Análisis 5º cuarteto BArtok
-
Upload
juliambres63 -
Category
Documents
-
view
221 -
download
1
Transcript of Análisis 5º cuarteto BArtok
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 1/15
1
Analysisof BartókStringQuartet#5
JeffreyC.Smith
Music301CwithEricUlman
Whatdoesitmeantobemodern?Thetwentiethcenturysawseveraldifferentmusicalidiomsemerge,
somerevolutionary,othersmoreevolutionary.Doesthemeasureof modernreflecttheextenttowhich
anidiombreakswithtradition,atransgressivemeasure?Or,shouldthequestioninsteadreflect
evidenceof agenuinemovement,whereinagivenidiomevolvesintoaschoolandevenstyle,later
adoptedanddevelopedbysucceedingartists?Perhapsboth?Perhapsthequestionitself isnotworth
asking.
Giventhisisanacademicpaperon20thcenturymusic,formdictatestheobligatorySchönberg
discussion,hereoneparagraphlate.Wethencontinueonwithdiscussionof Webern,followedperhaps
byaBoulezreference.Of courseCage.Then,wespendtimeonthepilgrimagetoDarmstadt.AndI
suppose,Q.E.D.,Schönbergisthequintessentialmoderncomposer.
CertainlythebranchesemanatingfromthisSchönbergiantreearebroadandnumerous(andhave
producedanexceedinglylargenumberof dissertations).Yetsuchafocusonthequestionof modern,
whereinweadoptthestandardproposedabovesuggestinganidiomidentifiedfirstbythemagnitudeof
itsdeparturefromtraditionandthentheextenttowhichsuchanidiombecomesastyle,suchafocus
leavesunresolvedmorefundamentalquestions.Unfortunately,giventhefracturednatureof the20th
century,theseveralidiomsandstyles,therecursivelytransgressivestrikesagainsttraditioninthename
of thenewandunique,itsnotobviousthatallorevenmostbranchescanbetracedtoSchönberg.
Darmstadtdisciplesaside,whatdowedowithBartók,Barber,Shostakovich,andevenLigeti?
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 2/15
2
Addingtothiscomplexityonwhatwenowcometorecognizeasacompletelyfrivolousquestionof
modern,wecouldamendthecriteriatoincluderelevance.Butatwhatcost?Massadoptionmeans
GeorgeBushJr.asPresidentof theUnitedStates,ergothemasseslackanysignificanceasweconsidera
definitionof artisticrelevance.ElvisPresley,DukeEllington,theBeatles,and,Godwilling,AlanMenken
thereforemustbeexcludedfromanyquestionof relevancegivenwhatwenowknowof theimpactof
massmediaandtherecordingindustryonthehuddledmasses,theindoctrinationof themasseswith
thesentimentalandthesexual,andthemassworshipof idols(andprisons)overart.If Stockhausens
visionof theEagleManbearingTierKreisladenobjectsonlyhadthesupportof theDisneymarketing
machine,thenwemighthavenormativedatatoanalyzethehypothesis.Butalas,Disneydidnotback
thisartwork.
Butwhatabouttheworkof 2Pac?Withanincarcerationrateexceeding1%of theadultpopulationin
America,shouldntwepushStockhausensEaglemanasideandinsteadconsidertherelevanceof 2Pac
(e.g.TupacAmaruShakur)?Evenintheabsenceof Disneymarketingmachinesupportof Stockhausen,
anydefinitionof artthatpertainstorelevanceinthelate20thcenturywouldneedtoatleastreference
2Pac,andperhapshis1994LPThugLifeLP(akaTheHateUGiveLittleInfantsFucksEverybody ).The
factis,withastandardof relevanceappliedtothemasses,asidefromafewbarbarous jabsthat
alienatedhispianistdaughter,Stockhausenisirrelevant.2Pac,bycontrast,soldseveralgoldalbums.
