Bartok.

Music for Strings Percussion, and Celesta

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MHL 341 Music History

Bartk, Bla: Music for Strings, Percussion, and Celesta, mvt. 1
l

The previous listening excerpt was Ives, Charles: Concord Sonata, mvt. 3, "The Alcotts". The first movement of MSPC (often pronounced Moose Pack) is a fugue. As you can see, it has frequent changes of meter, sometimes called variable meter, and also has irregular meters such as 5/8, 7/8, and 10/8, so that there is no apparent regular meter. There is no key signature, but the movement is centered on pitch class A, the pitch on which it begins and ends. The significant interval, however, is the tritone: A - E-flat. Note the long-line melody which, however, begins as a brief, 5-note germ motive that ascends a third and returns with different notes, then ascends again, growing to a tritone and returning. The third phrase is the climax phrase, followed by a fourth phrase before the Answer begins at m. 5. Even after the Answer, the original subject continues its independent way developing the germ motive with which it began. Meanwhile, you should be aware of the particular way in which the successive Subject and Entry pitches are arranged. The procedure is similar to a wedge in which the Subjects enter successively a fifth higher, thus A - E - B - F# (Gb) - C#(Db) - Ab - Eb, while the Answers enter successively a fifth lower, thus A - D - G - C - F - Bb - Eb. Thus there is a Subject or Answer on each of the 12 pitch classes and the climax of the piece is reached when the Subject and Answer both reach the tritone in opposite directions on Eb, m. 56. The wedge:
Eb Ab C#(Db) F#(Gb) B E A D G C F Bb Eb

Not all the entries are the same, but find them: A m. 1, E m. 4, D m. 9, B m. 12, G m. 16, (then several measure of working out the motive), F# m. 26, C m. 27, C# m.
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Bartok. Music for Strings Percussion, and Celesta

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28, F m. 33, Ab(G#) m. 35, Bb m. 37, Eb m. 44, leading to the dynamic climax on Eb m. 56 and reversing direction (and with some compression) returning via inverted intervals to the original pitch of A. This wedge begins in the lower string with an Eb entrance m. 56.
l

Another interesting section begins m. 77 where the melody begins in v. l. 1 and v. l. 4 simultaneously on pitch A, but in contrary motion, joined by the ostinato in the Celesta. Then in a kind of coda, the initial motive is played successively, m. 82, and in contrary motion in a duet wedge m. 86, ending on a unison A. Bartk employs in this movement only some of the techniques he learned from his study of real folk music: their use of irregular meter, their type of text setting or singing style which he called parlando-rubato, and the frequent use of 4ths and 2nd (and their inversions, fifths and 7th) in both melody and harmony that were different from the traditional European triadic harmony. Also, he used a kind of modal chromaticism in which the same mode or scale could include two notes of the same pitch class, such as F-sharp and F-natural (no church mode or major or minor scale uses two notes of the same name). Of course his music doesn't sound simple or folksy. It is, instead, a remarkable achievement. At this time in his life Bartk seems to have made a special effort to organize his music so that the constituent parts change or arrive at a climax, or have some sort of distinctive thing happening. The Golden Proportion or Section is based on the Fibonacci series of number, described DWMB2 p. 312. Since the measures are of different sizes in MSPC, you will be able to find the division by counting eighth notes and will find the Golden Proportion of the entire movement exactly at the climactic chord. Look for it. This movement may initially sound somewhat grim and mysterious. It is similar to several movements written by Bartk that are called "Night Music" pieces, in that they are the kind of music one might imagine at night. Not the pretty night music of Mozart's Eine kleine Nachtmusik (A Little Night Music), but rather the kind of frightening, nightmare music of more contemporary times. Such movements are usually the internal slow movements of his string quartets or symphonies, and are famous for the effects and new and unusual sounds he created. There are, by the way, four other movements to MSPC, the second and fourth of which are often said to be "Night Music." You should listen to the whole piece sometime. The next listening excerpt is Schoenberg, Arnold: Pierrot Lunaire, No. 8, "Nacht".

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#173, p. 286

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