Bartok Concerto for Orchestra introduction

what is this piece from

Bartok’s concerto for orchestra

what period is this piece from

20th century nationalism

what is the instrumentation of this piece

flute, oboe, clarinets, bassoons, horns, trumpets, trombone, tuba, violins, viola, cello, double bass timpani,

what is the tonic key

c major

what are the features of the opening pentatonic theme

the piece opens with a whole-tone pentatonic theme with perfect 4ths in the cello and double bass which is then joined by sul ponticello violas, there are dissonant clusters around c and C# and then later around f an f#, the theme is then repeated and extended

what are the features of the semiquaver theme

the flutes enter with a new semiquaver theme which similar to before features note clusters, an E pedal then develops in the timpani over the diminution of the pentatonic theme in the strings to officially close it out, after this the semitone theme is taken on by trumpets and it is developed through inversion, the theme then returns to the flutes with oboes and violins in 3rds and is developed through scalic extension

what are the features of the scalic ostinato

a new scalic ostinato is introduced too the strings but is contained with a tritone motif which is also found in the timpani, the ostinato is then develop throughout the orchestra increasing in dynamics and speed until the end of the section

what are the features of the exposition’s principal theme

the principal theme is a fusion of the two previous themes including the tritone from the ostinato and the perfect 4ths from the 1st bar, there is a continuous change of metre between 3/8 and 2/8 and diatonic triads give the impression of Fm, the new theme is then immediately inverted and the 4ths continue to be developed in the violins at the end of the section

what are the features of the aeolian theme

the 2nd violins take on triadic 3rds as there is a switch to aeolian mode, the music then becomes more relaxed due to a C pedal which creates tonal stability and the presence of 3rds and 6ths adds triadic harmony, the melody is then doubled in parallel 6ths in the 1st violin part, the woodwind then have a brief reference to the principal theme to end the section

what are the features of the interim trombone theme

this new theme is based on the perfect 4ths from the opening with passing notes as a scale, the strings take on a C# pedal to create tonal stability which develops into a C-G drone 5th to end the section

what are the features of episode 1

the melody is taken up by the oboe featuring E and F# whole tone while the drone 5th from before drops a semitone lower, the theme is then repeated by clarinet in octaves, the whole-tone theme is then developed by a descending sequence in the flutes and the main theme is augmented in the clarinet and harp, the theme is then developed further developed with a dotted rhythn until the end of the section

what are the features of the development section

the principal theme returns now starting on Db and is shared between violins and trumpets, there is a scalic ascending and descending passag which passes through woodwinds, the woodwinds are then inverted as an octonic scale pattern is developed as a rising scale in the violins while the violas and cellos enter with a quaver idea producing a cannon and stretto, the music is then propelled forward by extending the perfect 4th motif upwards in diminution, hemiolas are then introduced in the woodwinds as the strings continue the 4ths motif in stretto to end the section

what are the features of the 2nd episode

the clarinet takes up the melody as the perfect 4th motif continues, the theme is then taken up by the cor anglais which allows it to be fragmented across the woodwinds with augmentation in the bass clarinet, the interim 4ths theme returns fugally in trombones and trumpets as the principal theme returns in the strings, the horns then invert this theme which is also treated fugally, the section then ends with a climax using quartal harmony

what are the features of the recapitulation

a shortened version of the principal theme returns in its original pitch, an A-E drone 5th develops in the horns as the episode 1 clarinet returns and continues in the flute and oboes, an interesting rhythmic accompaniment develops in the strings featuring quadruplets and quintuplets, the harp then uses metal sticks to recreate the traditional Hungarian cimbalom, there is then a harmonic shift to parallel major triads beginning a F#-E-G-A-F-D-C progression, whole tone intervals are still prominent as the principal theme reemerges in the viola and upper woodwinds, there is a final statement of the principal theme in the strings which is then extended in conjunction with a descending sequence of major and minor arpeggios, the piece then ends with a final reference to the interim 4th theme and a perfect cadence in F minor