Ah,butwhatof historyyouask?BeyondthefactthatthemasseselectedBushJr.,asecondargument
againstrelevancemanifests,namelywhoareweto judgetodaywhatwillsurvivetime?Fewstatements
providemore
solace
to
the
completely
irrelevant
artists
than
this,
the
who
am
Ito
judge
now
postulate.Oneperformance,twentyattendees,perhapsapaper,afewvibrantdebates(whichlast
substantiallylongerthantheperformanceitself oreventhetruncatedplaybackof therecordingof the
performanceasaprecursortothelivelydebateonthework),theseplusthesolaceof potentialhistory?
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 3/15
3
Ironically,academiaisoneof thefewmoderninstitutionssupportingmanymodernmovementsinart,
andasweknow,academiaitself providesashelterfromthecrueltyof themasses,aself sustaining
artificialworld,removedfromthestandardsof commerceandacceptance.Incontrasttothewhimsof
themasses,academiapromotestheuniquestandardaboveall(otherwiseknownasthedissertation).
Andsotheincreasinglyuniquebecomesnoteworthy,yet(unfortunately)increasinglyirrelevant.
RobertSchumannwasamoderncomposerinthe19thcentury.HisFantasiainCOp.17forthepiano
pushedtonalityintoanewrealm:theopeningmovement1avoidsatoniccadenceuntilthe297th
barin
apieceof some308bars.Thepiecewasseldomif everperformedduringhislifetime.Evenhiswife
Clararemoved
it
from
her
concert
repertoire
given
the
reaction
from
the
audience
(e.g.
the
educated
andprivileged).ItwasFranzLisztwhorecognizedthestatureof theworkandeventuallysucceededin
promotingtheFantasy,therebyachievingabroaderlevelof acceptance.AndwenotethatRoberts
Album für die Jugend washistopseller.Yethecapitulated,here,perhapstofeedhischildren2?
SkippingpastWagnerandhisTristanchord3,fewof CharlesIvespieceswereperformedinhislifetime,
andthosethatwereperformedmetafrostyreception.Arguably,Iveswasnotacceptedbeyondafew
eliteacademicsandmusicians(e.g.pianistslikeJohnKirkpatrickandcomposerslikeHenryCowell)until
Bernstein4beganperformingIvesworksinthesixties.UnlikeSchumann,Ivesdidntneedtocapitulate
tofeedhisonlyadopteddaughtergiventhefortunehegeneratedthroughtheinsurancebusinessheco
founded.Wemodern,postmodern,transgressive,antiDisneycomposersfindprofoundsolaceinthe
storyof CharlesIves theelusivetriumphafterdeath!
1Whichatonepointborethetitleruinsandinhisfinalmanuscripthadnotitlebutinsteadanillustrationof
threestarswhichthepublisherdeclined.Iincludeasmuchtosupportthenotionof moderninthecontextof the
19th
century.Otherexamplesof Schumannabound.2OrhisAlbumdidmorethanpaythebills ithelpedengagehischildren(andmanymoregenerationsof children)
inthestudyof pianoperformance.3Youarewelcome.
4Thecomposerof WestSideStory.
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 4/15
4
Yet,aswepondertheabsurdderivativeof theinitialpreposterousquestiononwhatismodern,namely
thestandardof relevance,wedidfindsolace,butonlybytradingourcontemporaneousirrelevancefor
thepotentialforposthumousascendance.Andsocapitulation(orconformanceif youprefer)isnot
required.IonceaskedChristianWolfewhyitwassoimportanttobeuniqueandbreakwithtradition,
andhisresponsewasIdontknow,it justseemedlikethethingtodoatthetime.Whatbeauty!And
courage!
Theyinsistonreturningtothequestion:whatdoesitmeantobemodern?Relevancehasnothingtodo
withthetopic.Marketingandmodernareoxymoronicterms(yetwemightsuggest,butonlywithsome
trepidation,that
few
were
more
skilled
in
the
art
of
marketing
than
John
Cage).
And
so,
having
perturbedyouthereaderforanexcess,Isummarilydismissthequestion.Thequestionitself is
irrelevant.Andthestandardproposedbythequestion,thatunique+following=modernisalso
summarilydismissed.Dismissedwithprejudice.
Bartók,however,wasamoderncomposer.(Suchconfrontation,andforwhatpurpose?Essaysin
seminarsarenotmeanttobestreamof consciousramblings,asif Iwritenotesfromunderground.)
