Explain succinctly how the musical language of the 'Concerto
Bartok was born in Hungary in 1881. He was a student of Liszt and Wagner, and influenced by Brahms. He became interested in Folk music during his younger years, and set out on a long expedition of collecting folk songs from the sub cultures of many countries. He did this so he could understand the music and how it arose and how it is transmitted.Modern Hungarian folk music research can be said to have commenced when Kodaly and Bartok set out on their first collecting trips in 1905 and 1906 respectively. From the outset they worked concertedly and systematically. They made a geographical division between them of the territories to cover. Bartok soon noticed that songs usually known as folk songs weren't infact true folk, and that much more genuine folk music could be found among the peasantry. He began collecting folk music around 1905 and his collection expanded out to Eastern Europe. Bartok wanted to create modern music that equalled the modern west, so that this "we're better attitude" could be overcome. The Concerto for Orchestra was completed in the autumn of 1943 and has a total of five movements indicating Bartok's like of symmetry.
At bar 42 the viola introduces a new theme which is based on a Hungarian art song of the period between the wars. But at the same time earlier characteristics become prominent. In this movement Bartok also uses passages similar to the 'Hora' Romanian dance. Bartok liked to use symmetry in his music, as already mentioned the Concerto contains 5 movements, the 3rd being the pinnacle of the piece. first and forth movements contain specific passages that are very prominent of folk tunes. In bar 76 the music becomes quite strict in time and the melodic line seems to be controlled by this rigid metre. This begins at bar 1, ends at bar 6, and is repeated many times throughout the piece. In the opening movement, Bartok begins with a melody theme played by the cellos and basses. Within it may be discovered procedures that owe their presence to his early acquaintance with Brahms, Liszt and Strauss; others to that to the discerning eye and ear indicate relationships however remote with Debussy, Stravinsky, Schoenberg, with Bach and his predecessors, and inextricably interwoven, the essence of Magyar peasant music which colours all the melodies, the harmonies and rhythms. This is how Bartok combines his ehtnomusicological enquires in folk music, into a major western show piece, The Concerto for Orchestra. As a whole the concerto 'represents a return to the popular impulse of the earliest orchestral music, filtered through the composer's experiences of musical modernism [his enquires into folk music]'. This strict rhythm is another element found in Bartok's ehtnomusicological enquires into folk music. Bartok uses an opening theme in the style of a Slovak peasant melody and also a Balkan rhythm which sways between 5/8 and 2/4. The 'parlando rubato' of the introductory section as well as the intervallic structure of its melodies is firmly rooted in Hungarian Peasant music.
Common topics in this essay:
Hungarian Peasant,
Concerto Orchestra,
Kodaly Bartok,
Harmonic Melodic,
Schoenberg Bach,
Brahms Folk,
Europe Bartok,
folk music,
Liszt Strauss,
Modern Hungarian,
,
hungarian folk,
melodic line,
movement bartok,
enquires folk,
concerto orchestra,
hungarian folk music,
ehtnomusicological enquires,
ehtnomusicological enquires folk,
collecting folk,
peasant music,
music bars,
folk music bars,
enquires folk music,
bartok's ehtnomusicological enquires,
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Acceptance Essays
