Béla Bartók - BB 115, Sz.110 Sonata for 2 Pianos and Percussion (1937) (Score, Analysis)
Вставка
- Опубліковано 28 лип 2024
- BB 115, Sz.110 Szonáta két zongorára és ütőhangszerekre/Sonata for 2 Pianos and Percussion (1937)
Béla Bartók (born Bartók Béla Viktor János) (1881-1945) is one of the most important composers of the earlier half of the 20th century. His works can be divided roughly into four periods, each with unique colors. The first period is reminiscent of Strauss and Wagner, in a late romantic idiom. The second period utilizes folk music and modern harmonies reminiscent of Schoenberg and Debussy. The third is characterized by mathematical elements and conquest for unique harmony. The last period is characterized by the simplification of textures. His best-known works include the second violin concerto, six string quartets, second piano concerto, concerto for orchestra, and music for strings, percussion, and celesta.
One of Bartók’s most famous works, this work was commissioned by Paul Sacher, and premiered on 16 January 1938, to an enthusiastic response. It is scored for 2 pianos, timpani, bass drum, cymbals, triangle, snare drum, tam-tam, and xylophone. It was later transcribed as a concerto, and in this version, the soloists’ parts do not change that much.
(0:00) Mov.1 Assai lento - Allegro molto - The first movement is in a classical sonata form. It begins with a slow introduction, in F#, and unsettling, in a “night music” style.
(2:15) Transition, becoming more and more lively, setting the stage for exposition
(2:46) Exposition. T1, a very lively melody
(2:58) This section could be connected to the introduction, but now lively.
(3:25) T1.
(3:39) Transition
(3:58) T2, calm, but still folk song-like.
(4:46) Transition
(5:21) T3 (closing theme). This leads to a kind of fugato passage.
(5:44) T2
(6:14) Transition
(6:41) Development. This first phase mixes T1 with the introduction theme.
(7:16) Another episode, still based on T1, but barely recognizable.
(7:42) Varied statement of the first episode. The fragments of the first theme is intermixed with figures from the introduction.
(8:19) Transition
(8:38) T1, very triumphantly and brightly.
(9:34) T2, still eerily.
(10:54) Fugato based on T3.
(12:11) Coda
(12:50) Mov.2 Lento ma non troppo - The second movement is in ternary form, and is representative of the “night music” idiom (I haven’t thought so, but I think this is one of the finest “night music” pieces of Bartók).
(13:11) Piano entry
(15:14) Middle section. It starts with “twitching” of the bugs with repeated notes. This leads to a climax at (16:04).
(16:15) An eerie scene
(16:44) Next episode, like night in a forest, with irregular tremolos, and unsettling mood amplified (especially from 17:46)
(18:02) The outer section starts with the arpeggiated figure of the previous episode, then tremolos and glissando.
(18:50) The movement concludes with reminiscences of the middle section.
(19:21) Mov.3 Allegro non troppo - (I’m using H. Simons (2000) Bela Bartok’s Sonata for Two Pianos and Percussion (citeseerx.ist.psu.edu/documen...) for structure of this movement) The finale is a rondo, but with a sonata twist, as the middle “C” section is development. The first theme is introduced by the xylophone (this theme appears in Shostakovich’s 13th symphony, 2nd movement, in response to Bartók sarcastically quoting the Lehar theme used in the 7th symphony), followed by variation.
(19:52) Transition
(19:59) T2 (B section), followed by a variation. This theme is less sarcastic.
(20:27) Transition
(20:49) T1 (A section). Feels quite Jazzy in my opinion.
(21:20) Development (C section). The first theme is varied here.
(22:40) Recapitulation (A section). T1.
(23:06) Transition
(23:24) T2 (B section). Lighter than before.
(23:31) Transition
(23:42) The first episode of the development.
(24:23) T1 (A section)
(24:48) T1, Coda. The coda of this piece is quite unusual, as it slowly dies away, instead of a blasting triumph.
Source: English/Hungarian Wikipedia, original research
Recording by Martha Argerich, Nelson Freire, Peter Sadlo, Edgar Guggeis
This video is for a non-commercial purpose (I do not get any profit from this video), and I do not own the score or the music. If there is an advertisement, it is not by me; it is by UA-cam. If you are the rightful owner and want this video removed, please contact me, and I will promptly remove it.
I think it is worth pointing out some of the (most obvious) mathematical elements.
1. The climax of the first movement lies almost exactly at the point specified by the golden ratio (the spot based on the golden ratio based on the measure number would be 443*1/1.618 = 273.79, and the climax (recapitulation of the first theme) lies at the measure 274. There are other key moments in all of the movements which lie on the point specified by the golden ratio.