Essaysshouldbeextremelycoherent,matterof factanddevoidof prejudice.They(unlessmeantto
offend)shouldcertainlynotincludeanyreferencestofuckandprisonmusic.Yet,if Iquestionthe
veryinstitutionsthatsanctiontheseabsurddefinitionsandgenealogicalapproachestothetwentieth
centuryanditsfather,PapaSchönberg,shouldntImakeiteasierforthatinstitution(anditspurveyors)
todismissmyargumentsasnothingbuttheramblingsof amadman?Butwhatof theentertainment
value
no,
Ireally
belittle
my
work
the
artistic
merits
of
such
apaper?
Icontradict
myself
so
freely
again,andhereoncemoreinanoverlycomplexsentence.
Letusnotdismissanartistof thestatureof Schönberg.But,too,letusnotdismissBartókbyapplying
someDarmstadtianstandardthat,relativetoSchönberg,hewasnotunique.Orratherhewasnot
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 5/15
5
uniqueenough:hedidnotassaulthistory5.Oh,butSchönbergfirstmasteredtonalitybefore
disembowelingit(Iamremindedoverandoveragain).AndthismovementawayfromGermany,this
nationalisticmovementinmusic:certainlyitwassignificant,butitwasanexpansionof Romanticismand
chromaticism,no?Nothingnew.
Unfortunately,awholesaleidentitycrisisplaguesthemodernworld.Responsesvarytothecrisisamong
sixandonehalf billionsouls:thenewvoyeurismonFacebook,thecontinuingtransgressiverevolt(e.g.
Iwantanewsound,ergoIholduniquenessaboveallelse),ironicallythedisintegrationof thenation
state(e.g.ImaCroatian,notaYugoslavian),tattoos,etc.AndsoIrecognizethehastebywhichI
dismissedthe
term
modern,
and
regret
such
areactionary
approach.
For,
it
seems
clear,
the
era
we
describeasmodernvaluestheunique,theindividual.Andsoacceptingthisstandardandsimplified
definition,IcansaywithallsobrietythatBartókwasamoderncomposer.Unique,weshallfind,does
notdependexclusivelyoniconoclasm6.Infact,inBartókscase,hisuniquestandardderivedprimarily
fromhisreverenceforthepast,includingthemusicaltraditionof theprecedingcenturies,butalsothe
language,customs,andfolktraditionsof hishomeland.Letmequoteexcerptsfromhisownbrief
autobiographicalessay:
[Whilestudyinginthemusic academy inBudapest early inmy life],I got rid of theBrahmsianstyle,but did not succeed viaWagner and Liszt,in findingthenew way soardently desiredFromthisstagnationI wasroused asby alightningstrokeby the first performanceinBudapest of ThusSpake Zarathustra,in1902.Thework wasreceived by real abhorrenceinmusical circleshere,but it filled mewiththegreatest enthusiasm. At last therewasaway of composingwhichseemed tohold theseedsof anew life
5YousaySchönbergdidnoteschewhistory?Yes,Ihavehisbookontonality.Itsexcellent.Butthatsbesidethe
point.Idontcriticizehim.Ienjoy(much)of hismusic.6If weallinsistonbreakingwithtraditionasthedefinitionof modern,thenwereallconformists,no?
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 6/15
6
Meanwhilethemagic of Richard Strausshad evaporated. Areally thoroughstudy of Lisztsoeuvrerevealed tomethetrueessenceof composing...Inmy studiesof folk music I discovered that what wehad knownasHungarian folk songstill thenweremoreor lesstrivial songsby popular composersand did not containmuchthat wasvaluable.I felt anurgetogodeeper intothisquestionTheoutcomeof thesestudieswasof decisiveinfluenceuponmy work,becauseit freed me fromthetyrannical ruleof themajor and minor keys.Thegreater part of thecollected treasure,and themorevaluable part,wasinold ecclesiastical or old Greek modes,or based onmore primitive(pentatonic)scales,and themelodieswere full of themost freeand varied rhythmic phrasesand changesof tempi, played bothrubatoand giusto.It becameclear tomethat theold modes,whichhad been forgotteninour music,had lost nothingof their vigour.Their new employment madenew rhythmic combinations possible.Thisnew way of usingthediatonic scalebrought freedom fromtherigid useof major and minor keys,and eventually led toanew conceptionof thechromatic scale,every toneof whichcametobeconsidered of equal valueand could beused freely and independently
7 .
