t): y-g

l-liSM^isf «r-H

55

rather barbaric nature of the first concerto than anything else in the

work, and the sixteenth-note triplets give it a characteristically

Bart6kian rhythm. The strings take up the minor third at the end of

the piano phrase, and, in m, 18, the woodwinds again play D-Y_, The

piano states a consequent phrase from m. 19 to m, 27, answered again

by strings and woodwinds on D-F , In m, 32, the piano moves to G#-B

for a canon at the octave between the hands, lasting nine measures.

The timpani has been active throughout this passage with a continuous

eighth-note ostinato on C-Eb, This pattern moves to Bb-Eb in m, 42,

as the orchestra closes the first major section on an ambiguous

F#-G#-A//-C# chord.

In m, 45 the second section begins, with motive b from the

first movement, transformed rhythmically (Ex. 25). Its two-measure

statement in the piano is answered by the strings in stepwise con

trary motion with each other. The key center is firmly G, although

the piano will make some tonal excursions in its various statements.

In meas. 54-65, it travels through C, Eb, Gb, Ab, and finally back

to G, just as in the corresponding passage (meas. 13-25) in the first

movement. The comic effect of indecision in the piano is here also,

just as in the first movement. The figure in the strings (Ex. 26)

continues in accompanying the stretto section based on motive a_ in

meas. 66-73. This brass stretto is directly comparable to meas. 24-

31 in the first movement. The timpani and low strings reintroduce

the minor third motive in m, 73, on X~Ab, and when the piano enters

with it in m. 78, it is on the level of Bb-Db. The remainder of the

Example 25. Second Piano Concerto; Third Movement, Meas. 45-47

56

'iaho 0


115^ r\<fs P

^F^ m 3 ^3^^-

^

-4. < 1?, - J 4 #

i 4 <P tet

theme is changed slightly, but the rhythmic vitality is the same. The

theme does not last as long this time, but moves quickly into a devel

opment of motive c from the first movement, also rhythmically trans

formed (Ex. 27).

57

Example 27. Second Piano Concerto; Third Movement, Meas. 95

This one-measure figure is sequenced five times, each time

down the interval of a third, and the last three statements shortened

to only three beats each. After a transitional measure of octave

triplets, another sequence takes place on the inversion of £, this

time sequenced four times, up a fifth each time. Measures 107-127

are treatment of the octave triplet pattern, beginning with ascending

and descending thirds in each hand, and in meas. 110-112, an imitative

sequence touching on Ab, Db, Gb, Cb, Fb, A, and E. Measures 113-115

emphasize a tritone range, £-Ab. The following two measures empha

size fifths a minor third apart, Eb-Bb, Gb-Db, A-£. One more

sequence begins on the last beat of m. 118 and ends on the first

beat of m. 127. The tonal progression in the left hand is Eb, Ab,

Db, Gb, B, E, A, D, G, and C, while the right hand moves F//, B, G,

C, F, Bb, Eb, Ab, Db, and Cb.

This developmental section is closed by another stretto pas

sage on motive a. It is heard first in the woodwinds, the clarinets

and bassoons inverted to create contrary motion with flutes and oboes.

The piano enters two beats later, hands in contrary motion, and after

58

two more beats, the brasses state the motive, trumpets pitting an

inversion against the horns. The piano rests at m. 132, as the winds

continue with the last four notes of the motive, and at m. 133, the

strings play the material from m. 47 (see Ex. 26).

At m. 138, timpani and low strings introduce the minor third

motive once again, this time on E-G. Six measures later, the piano

joins with an inversion of the theme, making this return similar to

the inverted recapitulation in the first movement. In meas. 153-156,

there is a canon at the fifth in the piano, followed by free imitation

in the next four measures.

In m. 162, the piano states motive d from the first movement,

changed rhythmically (Ex. 28). Immediately upon the piano's comple

tion, the trumpets enter with the motive down a fifth, and in m. 167,

it is in inversion in the woodwinds and first horn. Starting in m.

170, the last five notes of the motive are treated in inversion by

the piano, followed one beat later by imitation in the original form

by the flutes, oboes, and bassoon. This continues through m. 174,

where the imitation is taken between the hands of the piano, in the

original form. The passage beginning in m. 178 is a rhythmic trans

formation of the passage beginning in m. 110 of the first movement,

a two-part canon at the octave. Measures 182-185 contain three two-

measure units of canon in retrograde inversion, and a canon at the

octave takes place in meas. 187-191. Flute, oboe, clarinet, and

bassoon state the motive, imitated two beats later by piccolo and

trximpet, and, one beat later, by horn, bassoon, and low strings.


59

9^S- _

ej^^h^

The motive is inverted by the first violins after two beats, followed

after one beat by second violins, violas, and cellos after another

beat, and woodwinds after still another.

Measure 196 begins the conclusion to this development on

motive d_, presenting motive a. in retrograde inversion, just as it was

in meas. 212-221 in the first movement (Ex. 29). The motive is again

treated in stretto among the brass, and eventually among the woodwinds,

building to a climax to introduce the cadenza.

The section from m. 207 to m. 254 has the effect of being an

accompanied cadenza, if such a thing is not self-negating. It is

indeed a virtuosic vehicle for the solo piano, with rhythmic and

motivic support from various instruments. The section through m. 229

is based entirely upon the minor third motive and receives additional

60


Y^rn^Pn ntrp^s

^^^^^mm rhythmic excitement from the use of the bass drum. The timpani lends

support beginning in m. 230, as the piano is engaged in wide leaps in

both hands. Chromatic sixteenth-note octaves are the basis for the

remainder of the cadenza, with echoes and comments being made by the

strings and woodwinds in meas. 236, 239-242, 244, and 246-254. The

orchestra has no independent material in this passage, so it appears

that the cadenza is actually still in progress.

The section that follows, meas. 255-303, is strangely rhap

sodic, and while it corresponds to meas. 254-281 in the first movement,

the orchestral material is not so clearly derived from motive d_. Cer

tain fragments from the motive are present, but no so obviously. The

fragment is more clearly seen in imitation and inversion in meas. 262-

272, and a contrary motion sequence in meas. 273-275, In m, 275, the

viola states a theme which does not have an obvious predecessor. It

is highly unlikely that Bartok would introduce a totally new theme at

such a late stage, but it does not appear to have a direct relation

ship to anything that has gone before. It begins on A_ in the viola.

61

is picked up on £ three measures later in the second violin and again

on A after three measures in the first violin. The flute states it

on E after two measures, and this appears to be its final exposure.

In m. 290, a different but similar theme is played in English horn and

clarinet, a fifth apart (Bb-F^), echoed three measures later in the

bassoon on Eb, and two measures later, on C// in the flute. In meas.

292-301, the piano has what begins as an inversion of the theme in the

woodwinds, but in the process of being sequenced twice, changes some

what intervallically.

After two rising arpeggios built in fourths, the orchestra

enters, in m. 304, with the closing stretto section, again on motive a_.

