Viola Concerto (Bartók)
Encyclopedia
Béla Bartók
's Viola Concerto, Sz. 120, BB 128 was written in July – August 1945, in Saranac Lake, New York
, while he was suffering from the terminal stages of leukemia
. It was commissioned by William Primrose
. Along with the Piano Concerto No. 3
, it is his last work, and he left it incomplete at his death. The concerto was premiered in 1950 by the Minneapolis Symphony Orchestra with Antal Doráti
conducting and William Primrose playing the solo part.
The concerto has been completed three times: once by Bartók's friend and pupil, Tibor Serly
(1949); once by Peter Bartók (son of the composer), Paul Neubauer
, and Nelson Dellamaggiore (1995); and once by Csaba Erdelyi (copyright laws limit the availability of the Erdelyi version to retail stores in New Zealand and over the Internet). The score suggests three movements with interconnecting passages, somewhat in the character of a ritornello
, and this is how the completed versions run; however, Bartók mentioned in an unsent letter to Primrose that he intended the work to have four movements in all. The scherzo
movement, which would have been the 2nd, was cut out by the composer, but some passages in the manuscript could be part of this scherzo.
Bartók did not complete either the instrumentation or even the final texture so large passages are relatively devoid of detail. Stylistically, the work is similar to the Third Piano Concerto
which was written at the same time. Compared to his earlier works they are harmonically restrained, somewhat conservative in most respects and with an elegiac quality which had always been a strong component of his music but which intensified in his late years.
are in mm. 1-40. The A diminished tonality implied by the beginning introduction is the first hint at a B tonal center. The primary theme is a 4-bar antecedent to an 8-bar phrase that is never presented fully.
The second tonal area and "middle theme" are in mm. 41-60. This starts off with one of the few cadences
in the whole piece. C minor is the first key. This section has a denser texture, faster successive attack activity, and mostly scalar melodic motion (in contrast to the leaping melodic motion of the primary theme). This figure traverses through many tonal areas through the use of sequencing, ending with an extended B pedal
(approx. mm. 52-61).
The third tonal area and secondary theme are in mm. 61-80. This starts on an E in the viola part, and with an E held in the bass, and ends with a D trill in the solo viola part inn measure 80.
For a more in depth look at the first movement refer to "Finding Emotion in Batok's Viola Concerto" written by Jennifer Reed Mueller and published in the Journal of the American Viola Society, Fall 2009 Volume 25, Number 2.
technique is typical of Bartok's works. He aspired to always avoid any literal repetition of thematic material, and altered subsequent repetitions by using techniques such as ornamentation
, elaboration, varied instrumentation, and new harmonization. The primary theme is developed. In measure 87, the opening interval is a tritone
, instead of a minor 6th. In measure 95, the viola part is inverted
, with an implied starting pitch of B dim., which foreshadows the eventual C resolution in the coda. Measure 102 is in B major. Measure 116 is an intervalic and harmonic inversion of measure 112.
A cadenza
begins in measure 127.
The second tonal area and "middle theme" are in mm. 162-185. A cadence starts this "middle theme." E minor is the first key. The mediant
alteration from the C minor of the Exposition is interesting, because since this theme is between the primary and secondary areas, it is only harmonically shifted halfway in the Recapitulation. This time the harmonic sequencing is by thirds instead of by fifths, as in the Exposition. (c, g, d, a in Exposition and e, g, c, a in Recapitulation).
The third tonal area and secondary theme are in mm. 185-207. This starts on an A in the viola part this time, which is the type of transposition
one typically expects of the secondary theme in the Recapitulation of a sonata form piece.
alterations. This movement ends on a C major triad.
The movement is marked Adagio religioso.
The movement is marked Allegro vivace.
Béla Bartók
Béla Viktor János Bartók was a Hungarian composer and pianist. He is considered one of the most important composers of the 20th century and is regarded, along with Liszt, as Hungary's greatest composer...
's Viola Concerto, Sz. 120, BB 128 was written in July – August 1945, in Saranac Lake, New York
Saranac Lake, New York
Saranac Lake is a village located in the state of New York, United States. As of the 2010 census, the population was 5,406. The village is named after Upper, Middle, and Lower Saranac Lakes, which are nearby....
