BÉLA BARTÓK’S PIANO QUINTET Item Type text; Electronic Dissertation Authors Garreffa, Andrea Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 04:43:06 Link to Item http://hdl.handle.net/10150/195851 BELA´ BARTOK’S´ PIANO QUINTET by Andrea Garreffa Copyright c Andrea Garreffa 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the doc- ument prepared by Andrea Garreffa entitled B´ela Bart´ok’s Piano Quintet and rec- ommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts Date: 6/7/2010 Paula Fan Date: 6/7/2010 Tannis Gibson Date: 6/7/2010 Lisa Zdechlik Final approval and acceptance of this document is contingent upon candidate’s submission of the final copies of the document to the Graduate College. I hearby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Date: 6/7/2010 Director: Paula Fan 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Andrea Garreffa 4 ACKNOWLEDGEMENTS First, I would like to thank my parents for their constant love and support. Without them my life would have not been full of wonderful experiences, music and joy. I am also thankful to my husband Orhan Beker who gave me his love, encouragement and friendship from the moment we met. I could not have wished for a better advisor than Dr. Paula Fan. Her invaluable advice in music and life in general will accompany me forever. She is not only an outstanding pianist and musician but also a terrific teacher and mentor. I truly thank her for pushing me beyond what I thought I could do. This allowed me to grow as a pianist and a person. Her positive attitude and contagious laugh made every bump in the road almost disappear. I would also like to extend my appreciation to Dr. Lisa Zdechlik, whom I had the privilege to work for and learn from. Her love of music and teaching is inspiring. I will always remember our conversations and how much I learned from her during my days at the University. I was very fortunate to have her in my committee and to have been exposed to her wonderful insight and knowledge. My gratitude also goes to Prof. Tannis Gibson. While during my days at the University I gained from her wide musical knowledge and enjoyed her beautiful performances; I believe that I benefited most from her expertise during my dissertation writing process. Prof. Gibson’s invaluable advice helped me immensely. My special thanks to Lyneen Elmore for her kindness and warmth to the students. She guided my path from my first day on campus until the very end with positive attitude and a smile. Last, but not least, I would like to acknowledge the generous contribution of L´aszl´oSigrai, Director of Printed Music, Universal Music Publishing, Editio Musica Budapest, for allowing me to include excerpts from the piece. To all who contributed to made my doctorate degree such a rich and wonderful experience: my deepest thanks. 5 DEDICATION To my wonderful family for all their support and love 6 TABLE OF CONTENTS LISTOFFIGURES ................................ 8 LISTOFMUSICALEXAMPLES ........................ 9 LISTOFTABLES ................................. 11 ABSTRACT .................................... 12 CHAPTER1 INTRODUCTION ........................ 13 CHAPTER 2 BRIEF BIOGRAPHICAL SKETCH OF THE COMPOSER . 15 2.1 LifeinHungaryattheTurnoftheTwentiethCentury . 15 2.2 Musical Trends at the Turn of the Twentieth Century . 18 2.3 Life, Education and Musical Influences . 19 2.4 Chamber and Piano Works from Bart´ok’s early Period . 29 CHAPTER 3 BRIEF HISTORY OF THE PIANO QUINTET GENRE . 34 3.1 FirstExamplesoftheGenre . .. .. 34 3.2 The Place of the Piano Quintet at the Turn of the Twentieth Century 39 3.3 Historical Background of B´ela Bart´ok’s Piano Quintet (1904) . .... 43 CHAPTER 4 STYLISTIC INFLUENCES ON BARTOK’S´ PIANO QUINTET 51 4.1 Brahms .................................. 51 4.1.1 TechnicalBrahms......................... 54 4.1.2 SereneBrahms .......................... 57 4.1.3 Rhythm .............................. 60 4.1.4 Quintet writing . 63 4.2 Liszt.................................... 64 4.2.1 Virtuosopassages......................... 66 4.2.2 Concerto-like writing . 69 4.2.3 Form................................ 70 4.3 Dohn´anyi ................................. 72 4.3.1 Folkelements ........................... 74 4.3.2 Form and movement placement . 76 4.3.3 Writing Style . 78 4.3.4 Rhythm .............................. 79 4.3.5 Fugue ............................... 