Whether the coda begins here or at m. 255 is debatable, as the section

beginning at m. 255 is difficult to classify, but m. 304 parallels the

beginning of the first movement coda. In any case, the stretto passage

at m. 304 is a brilliant display of brass, with the first trumpet stat

ing the motive in inversion in m. 307. The motive is quickly fragmented

making use of the last four notes. The trombone and trumpet solos in

meas. 311-315 are rhythmic variations of the solos in the directly cor

responding place, meas. 295-301 in the first movement, and the piano

again ascends on triads. The delicate sixteenth-note figure given to

the piano as the accelerando begins in m. 322 is an absolutely charm

ing touch, assurance of a happy ending after the trials of the entire

concerto. With the strings playing a reminiscence of their answering

figure from m. 47 and winds doubling on most parts, the piano plays an

ascending pentatonic scale to the final G Major chord.

62

In overall sound and content, the Second Piano Concerto is a

more pleasant piece than the First Piano Concerto. It is a work of

great virtuosity and vitality and more immediately appealing than its

predecessor. If at times it sounds less purposeful, it must be because

it is, indeed, a work of transition. Through this and other works of

the same period, Bartok developed the principles of S3mmietry, balance,

and expressiveness with which he would concern himself for the rest

of his life.

CHAPTER III

THE THIRD PIANO CONCERTO

Upon first hearing B^la Bartok's last completed work, one is

immediately impressed by the fact that this is a work in an entirely

different vein from either of its predecessors, indeed, from prac

tically every other major work by the composer. Bartok was criti

cized by many of his admirers for the nature of the work, as they

considered it a compromise for the sake of a more readily acceptable

work. On paper the concerto does appear far less creative and

detailed than the first or second, yet a closer look reveals that, at

the end of his life Bartok was still the master that he had proven

himself earlier. It displays the same command of contrapuntal devices,

the same sense of construction and unity, but in an even subtler man

ner. The aura of the entire concerto is one of serenity and assurance,

diametrically opposed to the fierce struggle of the first or the bril

liant vitality of the second.

Although Bartdk calls for an orchestra close to the grand

proportions of the first two concertos (piccolo, English horn, and

contrabassoon are absent), the scoring is extremely light and conveys

the impression of being written for a much smaller orchestra.

Once again, the opening movement is in sonata form, quite

straight-forward this time, the only ambiguities being the distinc

tion of transitional passages from primary and subsidiary theme groups.

63

64

Tonalities are clear, with the movement centered primarily in E Mix

olydian, although fluctuation of mode does occur. Harmonies are

simpler and more tertian than in the first two concertos, and tonal

relationships are quite traditional with regard to subsidiary themes

and recapitulation. The general formal plan, including tonal centers,

is outlined below:

Exposition Development

Meas. 1-11 1st group E Meas. 75-88 Ab 11-17 Becomes 87-98 Bb

transitional 99-110 C-D-E-F# 18-53 Bridge 110-117 G// 54-67 2nd group G 68-74 Closing G

Recapitulation

Meas. 118-127 1st group E 128-136 Becomes

transitional 137-161 Bridge 162-174 2nd group E 175-187 Closing E

The simple design of the movement, including a brief and

clearly designed development, as well as omission of a coda, reveal

a neat and classically-conceived piece, not unlike most sonata-form

works of Mozart. One of the most remarkable things about the work

is that Bartok's trademarks are undeniably present: some inversion

of themes in the recapitulation, interrelation of thematic materials,

contrapuntal ingenuity, yet all subtly present beneath a tender,

romantic mood atypical of his other works. The writing is clear and

much simpler than that of earlier works, and the solo part is not

especially virtuosic.

65

This last point is exemplified at the outset, as the piano

presents a one-voiced theme, doubled two octaves lower in the left

hand (Ex. 30). The melody is heavily ornamented and, despite numer-

our chromatic alterations, is firmly centered in the Mixolydian

mode on E. The tonality is never in doubt, as the accompaniment in

the second violins and violas, both divisi, fluctuates rapidly between

an open fifth on E-B and a minor third, and the clarients sustain E-G.

In addition, just prior to the piano entrance, the timpani establishes

a tonic-dominant relationship with -£ on beat three to beat one. The

melody proper lasts approximately eight measures, but does not cadence

and proceeds to become transitional in m. 11, The orchestral scoring

is still very thin at this point, as, indeed, it will remain, rela

tively, throughout the entire piece. Cello and contrabass have joined,

as have flute and horn, with gentle supporting tones. A quintuplet

motive evolves in the piano out of the ornamental figurations of the

Example 30. Third Piano Concerto; First Movement, Meas. 1-11

^-3^^ m ^

-h^f

66

theme and at m. 15 it is centered on B Major, giving the impression that

it will resolve, as a dominant, back to E. This it never does, however,

as the piano introduces a C//, which, with the £-A-£- in horns and bas

soons, creates a D7 chord that resolves to G in m, 19.

With the first theme in a new key and stated by the first vio

lins, the bridge proper begins. The theme is quickly modified, and in

m. 21 the opening figure is heard in oboe, bassoon,"second violin, and

viola, on the level of C. The motive in the first violins at m. 22 is

a transitional motive that will be significant in the course of the

movement (Ex. 31). The head of the first theme is imitated by various

instruments in meas. 24-26: horns on Cb, trumpets on Ab, oboe and

second violin on F , and flute, clarinets, and first violins on Ab.

The entire orchestra has a complete Db7 chord on the first beat of

m. 27, and the piano enters with an inversion of the motive from m. 22

on the level of Db. The orchestra strikes the chord again on beat three

of m. 28, and the piano enters on the downbeat with the same material as

previously. Once more the chord is struck on beat three, and the piano

enters on the second half of the beat, this time continuing the material

into a series of parallel thirds. This parallel motion, combined with

the chromatic material in the strings, prevents the establishment of

Example 31. Third Piano Concerto; First Movement, Meas. 22

67

any tonality. In meas. 35-36, the parallel motion is in fourths and

fifths, and in meas. 37-39, an octave passage in contrary motion pro

vides perhaps the only spot in the movement that could be termed

virtuosic. Chromatically descending sixteenth-note figures in the

piano ornament the eighth-note descent of the woodwinds in meas. 40-

43, and another section of the bridge begins in m. 44.

The material at this point is still too unstable tonally to be

\ considered a second theme group. It is primarily on an E7 sound and

falls into a graceful four-measure phrase that is taken by the orches

tra in a varied repetition beginning in meas. 48. On the repeat, the

first measure is again on E7, but quickly moves through an F7 to a Bb7.

This moves up by step to cm7, and the material in m. 52 is on a D7 that

leads into the second theme group key of G Major. In m. 51, the oboe

and clarinets state a motive that relates to the bridge motive of m. 22

as it also anticipates the second theme group.

