BB 116, Sz.111 Kontrasztok hegedűre, klarinétra és zongorára/Contrasts for Violin, Clarinet, and Piano (1938)
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.
The only original chamber work of Bartók using a wind instrument was created from a commission of Benny Goodman. In 1938, he asked Joseph Szigeti to ask Bartók to write a short duo for clarinet and violin with piano accompaniment.
The title stems from the composer’s insight in emphasizing the differences between the three instruments. The initial form was a rhapsody of 2 movements. This was premiered on 9 January 1939 at Carnegie Hall with Szigeti, Goodman, and Endre Petri. Later, the middle movement was added, leading to a more classical macrostructure.
The first “contrast” appears in the movements. The tempo is fast-slow-fast, with symmetry. Next, the first movement contains clarinet cadenza, and the third violin cadenza.
(0:00) Mov.1 Verbunkos - The first movement is in ABA-coda form. The primary melody is stated by the clarinet.
(0:38) Violin’s statement
(1:04) Middle section, with disjunct rhythms.
(2:10) Second part of the middle section, more dramatic
(2:50) A’.
(3:35) Second part of the outer section
(4:12) Coda. With the clarinet cadenza.
(5:10) Mov.2 Pihenő - In contrast to the first movement, this movement is slower and more settled. Also, as another contrast, violin and clarinet play the mirror images of each other. It is like a “night music”, and without a clear theme.
(6:36) While this movement does not have a clearly defined structure, it can be said to be in roughly in ABA form.
(7:09) A voluptuous climax.
(7:25) Outer section
(9:57) Mov.3 Sebes - The third movement is also in ABA form. Also, there is a scordatura for the violin, where the E string is tuned as Eb and G string as G#.
(10:05) Main theme, which is quite a frenzied dance.
(11:58) A more settled trio in Bulgarian rhythm.
(13:51) Outer section.
(14:27) Violin Cadenza
(15:01) Return of the other instruments
(16:23) And the piece concludes in a rather humorous way.
Source: English/Hungarian Wikipedia, original research
Recording by Arvid Engegard · Elmar Schmid · András Schiff
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 Youtube. If you are the rightful owner and want this video removed, please contact me, and I will promptly remove it.