80 4.4 Others................................... 82 7 TABLE OF CONTENTS – Continued 4.4.1 Dvor´ak............................... 82 4.4.2 Frenchcomposers......................... 85 4.5 Bart´ok’sotherworks ........................... 91 4.6 Hungarianfolkmusic........................... 97 CHAPTER 5 ANALYSIS OF THE THIRD MOVEMENT OF THE QUINTET 99 CHAPTER6 CONCLUSION .......................... 114 APPENDIXA PERMISSION . .. .. 117 APPENDIXB TABLES ............................. 118 REFERENCES................................... 124 8 LIST OF FIGURES 3.1Reviewofthepremi`erefromPesterLloyd . .... 45 9 LIST OF MUSICAL EXAMPLES 4.1 Bart´ok, Piano Quintet,mm.1-7. .................... 53 4.2 Brahms, Piano Quintet,Op.34,mm.1-4................. 54 4.3 Bart´ok, Piano Quintet,mm.46-49. ................... 54 4.4 Brahms, Violin Sonata in d minor,op.108,mov.I,mm.30-33. 55 4.5 Bart´ok, Piano Quintet,mm.219-221. .................. 55 4.6 Bart´ok, Piano Quintet,mm.222-223. .................. 56 4.7 Bart´ok, Piano Quintet,mm.245-249. .................. 56 4.8 Bart´ok, Piano Quintet,mm.251-253. .................. 57 4.9 Bart´ok, Piano Quintet,mm.1032-1035.. .. 58 4.10 Brahms, Piano Concerto in B ♭ Major,op.83,mov. I,mm.87-96. 58 4.11 Bart´ok, Piano Quintet,mm.479-486. .................. 59 4.12 Brahms, Violin Sonata in A Major,op.100,mov.I,mm.16-29. 60 4.13 Bart´ok, Piano Quintet,m.1063...................... 61 4.14 Brahms, Piano Concerto in B ♭ Major, op. 83, mov. I, mm. 203-204. 61 4.15 Bart´ok, Piano Quintet,mm.262-267. .................. 62 4.16 Bart´ok, Piano Quintet,mm.262-267. .................. 63 4.17 Bart´ok, Piano Quintet,m.1065...................... 66 4.18 Liszt, Vall´ee d’Obermann, Ann´ees de P`elerinage I: Premi`ere Ann´ee (1852version),mm.165-166.. 66 4.19 Bart´ok, Piano Quintet,mm.22-23. ................... 67 4.20 Bart´ok, Piano Quintet,mm.993-996. .................. 68 4.21 Liszt, Hungarian Fantasy ........................ 68 4.22 Bart´ok, Piano Quintet,m.1038...................... 70 4.23 Bart´ok, Piano Quintet,mm.1084-1089.. .. 75 4.24 Dohn´anyi, Piano Quintet in c minor,op.1,mov.IV,mm.1-4. 79 4.25 Dohn´anyi, Piano Quintet in c minor,op. 1,mov. IV, mm. 80-84.. 81 4.26 Bart´ok, Piano Quintet,mm.1337-1344.. .. 81 4.27 Bart´ok, Piano Quintet,mm.139-142. .................. 82 4.28 Bart´ok, Piano Quintet,mm.1230-1236.. .. 82 4.29 Bart´ok, Piano Quintet,mm.143-144. .................. 83 4.30 Bart´ok, Piano Quintet,mm.147-148. .................. 83 4.31 Dvor´ak, Piano Quintet,mov.II,mm.1-15.. 84 4.32 Bart´ok, Piano Quintet,mm.1307-1318.. .. 85 4.33 Bart´ok, Piano Quintet,mm.188-193. .................. 86 4.34 Bart´ok, Piano Quintet,mm.1049-1050.. .. 86 4.35 Bart´ok, Piano Quintet,mm.1020-1022.. .. 87 4.36 Bart´ok, Piano Quintet,mm.1030-1031.. .. 88 10 LIST OF MUSICAL EXAMPLES – Continued 4.37 Franck, Symphonic Variations for Piano and Orchestra,mm.5-8. 88 4.38 Franck, Piano Quintet in f minor,mov.I,mm.124-133.. 89 4.39 Bart´ok, Piano Quintet,mm.770-780. .................. 90 4.40 Franck, Piano Quintet in f minor,mov.I,mm.90-97. 90 4.41 Bart´ok, Piano Quintet,mm.1080-1089.. .. 92 4.42 Bart´ok, Piano Quintet,m.1003...................... 93 4.43 Bart´ok, Rhapsody,op.1,m.1. ...................... 93 4.44 Bart´ok, Rhapsody,op.1,mm.25-26. .................. 94 4.45 Bart´ok, Piano Pieces: “FantasyII,”mm.14-19. 96 5.1 Bart´ok, Piano Quintet,mm.961-963. .................. 101 5.2 Bart´ok, Piano Quintet,m.1........................ 101 5.3 Bart´ok, Piano Quintet,mm.967-969. .................. 102 5.4 Bart´ok, Piano Quintet,mm.972-974. .................. 103 5.5 Bart´ok, Piano Quintet,mm.975-979. .................. 106 5.6 Bart´ok, Piano Quintet,m.990. ..................... 107 5.7 Bart´ok, Piano Quintet,m.994. ..................... 108 5.8 Bart´ok, Piano Quintet,mm.983-986. .................. 109 5.9 Bart´ok, Piano Quintet,mm.1030-1031.. 111 11 LIST OF TABLES B.1 First movement Andante,formalstructure . 119 B.2 Second movement Vivace (Scherzando),formalstructure . 120 B.3 Second movement Vivace (Scherzando), formal structure - continued . 121 B.4 Third movement Adagio,formalstructure . 122 B.5 Fourth movement Poco a poco pi`uvivace,formalstructure . 123 12 ABSTRACT The rarely performed Piano Quintet in C major (1904) by B´ela Bart´ok is a major work in the chamber music genre although its individuality and significance seem to have gone unnoticed in the scholarly literature.