It is of interest that the key Bartdk chose for the second group

is a minor third above the tonic. That interval appears to be important

in the movement, as the B and related closing material are based upon

it; indeed, "the movement ends with two successive minor thirds in the

top voice of the piano. It is not within the scope of this analysis to

propose what the significance of this interval is with regard to the

concerto. However, it is interesting that, in the course of scientific

musical study carried on by Bart<5k and Zoltan Kodaly, the theory was

propounded that the primary interval, the one first recognized and

68

imitated by the human child is the minor third.^° For this reason, it

seems especially appropriate as a significant interval in this move

ment, which is also noteworthy for its simplicity of style.

In any case, the second group is centered in the key of G,

although it moves to other levels before settling back for the clos

ing section. In m. 56, the clarinet answers the piano figure in

inversion, and in m. 58, the piano moves to the level of Bb, another

minor third relationship. The similarity between the bridge motive

from m. 22 and the second group is very clear in m. 62, where the

bridge motive is treated in imitation one beat apart by piano, viola,

cello (in inversion), and second violin, respectively. The motive

sounds like the second group due to the rhythmic and inter /allic

similarity. At m. 64 there is a short imitation, one beat apart,

among right hand, left hand, cello, and viola (in inversion). Both

hands continue the motive in m. 65, and violins in m. 66, answered

by an inversion in viola, cello, and woodwinds. The harmony is C

Major (the subdominant) in m. 66 and the first half of m. 67, chang

ing to a D Major (dominant) chord which resolves to G in m. 68.

This affirmation of G Major may be taken to signal the begin

ning of the closing section, which lasts only seven measures. A major

third, derived from the second group and the bridge motive, is the

initial substance of this passage, descending chromatically against

chromatically ascending eighth-notes. In the second measure, a minor

third makes the descent, an octave lower. Major thirds close the

Lendvai, B€la Bart6k, p. 48.

69

section, alternating between piano and clarinet, while the timpani

further substantiates the key center of the closing with four quarter

notes, £-D -G-£. The piano sustains a third, £-B , as the final sound

of the exposition, while the horn enters with the first four notes of

the first theme on the pitches Eb-Db-F-Eb. The moment has a Debussy

like sound, partly due to the augmented triad that is created (Eb-G-B)

and partly due to the en dehors sound of the muted horn. The Eb sound

is totally foreign until the piano begins the development on the level

of Ab in m. 75.

The development section is quite brief, only forty-three mea

sures, and is remarkably romantic in its long, flowing lines, richly

arpeggiated accompaniment, and tonal clarity. It neatly divides into

four distinct sections and bears very little resemblance to the devel

opments of the previous two concertos. From its initial Ab tonality,

the development moves by step back to E. The first section lasts

through m. 86 and is concerned with the principal theme, played in

unison by the woodwinds and accompanied by sweeping two-octave arpeggio

figures in the piano. The key is Ab Mixolydian throughout, with almost

all tonic harmony. The theme is varied somewhat from its original form

and the double-dotted notes and thirty-second notes have been smoothed

out into less jagged rhythmic patterns. The final cadence in Ab is not

an authentic cadence, but rather a beautifully effective use of the

major subtonic chord, diatonic to the mode, resolving to the tonic.

There is a quick Ab7-Db movement in m. 86, followed by a diminished

seventh chord on A, which resolves to Bb Mixolydian, the key of the

next section.

70

The second section is also based on the first theme, but in a

new key and stated by the piano. The arpeggiated accompaniment is

continued in the left hand, and the right hand carries the theme in

a manner similar to the woodwind statement. Beginning at the end of

m. 91, there is a three-voiced canon at the unison and octave, among

piano and first and second violins. The entrances are one beat apart

and the imitation is exact (with the exception of the first two notes

of the second violin) for six beats, or slightly over two measures.

In m. 96, a half-diminished seventh arpeggio in the piano, imitated

at the distance of a beat by first and second violins, violas, and

cellos, respectively, leads to a brief establishment of Eb as the

tonality. This is changed when a Bb chord, acting as a dominant

function, resolves deceptively and very beautifully to a C Major

chord. Thus, another Mixolydian cadence of a major subtonic to

tonic ushers in a new tonality and the third section of the develop

ment.

The bridge motive and second group constitute the propelling

force in this section, which is the most exciting part of the develop

ment harmonically. The flute states the motive at m. 99, against an

inversion in the piano. The oboe then enters into dialogue with the

piano, while the horns state the opening motive of the first theme in

imitation. This unit of three and one-third measures is sequenced up

a step to D Mixolydian in m. 102. It is not repeated exactly, as the

motive is varied slightly and the entire unit is compressed into only

two measures. On the last half of the second beat in m. 104, the

71

motive is heard in E Mixolydian for one and one-half beats. This

compression of harmonic movement leads to an arrival on F//, the dom

inant of the dominant, in m. 105. The tonality is established by

four authentic cadences, making use of the minor dominant. The bridge

motive is used in dialogue between piano and strings, entirely on the

F// harmony, in meas. 107-109. In m. 109, the piano plays an ascend

ing triad arpeggio which resolves, with the orchestra, to a G# Major

chord on the downbeat of m. 110. This resolution, which is reiterated

in meas. 111-112, suggests another subtonic to tonic cadence into

another Mixolydian key a step higher.

The arrival on G# marks the beginning of the final section of

the development, which is merely an eight-bar transition back into the

recapitulation. The Dj^ in the bass in m. 110 and m. 112 serves as the

leading tone in the key of E. In meas. 111-112, the horn announces the

bridge motive in eighth-notes and enharmonically spelled in Ab, while

the second violins sustain a high B# trill. After the second cadence

in G#, in m. 112, the trill drops to B , and the horn begins an inver

sion of the bridge motive, still spelled in Ab. Violins and violas

play three chromatically descending triads in , inversion, ending on a

G#, harmony. The trill has descended accordingly and stands on G# as

first violins and violas play a final pizzicato G# triad. First vio

lins take the trill in m. 117, slowing it down as it moves to Fx, then

speeding up once again just before the piano enters with the recapitu

lation of the first theme. The £// becomes the third of the E Major

chord, creating a deceptive resolution into the return of the first

group.

72

Although the development section is not lengthy, it serves

three traditional developmental functions very effectively: it pre

sents old material in a new light (in particular, the first theme),

provides harmonic excitement, and creates conflict and climax that

are satisfactorily resolved in the recapitulation. Most importantly,

it is a section of compellingly beautiful music, and the tranquillity

of the resolution into the recapitulation is absolutely breath-taking.

When the piano states the first theme, beginning in m. 118,

an additional voice is present beneath the melody, both voices doubled

at the octave. The theme is presented in its entirety, the only major

change coming in m. 132, as the sixteenth quintuplets continue their

stepwise descent to the tonality of C. The bridge proper begins in C,

which is a fifth below the key of the corresponding point in the expo

sition. This relationship of keys is traditional and classical.