2. The main ostinato of the introduction of the first movement, as shown in the fourth measure - this centers around C, and the highest point is 3 half steps above, and the lowest is 5 half steps below. Both of these are Fibonacci numbers. This principle applies also to T1 and T2.
There are more mathematical devices (the two above are the most obvious ones), and if you are interested in learning more about it, there are tons of articles online, and numerous research papers that analyze the mathematics behind this piece.
The golden ratio? 🤣🤣🤣🤣 jesus christ the pseudoscience is crazy
It's a rare occasion when I agree with the other dude, but yeah, not a fan of the golden ratio. I mean, if Bartók used it on purpose, that's kinda cool. If not, then that's also kinda cool, but it's just one example in a sea of counterexamples.
@@klop4228Bartok did incorporate golden ratio in his composition, so does Debussy and other 20th century composer as an inspiration for form and structure. Though, I doubt its effectiveness as listeners simply have no referencing point on the precise progress of the music, i.e. no idea how long is left until the piece is over. Moreover, apart from some obvious examples with clear evidence, cases are just overblown by analyst due to confirmation bias.
@@choiyatlam2552 I mean, Bartók and Debussy purposely incorporating the golden ratio is also only evidence that they found it interesting. It says very little about its natural predisposition to appearing in "perfect" art.
6:40 I love this section so much
이어폰 끼고 들으면 처음 팀파니롤 소리 잘 들려요. 아무튼 좋은 연주로 올려주셔서 감사합니다. 아르헤리치와 페레이레의 조합은 절대 실망시키지 않네요.
TL;DR: @Whatismusic123, I think I have enough arguments in the description, but there must be a good reason why you commented "this is not sonata and not music". Instead of saying that it is obvious, would you please care to explain why this is not a sonata and not music, so that I and others can be appreciative of your opinion?
Long version:
Hmm...there seems to be somebody who's just commenting that this is nonsense. @Whatismusic123, if you are here, what makes you think that this is nonsense? "It's just not music" is not an option. Sure, let's say that Bartok never used the golden ratio, regardless of countless papers that analyze the usage of it in Bartok (and numerous other composer)'s works.
I think I have given enough argument on the structure of this in the description. While the structure of the last movement is a bit vaguer, it is possible to view the other movements in classical forms - the first movement as a sonata form with (0:00) Introduction, (2:46) Exposition, (6:41) Development, (8:38) Recapitulation, (12:12) and coda. The second movement can be seen as a ternary movement, with the middle section at (15:14). While the third movement's form is a bit vaguer, based on the themes, it lies comfortably in a traditional sonata-rondo structure (with a coda). Doesn't that ring the bell? It almost follows the Mozartian classical sonata model entirely!
While the tonality is not entirely diatonic, we can see that many areas of this piece is firmly rooted in traditional tonalities. For example, the introduction is in F#, and the first theme is in C. Of course, there are clashes between different tonalities, either at the same time or different (for example, the tritonic relationship between the introduction and first theme).
Of course, there are deviations. However, let's think. Does an entire piece have to be based on a single diatonic scale, without any deviations, nor modulation, and not a rhythmic variation? Even pop songs of 2-minute lengths use the principles of modulations, and if we come back to the classical world, there are a lot of unexpected modulations and dissonances in works of composers like Bach, Mozart, and Beethoven.
I don't think it is good to comment "this is nonsense" without explaining why. I mean, rather than being angry, I would like to know the reasoning. The same goes to comments like "this is wonderful". I want to know why people like this piece, and I appreciate it when somebody takes time to explain what they liked about the piece/my video. And when somebody comments why they don't like a piece/video, I can gain either opinions or possible improvements. When I see a negative comment, I become perplexed before being angry at the commentor. What aspect of this piece made this commenter react so negatively? I have asked everyone who made a negative comment the same question - "what aspect of this piece made you think that this is bad? I would like to know!" - none of them made a reply, which made me even more confused. Wouldn't there be a better reason than "I just hate it" if you spent time to look at the video and commented on it?
Well, I think I have made enough argument both in the description and here, and I wait for your response, @Whatismusic123. If you have time and effort to comment "This is not music" and reply to others' replies to your comments, please take time to explain to others why this is not a sonata nor a music, so that both me and others can appreciate your opinion.
Appreciate your patience and knowledge, but not for trolls, please😓Dude picks a fight in every Bartók upload.