Bartóksoughtthenewway,perhapsreflectiveof hisdesiretobeunique,ormoreprecisely,hisdesire
todiscoverhisownvoice.AccordingtoBartók,hediscoveredthisvoice,notthroughBrahms,Wagner,
Straussor
even
Liszt,
but
by
looking
back
further
into
the
traditions
of
the
folk
music
from
the
region
of
hisbirth.
Bartókssixstringquartets,composedduringthemostadventurousperiodof hiscreativelife,represent
someof themoreinterestingcontributionsBartókofferedtothe20thcenturycanon.Adetailed
examinationof hisfifthquartet(composedin1934)willperhapssatisfytheacademicrequirementsfor
thisessay,butmoreimportantlyoffersomeevidencetosupportthedualthesisthatBartókwasa
moderncomposerinthathewasunique,butincontrasttosomepeers,Bartóksuniquenesswas
steepedintradition.Hewasatraditionalmodernist.
7BélaBartókEssays,SelectedandEditedbyBenjaminSuchoff,Universityof NebraskaPress,Lincoln,1976.
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 7/15
7
Asrepresentedinthefifthquartet,therecanbenodoubtthatwehaveencounteredanewandexciting
musicallanguage.Itisfirstarhythmiclanguagewithlyricallyconnectedlines,anextremelychromatic
languagedevoidof tonalcentersandcadences,andindeedanaturallanguagefullof balanceand
symmetry.Thelanguageismarkedbyitsextremecontrastingtopics:nightmusic,ormomentsof
stasisandexplorationsof ambientsoundsvs.explosiverhetoricalstatementssuchastheopeningand
closingof thefirstmovement,contrastedagainbythesweepingfolkdances.Weencounterunique
timbres,articulations,andtexturesthroughoutthework.Theformitself isnovel,amirrorlikereflexive
structure,projectingperhapsbothtimespastandpresent.Ultimately,wediscoverthecentralstructure
unifyingtheform,textures,andtechnique:auniqueplanof symmetrywhichpermeateseveryaspectof
thework.
Yettherecanbenodoubtthattheworkfollowstradition,perhapsnotinastrictsense,butcertainlyina
referentialsense.Thevoiceleadinghasbeencarefullyconsideredinallparts.Thepiecefrequently
borrowsfromcounterpointandfugue.Theformof thefirstandlastmovementscorrelatehighlytothe
expectedsonatalikeformof afirstmovementquartetandarondolikeformof alastmovement.While
certainlynottonal,weseeacleartonalplanemergeinthepiece.Addtothisthefolkmelodiesand
dancelikemetersandrhythms,andwerecognizehowpervasivethehistoricalreferencesandmaterials
aboundinthepiece.
Yetthiscombinationof experimentandtraditionhascreatedasublimeworkof art.Tosupportthe
abovesecondarythesis,namelythatBartóks5thquartetwasuniquenotbyvirtueof itsrupturewiththe
pastbut
rather
the
composers
ability
to
experiment
musically
while
embracing
tradition,
it
will
be
necessarytoelaborateontheabovepointsinsomedetail.
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 8/15
8
Weimmediatelydetectanobviousreflexivesymmetryacrosstheentirework8.Asthefollowingtable
depicts,thefulcrumof theworkisfoundinthecentralmovement,theScherzo,andspecificallythetrio
of thisminuet.TheScherzo,inturn,isflankedoneithersidebymomentsof stasis,ornightmusic,
namelytheAdagiomoltoandtheAndante.Byextension,aswemovefromthecentertowardsthe
perimeter,theoutermovementsof thepiece,thesehighlydiversemovementshighlightrhetoricaland
declamatoryqualities.