As in the exposition, the bridge, beginning with the upbeat to

m. 137, opens with an orchestral statement of the first theme. The

orchestra attempts to create a fugue from the theme, but the entries

are progressively shorter and enter at progressively shorter intervals:

first violin, second violin and oboe after three measures, viola and

bassoon after five beats, cello and contrabass after two beats. The

sixteenth-note bridge motive is anticipated on a Bb7 harmony in imita

tion among horns, trumpet, and trombones in meas. 143-144. This ser

ves as a fanfare for the entrance of the piano in Eb. The material is

treated in the same manner as was the bridge motive in m. 27 of the

exposition, but the movement is descending, and the figuration more

73

closely resembles the chromatic pattern that follows. That chromatic

pattern is the ascending line in meas. 147-152, which is an inverted

expansion of the material in meas. 40-43. It should be noted here

that the bridge material in meas. 27-39 has been eliminated in the

recapitulation, thus relieving this section of what little disquiet

ing material there was in the exposition.

The four-measure phrase in meas. 154-157 corresponds directly

to that of meas. 44-47, this time on an A7 harmony, another drop of a

fifth from the exposition. The thirty-second note motion descends,

then ascends, in free inversion of the exposition figure. As before,

the orchestra states an answering phrase, now on C//7, and the chro

matically rising bass line in meas. 160-161 brings back the tonality

of E for the return of the second theme material.

The second theme presents no major changes. The theme is in

octaves and, through octave displacement, the interval is a minor tenth

rather than a minor third. Cello and horn give the answering motive

this time, and in m. 166 the woodwind section takes the motive for a

measure. From m. 170 through m. 174, the transition to the closing

parallels closely the corresponding passage in the exposition, except

that here the piano does not participate. The orchestra prepares

imitatively for the closing section, which is expanded to thirteen

measures, beginning in m. 175. The character of the section is like

that of the exposition, but beginning in m. 180 the major third dia

logue between piano and woodwinds is extended. Flute, oboe, and

clarinet all participate, and the chromatic eighth-note figure that

74

appeared in oboe and flute in meas. 175-176 is treated imitatively in

the strings in meas. 180-184. A solo flute recalls the opening theme,

and pianissimo thirds in the piano bring the movement to a close, with

out a coda.

The striking contrasts in mood and orchestration between first

and second movements in Bart6k's first two concertos are not present in

the third. The serenity of the Adagio religioso is an outgrowth of,

rather than a contrast to, the preceding movement. Bartdk had never

used the word religioso before as an indication, but it was to appear

again in his only subsequent composition, the incomplete Viola Con

certo. It is natural that, nearing the end of his life, his thoughts

should turn reflectively, whether or not the word religioso need be

taken in the literal sense. As in the second concerto, the form is

ternary, the outer chorale-like sections enclosing a central core of

night music. However, the effect is entirely different; piano and

orchestra alternate peacefully, there is no demonic scherzo, the

night music is bright and cheerful rather than fearsome, and the

total result is one of profound inner contentment. The following

diagram is particularly helpful in recognizing the structure of the

central section, but it presents an outline of the entire movement.

A B

Meas. 1-15 Imitation in strings 58-67 a. ("bird calls") 16-57 Statement of chorale 68-71 b (Transition)

by piano, with com- 72-75 a. ments by strings 76-78 b

79-85 a. 86-88 b

A

89-137 Return of chora le in woodwinds with piano counterpoin t .

75

The first section, through m. 57, is performed by strings and

piano, with the exception of the single note E in the horn in m. 57

and the almost complete G Major scale in the clarinet in meas. 3-13.

In the first fifteen measures, the strings outline the harmonic

course that the piano will take in stating the chorale: C, G, E, F,

A minor, C. In true Bartokian fashion, the harmony is presented through

five-voiced imitation (first violin is divisi, contrabass absent), but

so rhythmically and harmonically conceived as not to sound contrapuntal.

The voices enter from top to bottom at the distance of two beats for

three-measure units on C (meas. 1-3) and G (meas. 4-6). The tonalities

of E, F, and A minor receive two-measure units, and the entrances accord

ingly fall one beat apart. Free inversion is present in the imitations,

initially in the second and fourth voices, and subsequently in others.

The final statement on C lasts four measures, the entrances again two

beats apart, and the cello stating an ominous Eb in m. 15. Now Bartok

begins a dialogue to m. 57 between piano and answering strings, the

harmonic movement following and expanding that of meas. 1-14.

The piano enters with a placid, four-measure chorale phrase,

beginning on C and cadencing on a G Major triad. An answering four-

measure phrase based on the imitative opening material confirms the G

tonality in the strings. Another four-measure phrase by the piano

cadences in E by means of tritone root movement from Bb. The first

four soprano notes of the phrase are an exact inversion of the first

four notes of the opening chorale phrase (meas. 16-17), a relationship

that is disguised by the lyricism of the lines. This time the strings

76

confirm the tonal level with a three-measure phrase, although the third

measure is expanded in meter from ^ to ^. The meter returns to ^ for

another four-measure phrase in the piano, cadencing on F, and answered

by a three-measure phrase in the strings. Tension builds in the fol

lowing eight-measure phrase in the piano, as appoggiaturas (£# in m. 41

and £# in m. 45) threaten the peace of the section. The strings in

meas. 46-47 provide ascending motion into the most passionate phrase

of this first section. A series of four unresolved seventh chords,

each a third lower than the preceding, creates the tension in the six-

measure phrase, culminating with a BbmM7 resolving deceptively to a C

Major chord. This is serenely confirmed by the strings, with a slight

variation on the rhythm of the opening motive. A whole-note E from

the horn suggests a change of material, just as the horn signaled the

development section in the first movement.

The central section is a passage of nature sounds that is

strongly reminiscent of other night music sections or movements (the

second concerto. Fifth String Quartet, Music for Strings, Percussion,

and Celeste), but totally free of the mysterious, almost macabre atmos

phere of those. Here is Bart6k as the lover of nature, utilizing

woodwinds and piano to create bird sounds and other effects. Tremolos

in the violins at the outset sound every note within the fifth A-£,

inclusively, to establish some semblance of a tonality on A. Oboe and

clarinet begin by stating the particular "bird sound" that is theirs

throughout most of the section. The motive in the piano and its inver

sion in meas. 60-61 (Ex. 32) will be used for subtle contrapuntal

77

Example 32. Third Piano Concerto; Second Movement, Meas, 60-61

rkpt-fi'^k

fe i ^

X ^ tr

treatment in the section. Its answering motive, which bears a resem

blance to the closing motive of the first movement, is stated by

piano and flute in m. 63 (Ex. 33). In m, 64, as oboe and clarinet

give their sounds, the piano plays its motive again and is answered

in inversion and augmentation by viola and cello, pizzicato. The

inversion of the motive in m, 65 is treated similarly, and the answer

ing motive is heard again in flute and piano in m. 67. The piano

expands the answering motive into a transitional and rather rhapsodic

passage in meas. 68-71, leading to further treatment of the piano bird

sound. In meas. 72-73 (Ex. 34), flute and oboe state the motive, imi

tated in augmentation by the piano. This is followed by imitation in

the cello that is an augmentation of the flute, diminution of the piano.