, while he was suffering from the terminal stages of leukemia
Leukemia
Leukemia or leukaemia is a type of cancer of the blood or bone marrow characterized by an abnormal increase of immature white blood cells called "blasts". Leukemia is a broad term covering a spectrum of diseases...
. It was commissioned by William Primrose
William Primrose
William Primrose CBE was a Scottish violist and teacher.-Biography:Primrose was born in Glasgow and studied violin initially. In 1919 he moved to study at the then Guildhall School of Music in London. On the urging of the accompanist Ivor Newton, Primrose moved to Belgium to study under Eugène...
. Along with the Piano Concerto No. 3
Piano Concerto No. 3 (Bartók)
Béla Bartók's Piano Concerto No. 3 in E major, Sz. 119, BB 127 is a musical composition for piano and orchestra. The piece was composed in 1945 by Hungarian composer Béla Bartók during the final months of his life. It consists of three movements.-Context:...
, it is his last work, and he left it incomplete at his death. The concerto was premiered in 1950 by the Minneapolis Symphony Orchestra with Antal Doráti
Antal Doráti
Antal Doráti, KBE was a Hungarian-born conductor and composer who became a naturalized American citizen in 1947.-Biography:...
conducting and William Primrose playing the solo part.
The concerto has been completed three times: once by Bartók's friend and pupil, Tibor Serly
Tibor Serly
Tibor Serly was a Hungarian violist, violinist and composer.He was one of the students of Zoltán Kodály. He greatly admired and became a young apprentice of Béla Bartók. His association with Bartók was for him both a blessing and a curse...
(1949); once by Peter Bartók (son of the composer), Paul Neubauer
Paul Neubauer
Violist Paul Neubauer was the youngest principal player for the New York Philharmonic at 21 years of age, and currently teaches at the Juilliard School, and Mannes College The New School for Music. He performs with the Chamber Music Society of Lincoln Center...
, and Nelson Dellamaggiore (1995); and once by Csaba Erdelyi (copyright laws limit the availability of the Erdelyi version to retail stores in New Zealand and over the Internet). The score suggests three movements with interconnecting passages, somewhat in the character of a ritornello
Ritornello
A ritornello is a recurring passage in Baroque music for orchestra or chorus. The first or final movement of a solo concerto or aria may be in "ritornello form", in which the ritornello is the opening theme, always played by tutti, which returns in whole or in part and in different keys throughout...
, and this is how the completed versions run; however, Bartók mentioned in an unsent letter to Primrose that he intended the work to have four movements in all. The scherzo
Scherzo
A scherzo is a piece of music, often a movement from a larger piece such as a symphony or a sonata. The scherzo's precise definition has varied over the years, but it often refers to a movement which replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or...
movement, which would have been the 2nd, was cut out by the composer, but some passages in the manuscript could be part of this scherzo.
Bartók did not complete either the instrumentation or even the final texture so large passages are relatively devoid of detail. Stylistically, the work is similar to the Third Piano Concerto
Piano Concerto No. 3 (Bartók)
Béla Bartók's Piano Concerto No. 3 in E major, Sz. 119, BB 127 is a musical composition for piano and orchestra. The piece was composed in 1945 by Hungarian composer Béla Bartók during the final months of his life. It consists of three movements.-Context:...
which was written at the same time. Compared to his earlier works they are harmonically restrained, somewhat conservative in most respects and with an elegiac quality which had always been a strong component of his music but which intensified in his late years.
Exposition (mm. 1-81)
The first tonal area and primary themeTheme (music)
In music, a theme is the material, usually a recognizable melody, upon which part or all of a composition is based.-Characteristics:A theme may be perceivable as a complete musical expression in itself, separate from the work in which it is found . In contrast to an idea or motif, a theme is...
are in mm. 1-40. The A diminished tonality implied by the beginning introduction is the first hint at a B tonal center. The primary theme is a 4-bar antecedent to an 8-bar phrase that is never presented fully.