A B C B AMvmnt Allegro AdagioMolto Scherzo Andante AllegroVivace
Style Rhetorical Ambientstasis Dance Ambientstasis Rhetorical
Form
Sonata
form
Arch
Minuet
Variation
on
B
Rondo
Pitch9 Bflat D Csharp G Bflat
Formof BartóksFifthStringQuartet Thesymmetricalreflexivestructure,representedatthehighestlevelintherelationshipof the
movementsthemselves,permeateseveryaspectof thework.Thecentralmovement,theScherzo,
followsminuetform,orABA;itskeystructuremaintainsthereflexivity,rotatingfromCsharptoEinthe
trioand
back
to
C
sharp
10
.
TheAdagio
strictly
follows
ascheme
of
three
successive
subjects,
namely
ABC,followedbythereturnof thosesubjectsinverted,bothinorderof returnbutalsothematerials
themselves,orCBA11.Andtheoutermovements,asweshallseem,arethemselvesbuiltonarchlike
reflexivestructures.
8The
analysis
of
form
contained
in
the
next
few
pages
borrows
extensively
from
the
analysis
György
Ligeti
performedonthework,aspublishedintheBooseyandHawkeseditionof thequartet,HawkesPocketScores,
London,2.25,1939[Ligeti],aswellasBartóksownanalysispublishedintheaforementionedEssays[Bartók].
WhileLigetisanalysissometimesdepartsfromthenotesof Bartókhimself (forexampleBartókclaimedthefirst
movementhadonlytwosubjectsintheexpositionvs.Ligetisthree),IfindLigetisanalysisinsightfuland
compelling.9Thereferencestokeysdonotsuggesttonalitiesbutratheraseminalpitch.
10SeeBartok,p.414.
11SeeLigeti,p.3.
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 9/15
9
Ouratten
reference
violinope
abeyance
joinedini
qualityof
unfold.
thepiece
Thesym
samerefl
timethe
tion,therefo
dbelow,sug
nsthetrio,s
viaapizzicat
mitationbyt
thenightm
erecognize
descendsin
etricalstruc
exivequalitie
enterof the
re,isdrawnt
gestsaBulga
eeminglysus
otexturein
hecello.Th
sicof thesl
wehavearri
amotiontot
Bartók5
ureisrecurs
sinthismov
firstmovem
othenexus,
rian9/8dan
pendingtim
hesecondvi
openingtex
wermovem
edatasigni
hefinalcad
thQuartet:T
ive.Aswed
ement.Mor
nt(asoppos
thetrioof th
e(3:2:2:3).
.Anobviou
olin,andthe
tureallowst
nts,yetwith
icant junctu
nceof Bfl
hirdMovem
lveintomor
eover,weid
edtothece
eminuetint
sthetriou
folkmelody
nfullyinriliehissectiont
thearrival
einthepiec
tforthefina
ntScherzo:
edetailof th
entifyasimil
terof thepi
hescherzo.
folds,anost
isthenintro
vowiththev
floatwitht
f theviola,w
e.Fromher
lmovement.
Trio
efirstmove
rmomentt
ce).Itsee
histrio,as
inatiinthefi
duced,firsti
iola,eventua
estasislike
eseeafolk
,theweight
ent,wefind
thetrio,thi
sthatweha
st
lly
ance
of
the
ve
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 10/15
10
thefirstmovementitself actingasanexpositionof sortsfortheentirework,preannouncingthe
reflexivesymmetry,wherethearchcrestsinadancelikefolkmelody.
Bartók5thQuartet:FirstMovementAllegro:m.86
Theostinatiofferedinthelowerstringscreatesanimmediatecontrasttotheprecedingdeclamatory
section
of
the
development.
A
bar
into
the
ostinati
we
have
the
fortissimo,
an
equally
declamatory
entranceinbothviolins,butthistime,incontrasttobefore,afolklikestatement.Thefollowingtable
allowsustoplacethesettingof thismomentinthecontextof thefirstmovement.