Example 33. Third Piano Concerto; Second Movement Meas. 63

^

Example 34. Third Piano Concert£; Second Movement, Meas. 72-73

78

6 fluh

fe S .^fihnJ. \ J. ^ . 1 J I

>

i ^ --y^

^ Ae^ CA''/?

and an inversion of both. The viola then imitates the cello, although

not in inversion. In the next measure, the entire process is inverted.

Bartok*s contrapuntal skill is evident to the score-reader, yet so

subtly done as to be scarcely noticeable to the listener. The

answering motive is heard in flute, piccolo, and oboe, then in the

piano, in m. 75.

The passage from m. 76 to m. 78 is again transitional and

rhapsodic. The four measures that follow have an impressionistic

sotmd, high repeated notes sounding in the woodwinds, while the piano

plays four-note whole-step patterns in contrary motion. In m. 84, the

oboe states once again the piano motive, answered by the augmented

Tieon Dallin, Techniques of Twentieth Century Composition (Dubuque, Iowa: Wm. C. Brown, 19575", p. 175.

79

inversion in the low strings, while the piano plays ascending sweeps

and trills. The answering motive is heard a final time in piccolo

and oboes in m. 85, and a brief reference to the transitional section

by the piano brings the section to a close.

At m. 89, the piano chorale of meas. 16-54 returns, now

stated by the woodwinds with lovely two-part imitative counterpoint

in the piano. The first phrase is answered in the piano, not with

the imitative material used by the strings in the opening section,

but by cadenza-like figurations and trills. The second phrase is

another exact restatement by the woodwinds with piano counterpoint

followed by an expanded cadenza-like passage that is not unlike pas

sages in some of the late works of Beethoven. The third and fourth

phrases are treated in the same manner, increasing in intensity just

as in the first section. The piano answers the fourth phrase in

meas. 120-121, not with the cadenza-like material, but with a tran

sitional passage on the two-part counterpoint, corresponding to the

orchestral transition in meas. 46-47. Strings make their first

appearance in the return section in meas. 122-123, as they attempt

to state the impassioned fifth phrase of the chorale. They com

plete only two measures, then are interrupted by woodwinds stating the

same two measures. The strings enter again for a measure, answered

again by the woodwinds. The piano has been accompanying with ascend

ing triplet arpeggios, and at m. 128, begins its complete statement of

of the fifth phrase, changed somewhat, and even more dramatic than its

statement in the exposition. As before, it moves to a Bb7 chord and

resolves to C Major. The strings re-enter with the imitative material

80

from the beginning of the movement, again slightly transformed rhyth

mically to sound as if in three. The piano makes its only statement

of the material, in two-voiced imitation, with the cello and contra

bass, then cadences unexpectedly but tranquilly on an E Major harmony.

The serene and meditative character of the movement has remained

intact, despite the anguish in the fourth and fifth phrases of the

chorale. Unlike the strange close of the corresponding movement in

the second concerto, this cadence is clearly at rest.

The last seventeen measures and most of the dynamic and

expressive indications in the third movement are those of Tibor

12 Serly. Bartok gave no tempo indication at the opening, thus, the

Allegro vivace is Serly's addition as well. The meter is o and 8

2 remains so with only two exceptions: the , section in the center

3 of the movement and the , section that begins the coda. Without the

meter changes characteristic of Bartok's fast movements, rhythmic

excitement is generated through fluctuation of meter across the bar-

lines and duple versus triple subdivisions, techniques that are

typical of Beethoven and Brahms. The form is a rondo, in the spirit

of the classical concerto finale, with the final return of A and the

coda both greatly expanded.

The following diagram shows the formal plan, representing

major sections with corresponding letters and including tonal

centers:

12 At his death, Bartok left the third concerto complete, with

the exception of the last seventeen measures, which he left in the form of a sketch. His friend and pupil, Tibor Serly, undertook the task, of completing the score and, with others, providing it with additional editing.

81

A Transition

138-203 E 2Qi^-221

B Transition

228-321 C// 321-343

A Transition

344-375 E 376-391

A (Expansion)

527-641 E

392-426 Bb 427-472 Fugue-like 473-482 Bb

Transition

483-526

Coda

644-720 721-768 E

The rhythmic basis of the opening section is best described as

an iamb followed by a trochee, firmly set in the tonality of E. The

first phrase is eight measures long, and is designated as £ (Ex. 35).

The following twelve measures are comprised of three four-bar units

based on the iambic unit and employing intervals of a second and a

chromatically moving inner voice (Ex. 36). At m. 161, the eight-

measure phrase of £ returns in a higher register and changed and sug

gesting a center on C. The material in b is also changed slightly,

the units shortened to three and two measures. Beginning in m, 178,

chromatically rising major seconds in the piano build toward a climax

for ten measur-es, and in m, 188, the momentum is taken by octaves to

an E Major chord in m. 191. The passage, from meas. 191-203 serves as

a closing for the opening section of the rondo, and the octave descent

in the piano on a minor dominant seventh resolves the section in E.

82

Example 35. Third Piano Concerto; Third Movement Meas. 142-148

2 i^=\P ¥

:A f-^ dTU T U I - —

A transition follows for the next ten measures, with strings

and woodwinds participating in alternating rhythms based on the pre

ceding material. At m. 213, the timpani begins a fifteen-measure

rhythmic interlude with support from the bass drum. As this dies out

dynamically, the piano enters with the second thematic material, a

highly contrapuntal section based on C// Dorian. The passage from

\

Example 36. Third Piano Concerto; Third Movement, Meas. 149-156

83

I ^%e=-e

^

m f icm f*t=«)f

a ijSL T: r

meas. 228-252 i s not unlike a typical Bach fugue, the lower voice

s ta t ing an eight-measure subject that i s answered tonally by the

upper voice. The lower voice continues in free counterpoint, and,

beginning in m, 243, a two-measure pa t te rn based on the f i r s t motive

i s sequenced three t imes, r i s ing by s t ep . Four more measures con

clude the piano exposi t ion, and the f i r s t v io l ins enter with the

subject in m. 253. The v io la provides the answer, while the f i r s t

v io l in continues with the same counterpoint as was in the piano,

and the piano reinforces the harmonies with two-voiced chord-type

rhythms doubled at the octave. The piano s t a t e s another sequence

™»!f«ii|||a

84

in meas. 210-211 ^ this time on a four-measure pattern. Seven more

measures of free two-voiced counterpoint lead to a statement of the

subject in F Mixolydian, doubled at the octave.

The passage from meas. 292-305 is a four-part stretto in the

woodwinds, each voice entering at the distance of two measures. Flute

is first, followed by oboe, both in inversion; and clarinet and bas

soon, respectively, enter with the subject in its original form. The

piano plays a canon at the minor tenth in meas. 306-313 which is also

a four-measure unit sequenced up a fifth. Material taken from meas.