The second tonal area and "middle theme" are in mm. 41-60. This starts off with one of the few cadences
Cadence (music)
In Western musical theory, a cadence is, "a melodic or harmonic configuration that creates a sense of repose or resolution [finality or pause]." A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music...
in the whole piece. C minor is the first key. This section has a denser texture, faster successive attack activity, and mostly scalar melodic motion (in contrast to the leaping melodic motion of the primary theme). This figure traverses through many tonal areas through the use of sequencing, ending with an extended B pedal
Pedal tone
Pedal tones are special notes in the harmonic series of cylindrical-bore brass instruments. A pedal tone has the pitch of its harmonic series' fundamental tone. Its name comes from the pedals of a pipe-organ. Cylindrical brasses do not naturally vibrate at this frequency.A closed cylinder...
(approx. mm. 52-61).
The third tonal area and secondary theme are in mm. 61-80. This starts on an E in the viola part, and with an E held in the bass, and ends with a D trill in the solo viola part inn measure 80.
For a more in depth look at the first movement refer to "Finding Emotion in Batok's Viola Concerto" written by Jennifer Reed Mueller and published in the Journal of the American Viola Society, Fall 2009 Volume 25, Number 2.
Development (mm. 81-147)
The Development begins with the primary theme from bar 1. This time, however, the 2nd Horn plays the first note. This variationVariation (music)
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve harmony, melody, counterpoint, rhythm, timbre, orchestration or any combination of these.-Variation form:...
technique is typical of Bartok's works. He aspired to always avoid any literal repetition of thematic material, and altered subsequent repetitions by using techniques such as ornamentation
Ornament (music)
In music, ornaments or embellishments are musical flourishes that are not necessary to carry the overall line of the melody , but serve instead to decorate or "ornament" that line. Many ornaments are performed as "fast notes" around a central note...
, elaboration, varied instrumentation, and new harmonization. The primary theme is developed. In measure 87, the opening interval is a tritone
Tritone
In classical music from Western culture, the tritone |tone]]) is traditionally defined as a musical interval composed of three whole tones. In a chromatic scale, each whole tone can be further divided into two semitones...
, instead of a minor 6th. In measure 95, the viola part is inverted
Inversion (music)
In music theory, the word inversion has several meanings. There are inverted chords, inverted melodies, inverted intervals, and inverted voices...
, with an implied starting pitch of B dim., which foreshadows the eventual C resolution in the coda. Measure 102 is in B major. Measure 116 is an intervalic and harmonic inversion of measure 112.
A cadenza
Cadenza
In music, a cadenza is, generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists, usually in a "free" rhythmic style, and often allowing for virtuosic display....
begins in measure 127.
Recapitulation (mm. 147-207)
The first tonal area and primary theme are in mm.147-162. This time the primary theme is played by the flute while the viola noodles around. The chord is an F7 chord, giving further weight to the B tonality of the primary theme.The second tonal area and "middle theme" are in mm. 162-185. A cadence starts this "middle theme." E minor is the first key. The mediant
Mediant
In music, the mediant is the third scale degree of the diatonic scale, being the note halfway between the tonic and the dominant. Similarly, the submediant is halfway between the tonic and subdominant...
alteration from the C minor of the Exposition is interesting, because since this theme is between the primary and secondary areas, it is only harmonically shifted halfway in the Recapitulation. This time the harmonic sequencing is by thirds instead of by fifths, as in the Exposition. (c, g, d, a in Exposition and e, g, c, a in Recapitulation).
The third tonal area and secondary theme are in mm. 185-207. This starts on an A in the viola part this time, which is the type of transposition
Transposition (music)
In music transposition refers to the process, or operation, of moving a collection of notes up or down in pitch by a constant interval.For example, one might transpose an entire piece of music into another key...
one typically expects of the secondary theme in the Recapitulation of a sonata form piece.
Coda (mm. 207-230)
The Coda starts with the Consequent portion of the 8-bar theme from the opening of the piece. The opening viola line is pentatonic, in that there are no 'A's or 'D's. This is strongly in C with elements of both minor and major. The second half of the 4 bar phrase also has modeMusical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
alterations. This movement ends on a C major triad.
Second movement
In the Serly edition, the second movement begins with an introduction. This lento parlando introduction has been left out by the other editions, as it might have belonged to the incomplete or abandoned scherzo movement.The movement is marked Adagio religioso.
Third movement
The third movement also begins with an introduction. The fifth-based chord played at the beginning is repeated in the middle of the movement, when a folk melody is introduced.The movement is marked Allegro vivace.