@@sqrti8825 I know what this person does (seen that person a lot in contemporary classical music videos). I kind of intended this as sarcasm (try to answer this if you can), but I think I might have sounded too serious😅
It is music, very complex music. Immagine studying and performing all that, insane effort. People who hear random noise in this just don't have a trained ear and don't understand it's rules. If you listend carefully you'll find that it has regularities, a structure, a style, a melody that has patterns that are typical to a classical melody, it is far from randomly mashing the keyboard like some untrained ear might say. It is just that it's complex because it doesn't follow a simple typical major or minor scale, it' s like music from another planet. It is subjective what different people find enjoyable and also depends on what your soul needs at the moment. Imagine smoking some weed and hearing this when you're high, you'll travel planets where you've never been before. Even without smoking anything I can hear that this music is about something, has worlds in it.
Wow
(Asked and aswered after a read of the description, but still would like to hear thoughts on this) Do you think as a reciprocation (given Bartok's quotation or inspiration of his Leningrad Symphony to the Concerto for Orchestra) and an hommage to Bartok after he died, Shostakovich, in a similar manner used this piece (the opening of the third movement) as inspiration for the Babi Yar Symphony (the Humours movement in particular (rehearsal marker 51 is the exact section I had in mind))? I'd love to hear thoughts and reactions of this thought...
Based on what I have read from various places, that theme in Shostakovich 13 is from this piece, so you are totally right, I think.
If bop-it was classical music
I don't hear anything at the beginning
It's supposed to be a really quiet timpani roll - which I can't hear on my computer either somehow. Perhaps there was an error in the recording (like the sound engineer wiped it out by accident while erasing the noise), or the player played it too quietly so that the mic didn't pick it up?
@@Signore_S It's common when recording off an album that the level isn't properly adjusted and then no checking is done after recording.
We can hear it well with earphone!!
Actually, sounds interesting. And yes, it's music :)
music is anything you call music. what's meaningful about that? there's good music and bad one, there's popular one and totally forgotten...
Türk kökenli Macarları Türk piyanistler iyi seslendirebilir. Bu zorlu eseri Eseri Güher & Süher Pekinel den de çok seveceksiniz. 1. Bölüm >> ua-cam.com/video/_UanGAi6Pew/v-deo.html . . . . . 2. ve 3. Bölümler >> ua-cam.com/video/xS8IbYOSfXc/v-deo.html . . . . . . . . . Turkish pianists can play Hungarians of Turkish origin well. You will love this challenging work by Güher & Süher Pekinel
I have listened to it, and the execution was very good in my opinion! The notes were clearly heard, the percussion sounds were not cloaked by the pianos, and the tempo was appropriate, I think.
@@Signore_S I hope you include Turkish composers as well. I think Ulvi Cemal Erkin - Piano Concerto (4 parts) is the best example to start with >> ua-cam.com/video/RSI5I2QS_DE/v-deo.html
I'll touch on them (Erkin and Turkish Five) later if I can get my hands on the scores!
말도 안 되는 소리 하는 사람 상대하시느라 고생 많으십니다. 현대음악이나 20세기 작곡가들의 음악을 좋아하지 않는 것까지는 취향의 차이이니 이해 가능하지만, 저런 식으로 이게 음악이 아니라느니, 어린이들도 이것보다는 잘 쓸 거라느니, 소음에 불과하다느니 하는 건 선 넘고 교만한 태도라는 생각이 듭니다. 바르톡이 이런 식으로 푸대접 받아야 할 음악가는 아니지 않나요? 맘에 안 들면 그냥 듣지 말고 넘어가면 되는데 말이죠..
딱히 고생하고 있진 않으니 걱정마세요. 다른 현대음악 듣다보면 얘가 단 이상한 댓글이 간간히 보이길래 제 채널에 나타나니까 딱히 기분이 나쁘다기보다는 "와 내 채널이 이런놈도 답글을 달 정도로 커졌구나"라는 생각이 먼저 들더군요ㅎㅎ. 원래는 그냥 관종같아서 굳이 관심을 안주려다가, 댓글란이 크게 불어난 것을 보고 그냥 한마디 남겨놓으려고 댓글을 달아놓았습니다 :)
째즈도 소음에 불과한데 솔직히 이건 더하네요
@@bergkampdennis5673 How is jazz noise, lol? Btw, this piece is genius and hasn't nothing with noise. Honestly, your perception is very narrow.
This is not a sonata and not music
GUYS!!! Whatismusic123 just said this isn't music nooo!!!! they're the god of music n only they can decide wat is music n wat isn't noo!!!!!
@@quantumsoap2719 it should be obvious
yes, you are right---it is a skyscraper in Budapest under construction with some masons, that wonder why they have not enough foundation
@@michaelkrestan5483 it's random noise
It says "Sonata" right there in the title