280-282 is the substance of meas. 314-322. At m. 322, a transition

begins, still treating the subject of the second group. The first

six measures of the subject are stated in octaves by the strings, then

a fugato ensues for the entire orchestra. Flute and first violins,

oboe and second violins, clarinet and violas enter respectively at

tiie distance of one measure. Bassoon, cellos, and contrabasses are

the last to enter, at the distance of two measures. The brass section

is engaged in sparse free counterpoint. The third measure of the sub

ject serves as the basis for the rising sequential passage in meas.

334-343 that leads into a return of the first section (A).

The opening material is varied somewhat, although it retains

its characteristic rhythm and is centered on E. It is constructed

this time in three phrases of eight, eight, and four measures, respec

tively. A new rhythmic figure, two dotted eighth-notes per measure.

85

is introduced in the last two measures of each phrase. This provides

a contrast of duple versus triple meter between the measures. The b

material is omitted in this return, and meas. 364-376 is the closing

passage of the section.

A short transition based on the earlier one lasts until m. 382.

At this point the timpani again bridges the gap to the next section,

this time for only ten measures. A new section, C, ternary in design,

begins at m. 392, with a lilting trio-like melody in second violin and

viola. It is accompanied by gracefully arpeggiated chords in the piano,

and the tonality in Bb Major, the tritone key of E. The five-measure

phrase is answered by a five-measure phrase by piano alone which is an

answer to its own material rather than to the tune stated in the

strings. In meas. 402-420, the piano begins imitative treatment of

its material, while the strings treat their melody in imitation. The

second part of the piano material is treated in meas. 406-409 imita

tively, and the entire figure is in imitation at the second in meas.

413-420. In both cases, the entries are one measure apart. In the

strings, at the same time, the melody is treaced in free imitation at

the distance of a measure in meas. 404-410, by first violin and viola.

Cello and second violin make false entries in meas. 402 and 403,

respectively, but do not continue. Beginning in m. 412, viola and

second violin make false entries, and first violin and cello continue

in free imitation.

The woodwinds enter in m. 421, presenting the motive that

is the basis for the fugue-like central episode in this ternary section.

86

The motive is based on descending and ascending fifths (Ex. 37), and

for six measures instigates a transition into the central episode.

The meter changes to ^ (in order to "slow down" the motive) , and the

motive is presented by viola and cello. It is expanded into an eight-

measure phrase, which is accompanied by ascending scales and trills

in the piano. The phrase is then stated by the second violins, with

light accompaniment in viola and cello and continued scales in the

piano. In m. 443, the phrase is taken by the first violins, and after

a measure, the woodwinds enter with the phrase in inversion. Dynamics

mount as the piano continues its scale passages, until m. 452. At

this point, the piano finally states the phrase in contrary motion

between the hands, forte and in octaves. Free imitation is present

in the woodwinds. A transitional passage based on the last four notes

of the phrase lasts through meas. 459-472. At m. 473 the trio-like

melody, this time in the piano, returns accompanied by fifths in the

horns. The first four bars truly sound like a phrase from a trio sec

tion of Beethoven's, they are so diatonic and classical in sound. The

melody is in imitation in the piano for the first four measures, then

settles into parallel thirds. In meas. 483-490 an imitative four-

measure pattern is sequenced up a fourth, beginning a transitional pas

sage. In m. 502, a tritone in the piano signals a return to E and thus,

the opening section. The transition is quite lengthy, employing a long

ascending chromatic sweep into m. 527.

The rhythmic character of the opening section is present here,

but the tonality has not yet reached E. The tonal center is F//, con

firmed by the C//-F// movement in the low strings. Preparation for the

J^r

Example 37. Third Piano Concerto; Third Movement Meas. 427-430

87

)lrnU Mi m i ms^m T i.*"

real return of the opening section lasts through m. 542, and even

after the piano enters with the opening section material in E, the

low strings maintain the F//-C# for ten measures. The first eight-

measure phrase in the piano is complete, followed by two measures

of the dotted eighth-note figure sounded in the brass and oboe.

The piano plays eighth-note quintuplets in meas. 553-556, while

the woodwinds state material derived from b . Two more measures of

the dotted eighth-note pattern follow. Beginning in m. 559, there

are four phrases based on b , all being eight measures in length

with the exception of the third, which is six measures long. These

are played by piano and woodwinds, the latter stating the basic

material and the former embellishing. In m. 588, the series of

phrases closes with a full orchestral tutti, and in meas. 590-605,

the orchestra makes two eight-measure statements of £. Violins

state the dotted eighth-note figure in meas. 605-606, and another

series of phrases on b_ begins in m. 607. For two five-measure

88

p h r a s e s , piano embel l ishes the ma te r i a l in t he woodwinds. In m. 616,

the m a t e r i a l i s taken by the piano for two five-measure p h r a s e s . A

third phrase i s expanded i n t o r i s i n g chromatic sweep p a r a l l e l to t h a t

of meas. 178-191. Ins tead of roar ing i n t o a new sec t i on a t the top

of the pas sage , however, the e n t i r e force comes to a complete h a l t .

Af ter a pause equal to two measures, the coda beg ins .

3 The meter i s changed to , and the tempo marking ( e d i t o r i a l )

i s P r e s t o . The f i r s t s e c t i o n of the coda i s r a t he r d i f f i c u l t to

r e l a t e d i r e c t l y to what has gone be fo re , although the rhythmic momen

tum i s we l l in keeping with the r e s t of the movement. Thematic

d e r i v a t i o n i s not c l e a r , but the re are c l e a r l y two eight-measure

phrases s t a t e d in the piano of a r i s i n g sequen t i a l n a t u r e . The

second phrase grows i n t o an extension tha t moves in to the keys of C,

F//, and D, before the piano begins a twenty-five-measure passage of

pe rpe tua l e i g h t h - n o t e s . The t o n a l i t y i s unc l ea r , and the ma te r i a l

i s not r e a d i l y t r a c e a b l e to any themes in the movement, in e i t h e r

piano or woodwinds. The octave passage in meas. 705-720 provides

a t r a n s i t i o n i n t o the second s ec t i on of the coda, which i s back in

meter and marked (aga in , e d i t o r i a l l y ) as Tempo I . 8

The f i n a l s e c t i o n of the concerto begins with the two t h r e e -

bar phrases based on the opening sec t ion motive, i n t e r spe r sed with

the t h r ee -no te descending f igure from the c los ing . The t o n a l i t y a t

m. 733 i s E Minor, as the piano begins a th ree -oc tave descent in

o c t a v e s . Again, the opening motive and f igure from the c los ing of A

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are heard in two short phrases, but the closing figure is augmented

rhythmically at the end of the second phrase. The piano ascends in

octaves as the orchestra plays the dotted eighth-note motive, and in

meas. 752-755, V7-I^ cadences are played back and forth between piano

and orchestra in E Minor. In m. 756, however, the £// appears in the

viola, creating an E Major chord. The remaining measures are merely

cadential (Mixolydian cadences, with a minor dominant), and an

ascending chromatic octave scale in the piano leads to the final

cadence on E Major.

