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Béla Bartbk's Sonata for Two Pianos and Percussion an Essay Submitted University of Alberta Béla Bartbk's Sonata for Two Pianos and Percussion by Haley A. Simons O An essay submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music Department of Music Edmonton, Alberta Spring, 2000 National hlbrary Bibliothèque nationale 1+1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 3~5weitington str88t 395. nw, Wellington mwa ON K1A ON4 QttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sefi reproduire?prêter, disîriiuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fiùn, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thése ni des extraits substantiels may be printed or othemise de celle-ci ne doivent être imprimés reproduced without the author' s ou autrement reproduits sans son permission. autorisation. "Let my music speak for itsele I lay no clairn to any explanation of my works." ' Béla Bartok ' Erno Lendvai, "Duality and Synthesis in the Music of Béla Bartok," in BdkStudies. ed. Todd Crow (Detroit, Information Coordinators, 1976), 39. To Cass Abstract: This essay is intended as a comprehensive study of Béla Bartok's 1937 work. the Sonata for Two Pianos and Percussion. The discussion of the work involves three areas of music research: historical, analytical, and aesthetic qualities. An historical profile of the composer includes biographical information, as well as discussion of the chronology of the diverse and eclectic cornpositionaI influences to which Bartok was exposed. The effects of the nurnerous compositional influences are discussed in tems of their impact upon Bartok's mature style in general, and the Sonata for Two Pianos and Percussion in particular. The discussion of the aesthetic qualities of the work centers around its unique instrumentation, tracing the genesis of the work, from its earliest conception. to its even- tua1 final form. The instrumentation of the ensemble is explored in terms of ovenll sonority as well as the revolutionary new roles of, and the corresponding relationship between, the individual instruments. A detailed analysis of the work includes discussion of the work as a whote. as well as each individual movernent. with references to specific musical examples. Forma1 ~rga~tationis discussed in terms of predetermined architectural control blending West- ern models with the governing, organic proportions of the Golden Section. The use of a compositiond system is addressed, with particular emphasis on the proportions of Golden Section, the Fibonacci series, and the acoustic system. Throughout the essay. attention is drawn to the element of duality within the work. beghing with the impact of such diverse and seemingly irreconcilable influences. to the simultaneous incorporation of outwardly contradictory formal and stylistic elements. The essay comects and relates these diverse elements, and in so doing, reveals a distinct cyclic relationship within the work, as well as establishing it as a model of Bartok's highest aspiration: the perfect union of nature, art, and science. Acknowledgement The completion of this essay would not have been possible without the enduring support of my family: Doug, Cass, Audrey, Hal. and. in memoriam, Arleigh. Enormous gratitude to Marc and the Hok Nik Creative people for their computer wizardry. 1 would aiso like to thank Dr. Annabelle Rea for her farnily's generous support through the William Rea scholanhip, and to The Hamrnerhead Consort. without whom I would not have had the immense pleasure of first encomtering, and ultimately performing this brilliant work. Special thanks to Dr. Michael Roeder for his considerable time and inex- haustible patience devoted to helping me realize this goal, and to Marek Jablonski. who was and continues to be a profound influence. CONTENTS CHAPTER ONE: BART~KTHE COMPOSER ................................. ................................................. I Introduction ................................... ... .......................................................................................................-3 Stylistic Influences .................................................................................................................................. 3 Romantic Roots ................................................................................................................................... 3 Folk Music Discoveries ....................................................................................................................... 7 Debussy: Bridge Between East And West ......................................................................................... IO Continuing Deveiopment: Contemporary Influences ........................................................................ II Hisroricaf Influences And Final Synthesis ........................................................................................ 13 CHAPTER TWO: THE WORK .CENERAL OVERVtEW ............................................................... 17 Genesis Of The Work ........................................................................................................................... 18 The Ensemble And The Treatment Of Instmments .......................................................................... 20 General Structure .................................................................................................................................. 24 Compositional System And Organization ............................................................................................ 25 CHAPTER THREE: THE WORK .ANALYSIS BY MOVEMENT ................................................... 31 Analysis: First Movement .................................................................................................................... 32 Introduction ...................................................................................................................................... 34 fiposition .Allegro .......................................................................................................................... 45 Datelopment ..................................................................................................................................... 55 Recapitulation ................................................................................................................................... 59 Golden Section ..................................................................................................................................62 Movement II - Lento, Ma Non Troppo .................................................................................................66 Golden Section .................................................................................................................................. 72 Movement III - Allegro Non Troppo .................................................................................................... 75 Golden Section .................................................................................................................................. Y O CHAPTER FOUR: CONCLUSION ............................ .......... .............*.. 94 Final Synthesis ...................................................................................................................................... 95 POS~SC~~~.............................................................................................................................................. 97 SELECTED BIBLIOCRAPHY .............................................................................................................. 100 LIST OF EXAMPLES (Ml musical examples are Eom Béla Bartok. Sonata for Two Pianos and Percussion. uniess othenvise indicated) EXAMPLEI .I . BARTOK.SONATA FOR TWO PIANOSAND PERCUSSION. I. MM . 4.5 . PIANO I ..............*........6 EXAMPLE1.2. BARTOK.SONATA FOR TWOPIANOS AND PERCUSSION.I. MM . 18- 19. PlANO II ................. 6 EXAMPLES .I . BART~KSONATA FOR TWOPIANOS AND PERCUSSION.I. MM . 33-40 ............................... 27 EXAMPLE2.2. III. ALLEGRONON TROPPO. MM . 17-2 1. PM0II .............................................................. 28 E.wPLE 3.3. OVERTONESERlES CONVERTED MT0 OVERTONE (ACOUSTIC) SLALE ............................... 28 E.wPLE 2.4. OVERTONE (ACOUSTIC)SCALE ......................................................................................... 29 EXAMPLE2.5. GOLDEN SECTIONSCALE ................................................................................................... 29 EXAMPLE2.6. [NvERTED MTERVALS ....................................................................................................... 30 E.w PLE 3 .I . I. MM . 1-5. PIANO I .......................................................................................................... 3 E.WPLE 33. 1. M . 5. PIANO II ..........................,............. ,., ................................................................. 35 E.wPLE 3.3. 1. THEME OF INTRODUCTION .............................................................................................
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