ABCDCB AExposition Development Recapitulation
A
TR
1424
B
2444
C
4458
D
59132
C
132146
B146159
A159176
Coda177218
2nd
sub
3rd
sub
A&B C
inverted
B
inverted
A
inverted
A
material
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 11/15
11
Bartók5thQuartet:FirstMovementStructure
Weimmediatelynoticethatthistransitiontoafolklikedancetopicwithostinatioccurspreciselyatthe
midpointof thework(excludingthecoda),embeddedinadevelopmentsection.Andsowenotethe
parallelbetweenthefirstmovementandtheentirework:theheartof thework,andperhapstheheart
of thecomposer:asimplefolkmelody.
Thesymmetricalobservationsapplytotheformof theothermovements.Asreferencedabove,wefind
theAdagio
Molto
offers
three
subjects
in
succession,
followed
by
their
inversion
in
reverse
order,
or
A
BCCBA.TheAndante,aswemightexpect,ismorecomplicated.Whilenotastrictinversionof the
Adagio(if thearchlikeformplayedoutacrossthismovement),wefindthesamematerialsof the
AdagioMoltoexceptvaried,andsotheAndanteactsasavariationontheAdagioMolto.Yet,aswe
moveawayfromourfulcrum,namelythetrioof theScherzo,theweightof thepiecegrows.The
Andantebeginswithavariationof thefirstsubjectof theAdagioMolto,orA(mm.122),followedbya
variationof thesecondsubject,B(mm.2342),andeventuallythethirdsubject,C(mm.4254),a
canonicvariation12.Yetherewedonotseetheinversionof thesesamevariations,asintheAdagio
Molto,butinsteadencounteratransition(mm.5460),adevelopment(mm.6081),andarecapitulation
of sorts(mm.81101).AndsotheAndanteseemsintegratedwiththeAdagioMolto,thecombination
suggestingtheformof theopeningAllegro.
Ourfinal
movement
is
the
most
complex
in
terms
of
form,
and
at
828
bars
carries
the
most
weight
of
thequartet.Followingtheanalysisof Ligeti,arondolikeformsomewhatoscillatesbetweenaninitial
12SeeLigeti,pp45.
B
flat?
C? D? E? F#? Aflat? Bflat? Bflat?
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 12/15
12
subjectandepisodes.Yetweseegrotesquetransformations13.Thefollowingtableoutlinestheform
of thefinalmovement14
15.
Bartók5thQuartet:FinalMovementStructure
Thiscomplexmovementincludessurprises.Forexample,thedevelopmentsection(if youwill)packs
togetheraTrioandFugue.Yetthemostbizarremomentof thepieceoccurswiththesecondrecurrence
of thesecondsubjectintherecapitulation(if youwill)atmm.699720.Thecompletetextureshiftfrom
thefrenetic,lyricallinestoamockinglysimpletextureof accompanimentplusmelody.Perhapswesee
areferencetotheostinatiaccompanimentof folkmelodyweencounteredatthefulcrumof theAllegro
andthefulcrumof theentirework,theTrioof theScherzo.Yethere,wehavenothingof thevitalityand
nostalgiaof thepreviousfolklikedancesections.Instead,wehavethefirstandonlyobvious
tonic/dominantrelationshipprovidingacontortedreferencetoafolkmelodywithdance
accompaniment.Thesectionseemscompletelyincongruous,andsowemightaskwhathappened.Did
theweightof thepiece(orperhapseventheweightof history)reducethenostalgicreferencesof folk
melodiestoaborted,grotesqueimages16?If weexaminethefinalmovementfromamacroperspective
andfollowBartóksownnotesonthemovement17,aclearsymmetricalreflexivestructureonceagain
emerges.
Bartókhas
modeled
the
final
movement
after
the
first
movement.
13SeeLigeti,p.6.
14SeeLigiti,p.6.
15SeeBartók,pp414415.
16Hencetheproposedthesis.
17SeeBartókp.415.
Exposition? Development? Recapitulation? Coda?