It is not within the scope of this thesis to determine

whether Bartok remained true to his compositional principles or

conceded in the hopes of gaining wider popularity. It is difficult

to understand why he would forsake a path he had followed for so long

and against so much opposition, particularly since he must have known

he was close to death. It may be that he did, indeed, wish to write

a legacy that would be viewed with favor after his death. On the

other hand, one almost senses in this concerto the serene and indom

itable spirit which, as in the late works of Beethoven, has risen

above the struggle.

CONCLUSION

The desire to delve deeply into the piano concertos of B^la

Bartok was awakened upon my first hearing of all three. My initial

response was the obvious—that they are works in striking contrast

with one another. After close analysis, repeated hearings, and care

ful consideration, the same reaction remains as strong as at the

outset. The concertos are drawn from the years 1926, 1931, and 1945,

placing all of them within the realm of mature works. However, Bar

tok's development was constant, and, although his first concerto for

solo piano was completed at the age of forty-five, there was far more

to come in the way of his stylistic evolution. Although it is impos

sible to trace a definite course of development through only three

works, the piano concertos suggept Bartok's direction in his mature

years in much the same way as the string quartets exemplify the

stages of both his early and later development.

The first concerto is a bold work, striking in its original

ity, its acrid dissonances, and its percussive idiom. The relentless

rhythmic nature, subtly present even in the second movement, conveys

the impression that the entire concerto is the result of a single

stroke. The use of form carries out this concept.

The first movement, in sonata form, is constructed almost

entirely upon one motive, stated in the introduction. The many faces

of the motive constitute the principal materials of the exposition.

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91

Rhythms and intervals are developed, rather than real themes, and,

through contrapuntal intensity and rhythmic propulsion, the climax

is reached. Rather surprisingly, tonal conflict is an important fac

tor, for the first theme tries desperately to establish its return

on the correct level, but it is subjected to numerous false starts

before the recapitulation is achieved. Because of the harshness of

the harmonies, however, distinct tonal levels are difficult to hear,

and the result is seemingly motivic and rhythmic, rather than tonal,

conflict. The sheer size of the development (204 measures out of

482) reveals a similarity to Beethoven's concept of the developmental

struggle, and the recapitulation of the first theme exhibits a defi

ance not unlike Beethoven as well. The closing of the movement leaves

no doubt that the conflict is not yet resolved.

In a subtle manner, the second movement is rhythmically inces

sant and thus forms the perfect bond between the outer movements. The

central section of its ternary form is a natural outgrowth of the first

section and is related to the introduction motive of the first movement.

The expressiveness with which the percussion instruments speak is extra

ordinary, revealing another side to percussive writing that than of the

first movement.

There is something enigmatic about the movement, yet it is

unwavering in its expressive direction. The intent of purpose is

equally strong here as in the other movements, despite a slower tempo

and a subdued dynamic level.

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The third movement enters with the intention of resolving the

conflict, but there is no relaxation. Once again, a single motive is

the basis for most of the movement, and it too is related to the first

movement's introduction motive. Treatment is principally contrapuntal,

and the driving rhythm is again the propelling force, rather than

shifting tonalities. The actual development is not as long as that

of the first movement (146 measures out of 534) , but the movement

itself is almost entirely developmental. At the point of recapitula

tion, there is no resolution of conflict, and the material is greatly

modified, heard in fragmentation, imitation, and contrary motion, as

well as in combination, until the very end. Just as the development

section, it appears that neither the recapitulation nor the coda is

able to provide a satisfactory resolution to the struggle. The ending

is at best a compromise, and one experiences it with a sense of emerg

ing from a battle in which there is no victor.

Perhaps the parallels between Bart6k and Beethoven are often

overemphasized, but it is difficult to hear a work of such driving

energy without recalling the latter's middle works. What better

example of continuous development of one motive is there than the

opening movement of Beethoven's Fifth Symphony? The Sonata in ¥_ Minor,

Op. 57, is a classic example of the victorless battle and tension that

will not be laid to rest.

The First Piano Concerto is a work of a man at the height of

a style period. What he had to say he said boldly, unequivocally,

almost in one breath. The percussive style, developed to its height

93

in this and the third quartet, was not abandoned by Bart6k but was

employed in combination with a more melodious style. The early stages

of this further development is evident in the second concerto.

The second concerto is a hybrid, merging more appealing, dia

tonic elements with traces of the percussive style of its predecessor.

The heterogeneities are obvious, but they do not subtract from the over

all attractiveness of the work. The first theme is quite diatonic and

centered on G, but the transition to the second theme group, beginning

in m, 74, reverts to the primitive character of the first concerto.

The greatest degree of contrast in elements is found in the third move

ment, in which a barbaric first theme alternates in a rondo with the

diatonic themes of the first movement, transformed rhythmically. In

this concerto, however, the forces of diatonicism and relative lyricism

have the last word, as the barbaric theme is silenced.

With regard to form, this concerto is an example of Bartok's

adaptation to the principles of symmetry. For example, the large first

theme group in the opening movement exhibits a sense of symmetry, for

it lies in a loose ternary form, closing, after tonal diversion, in the

original key. Following a highly contrapuntal development, the first

theme group is heard in inversion, also for the sake of a symmetrical

design. Tension leading into the recapitulation is created not so much

by rhythmic propulsion as by stretto and a ritenuto that almost brings

the motion to a halt. The beginning of the recapitulation is the

resumption of the perpetuum mobile that permeates the movement.

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The second movement is perhaps the most masterful stroke of

the concerto. Here Bart6k again poses diverse elements against one

another, this time in an arch form. At the first entrance of the

piano-timpani dialogue in the opening section, one senses an uneasy

relationship with the string chorale. This tension is quietly in

creased and eventually explodes into the scherzo. This nightmarish

whirlwind slips easily into the central realm of night-music, no less

quieting than what has gone before. Even after the scherzo subsides,

the calm of the opening is lacking in the return of the chorale. ~

With subordination of the strings by the piano and timpani, the

struggle ends quietly and ominously. This is perhaps the greatest

single movement in the three concertos in the sense of purely musical

drama, and it is appropriate that Bart6k begins the following move

ment with a barbarous theme rather than the sunny G Major material

that opened the first movement. The rondo form enables him to pre

sent sharply contrasting materials in the various sections, with the

diatonicism of the first movement material emerging the victor in the

optimistic spirit of the Classical rondo.

That the second concerto is a transitional work can hardly be

disputed, heterogeneous in its use of diatonicism and chromaticism,

lyricism and percussiveness. It looks backward in its harshness,

forward in its lyricism and symmetry, and, despite its diverse ele

ment, remains remarkably unified through Bart6k's characteristically

motivic relationships .

95

There is a span of fourteen years between the second and

third concertos, as opposed to only five between first and second,

and the change in aesthetics is vast. The lyricism that found lim

ited expression in the second is the very soul of the third, and

it is expressed in the very simplest terms. The sense of serious

conflict is absent, and piano and orchestra speak as one.

