Page 273 - (DK) The Classical Music Book - Big Ideas Simply Explained

MODERN 1900–1950 271

See also: Also sprach Zarathustra 192–194 ■ The Bartered Bride 206 ■ Dvorˇák’s
Symphony No. 9 212–215 ■ Finlandia 220–221 ■ The Lark Ascending 252–253

From the 1920s, Bartók began to The time signatures of the highly
experiment with incorporating challenging central fast scherzo
percussive textures into his music, movement, marked Alla bulgarese,
vividly exemplified in the pizzicato features rhythms typical of
(plucked) fourth movement of his Bulgarian folk music, with nine
Fourth Quartet (1928). In the Fifth quavers in each bar, organized in
Quartet (1934), Bartók combined uneven groups of 4+2+3. A muted
this technical experimentation soft pattern of notes, performed
with the folk music that he had long faster than one can hear, introduces
been absorbing. The piece begins the Trio section—again reflecting a
in a simple 4/4 time signature but popular folk rhythm of 10 quavers Béla Viktor
soon includes intricate rhythmic per bar in groups of 3+2+2+3. János Bartók
mosaics and snatches of folk The fourth movement is a
melodies, accompanied by plucked variation of the second. Plucked Born in Nagyszentmiklos,
sounds and dissonant drones. At sounds replace the bowed strings Hungary, in 1881, by the age
the climax of the movement, a wild until an oscillating drone appears of 11 Bartók had made public
Hungarian dance is conjured out of in the viola, accompanying an appearances as a pianist and
a melody first heard near the start. ornate version of the theme. After composer. He later studied
The Fifth Quartet’s skeletal the restrained climax, Bartok adds at the Budapest Academy
second movement, like its fourth a stormy passage with tremolos of Music. Despite the strong
movement, includes “night music,” and loud unison outbursts. Some German cultural influence of
comprising eerie dissonances and spectacularly fast and furious his time, Bartók embraced the
imitated natural sounds; this style, music follows, and then the notes new Hungarian nationalism
created by Bartók, is often used in of the two violins ascend with and took to wearing national
his slow passages. Hushed chords tranquil phrases from the viola and dress. From 1905, he began a
accompany a desperately sad, cello, creating a heavenly chorale. long collaboration with fellow
Hungarian Zoltán Kodály to
almost breathlessly stuttering Soft, guitarlike slides in the cello popularize folk songs and
comment from the first violin. bring the movement to an end. gained a practical knowledge
After a restrained climax, the of string writing from both folk
music dies out with trills and Drama to the last and classical musicians.
a slide to silence in the cello. Although the finale recalls the first Bartók had a successful
movement, it is well disguised. career as a pianist, performing
Frenzied activity in all instruments, throughout Europe and in the
lightning handovers, and strong United States with musicians
dissonances are followed by soft such as the jazz clarinetist
scurrying music that becomes Benny Goodman. With the rise
louder and more insistent. The of fascism, he refused to play
With maturity comes the culmination is a massively loud, in Germany after 1933. In 1940,
wish to economize—to be harmonized melody with a he left Budapest for the United
more simple. Maturity is the resounding ending. The second States and died there in 1945.
period when one finds violin briefly plays the most simple
the just measure. and slow version of the tune with Other key works
Béla Bartók a rolling accompaniment. The
first violin then joins in, but in a 1911 Bluebeard’s Castle
1931 44 Duos for Two Violins
clashing key. However, this relaxed 1936 Music for Strings,
dissonance is not a conclusion; a Percussion, and Celesta
crashing interruption brings the 1939 Divertimento
work to a chaotic end. ■

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