114
14
54
55
109
109
149
150
200
202
368
368
484
484527 527
546
546
623
624
698
699
720
721
780
781
828
Intro 1st
sub
2nd
sub
1st
sub
inv
TR Trio Fugato
(1st
sub)
Episode Intro
recap
1st
sub
recap
2nd
sub
recap
2nd
sub
var
2nd
sub
Coda
A B C B A TR Coda
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 13/15
13
Thesym
Consider,
opening,
eventuall
defineda
theoctav
Foranoth
thearriva
providing
finalbars
rotatewit
18SeeBart
19Stephen
60.20
Richard21
SeeWal
etricalnatur
again,thefi
eventuallyto
upthewho
stheaccent
e,withhalf o
erexample
lattheEnat
acadenceo
of thefinal
hdescendin
ókp.414.
Walsh,Bartó
Taruskin,The
shp.61.
edefinesth
stmovemen
Enatural(w
letonescale
darrivalat
f itsweighto
Bart
f thisaxials
ural(domina
sortstoour
ovementof
voices.
ChamberMu
OxfordHistory
form,butp
.Wenotic
hichactsasa
toBflat.W
.5.Fromth
neitherside
k5thQuarte
ymmetry20,
nt)atm.215
Bflatfinal.
thequartet,
sic,BBCMusic
of Western
rmeateseve
aclearkey
dominantt
seeinthe
estandpoint
.
t:FirstMov
considerthe
,weseethe
ndagain,w
etincontra
Guides,Britis
usic,Vol.4,O
nthekeystr
tructuretha
Bflat18)for
peningbars
of symmetr
mentAllegr
finalbarsof
reflectionpl
noticethis
sttothefirst
hBroadcastin
xfordUniversi
uctureandli
movesfrom
thedevelop
herelations
,of courset
thefirstmov
youtinthei
ameaxialsy
movement,
Corporation,
tyPress,Oxfor
esof thepi
Bflatinthe
ent19,andt
ipof Bflatt
etritonebi
ement.21Aft
nvertedinte
mmetryinth
scendingvo
London,1982
d,2005,p.40
ce.
en
oE
sects
er
vals,
e
ices
,p.
0.
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 14/15
14
Wealson
formwe
interestin
voicesha
havebro
firstviolin
Bartóks
form,tok
certainly
hasbeen
inversion
andartic
nostalgic
Ba
oticesymme
ightexpect
gbeingthe
ebroken
int
enintofour.
,thensecon
experimenti
eystructure,
ottradition
augmentedt
of material
lations.And
guides.
Bartók5thQ
tók5thQuart
tryof theen
inafourvoi
peningof th
otwo,
the
vi
Theyenter
dviolin,then
symmetry
cadences,li
l.Tonalityh
osupportan
andreversed
sotherefer
uartet:First
et:FinalMo
ranceof voi
ecounterp
piece.Atm
olinsas
one
sinafugue;
cello.Event
ermeatede
es,andeve
asbeenrede
archlikestr
ordering.N
ncestothe
MovementA
vementAlle
cesaround
int.Exampl
.1wehave
ndthe
viola
theviolafir
uallywesee
eryaspecto
entrancean
finedwitha
cture,wher
ewsoundsa
raditionhel
llegro:mm.
rovivace:m
ommonsub
sof thistec
ourvoicesa
andcello
as
t
tintroduces
thereturnto
the5thquar
dgroupings
newmodelo
thereturn
dtexturese
usundersta
215218
m.825828
ects,someti
niqueabou
one.Bym.
heother.
By
thesubject,
theunionof
tet,fromout
of voices.Ye
f axialsymm
f materialis
manatefrom
ndthepiece,
esfollowin
d,themost
5,theunison
m.
15,
the
v
ollowedbyt
voicesatm.
erform,toi
tthequartet
try.Sonata
opaquedue
newtechniq
butactonly
the
oices
he
24.
ner
is
form
to
ues
as
8/2/2019 Análisis 5º cuarteto BArtok
http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 15/15
15
IsitpossiblethatamodelformodernityexistswithinBartókandinparticularhisstringquartets?Isit
possiblethatthetransitionfromtheRomanticEratotheModernErawasnotmarkedbyrevolution,but
insteadevolution?If weaccepttheabsurdstandardof modernityasastandardof unique,thencanone
arguethatBartóksquartetisanylessuniquethantheworksof hiscontemporaries?Wenowclearly
recognizethequestionisabsurd,nothingmorethanaprolongeddistraction,andso,atlast,wemove
on.