The opening sonata-form movement_is compact, unassuming, and

straight-forward. Following the storm and bravura of the previous

concerto's opening movements, the third does not appear to be in

keeping with Bartok's style. However, the same might be said of

sonata-form first movements of Beethoven, when comparing the C Major

sonata. Op, 53 or the F Minor sonata. Op. 57, with the E Major sonata.

Op. 109. In the case of both Bart6k and Beethoven, the later example

is not conceived as a contradiction of, but a final result of, its

predecessors. Just as one must experience grief to comprehend real

joy, so he must know conflict in order to achieve such a profound

serenity.

That serenity is again expressed in the second movement, in

which piano and orchestra are not competitors but allies, and in

which the central section is not an intrusion but a further inspira

tion. Although the union of religion and nature might seem too

programmatic for an abstract work of Bart6k, it is certainly sug

gested and effectively achieved, whether or not by intention.

The vitality of the third movement is of a nature quite

different from that of any movement in either of the two preceding

concertos. The character is affirmative throughout, reveling in

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seemingly spontaneous counterpoint, and maintaining a rhythmic excite

ment free from harsh irregularity. The movement is unquestionably

classical in spirit, the lively episodes and expanded return of the

principal section creating a striking similarity to the typical rondo

of Beethoven, The finale is an uplifting affirmation, following the

delicacy of the first movement and the spirituality of the second.

The third concerto is supremely classical, the first movement

approaching a Mozartian aesthetic, the second and third more closely

akin to Beethoven. Although the other two concertos are classical in

form and procedures as well, the lyricism and clarity of the third

make the analogy more pronounced.

It is important to recognize the roles assigned to piano and

orchestra in each of the concertos, as this is a problem with which

every concerto composer is faced. Not one of the works could be

regarded as either a solo for piano with orchestral accompaniment or

as a symphony with piano obbligato. The two forces are primarily on

equal terms, whether in conflict or agreement, and, in most cases,

are treated in the same manner.

In the first concerto, the entire orchestra becomes a per

cussion ensemble as does the piano, and excepting the woodwind

counterpoint in the second movement and very occasional passages

in the first and third, there is scarcely a real melody in the work.

Thematic material is shared and eventually stated or treated contra

puntally in every section of the orchestra. Independence of parts is

an integral element, and the points at which the orchestra is merely

supporting the piano are isolated.

97

The second concerto, as well, strikes an excellent balance

between soloist and orchestra. Variety in color is achieved through

the absence of strings in the first movement, exclusive use of

strings, piano, and timpani in the opening of the second, and the

combined forces of the full orchestra in the third. The brilliance

of the pianistic writing in the first movement is complemented by

the brass stretto that occurs throughout. Both piano and orchestral

materials are conceived contrapuntally, participating in continuous

imitation and stretto. In the scherzo of the second movement, the

piano and orchestra are conceived inseparably, creating tension not

through conflict with each other, but through nervous figuration,

chromaticism, and the ultimate effect of the entire section upon the

return of the chorale. In the finale, the timpani anticipates the

minor-third theme prior to the statement in the piano, and, although

the piano reintroduces the rhythmically transformed motives of the

first movement, it is answered in turn by a transformed version of

the stretto by the brass,

The third concerto is scored for a large orchestra, but the

texture is transparent. It is not subordinated to the piano in any

way, however, for the texture of the latter is delicate as well. The

soloist is charged with the initial statement of themes, but these

are readily answered by the orchestra, and the development is a joint

effort. Perhaps the most beautiful example of compatibility between

piano and orchestra is the second movement, in which strings and

piano answer and enrich each other, and woodwinds join for the

98

"bird songs" in the central section. The finale reveals the orchestra

again answering the piano and participating in spirited counterpoint

after the initial solo statements. In general, the orchestration is

more chordally conceived in the third concerto than in either of the

others, certainly because this work is more diatonic,

Bart6k's piano concertos are, indeed, works in striking con

trast with one another. They are, in turn, savage, bravura, and

ethereal. Because of their differences, it is difficult to grasp

their essence as a whole; perhaps most important is that they are

works of conviction, always direct and never wavering in their pur

poses. In capturing the essence of each, we are allowed varied

glimpses of Bartok the man—as individiialist, as architect, and as

poet—and in so doing it becomes apparent that one is not at variance

with another.

BIBLIOGRAPHY

Austin, William W, Music in the 20th Century. New York: W.W, Norton and Company, 1966,

Bart6k, B^la, Concerto No. 3 for Piano and Orchestra. New York: Boosey and Hawkes, 1947.

Bart6k, B^la. Concerto 1_ for Piano and Orchestra, New York: Boosey and Hawkes, 1954.

Bart6k, B€la, Concerto II for Piano and Orchestra. Vienna: Philharmonia Scores, 1932.

B4la Bart6k: A Memorial Review Including Articles on His Life and Works Reprinted from Tempo. New York: Boosey and Hawkes, 1950,

Cincinnati Enquirer. 26 Feb. 1928, as quoted in Slominsky's Lexicon of Musical Invective. Seattle: University of Washington Press, 1965"

Dallin, Leon. Techniques of Twentieth Century Composition. Dubuque, Iowa: Wm, C. Brown Company, 1957.

Fenyo, Thomas, The Piano Music of B^la Bart6k. Unpublished Ph. D. dissertation. University of California at Los Angeles, 1956.

Foss, Hubert J. Music In My Time. London: Rich and Cowan, Ltd., 1933,

Goodfriend, James. Record notes for The Six String Quartets. Columbia Records D3L 317.

Graf, Max. Modem Music. New York: Philosophical Library, 1946.

Guerry, Jack Edwin. BarttSk's Concertos for Solo Piano: A Stylistic and Formal Analysis. Unpublished Ph. D. dissertation, Michigan State University, 1965.

Hodier, Andre. Since Debussy. Trans. Noel Burch. London: Sacker and Warburg, 1961.

Lendvai, Emo. Bela Bartok. London: Kahn and Averill, 1971.

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100

Machlis, Joseph. Introduction to Contemporary Music. New York: W. W. Norton and Company, 1961,

Moreux, Serge. Bela Bart6k. London: Harvill Press, 1953.

Noble, H. Musical America. New York Times, 18 Feb. 1928, as quoted in Slominsky's Lexicon of Musical Invective. Seattle: University of Washington Pre'ss, 1965.

Rossi, Nick and Choate, Robert A. Music of Our Time. Boston: Crescendo Publishing Company, 1969.

Slominsky, Nicolas, ed. Lexicon of Musical Invective. Seattle: University of Washington Press, 1965.

Stevens, Halsey, The Life and Music of Bela Bartok. New York: Oxford University Press, 1964.

Strauss, Henrietta. "Music." The Nation, 126 (1928), 275.

Waldbauer, Ivan F, "Bartok's First Piano Concerto: A Publication History." Musical Quarterly, 51 (1965), 478-492.

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