Concerto for Orchestra (Bartók)
|Concerto for Orchestra|
|by Béla Bartók|
The composer in 1927
|Catalogue||Sz. 116, BB 123|
|Composed||1943 rev. 1945|
|Duration||About 38 minutes|
|Date||1 December 1944|
|Location||Symphony Hall, Boston|
|Performers||Boston Symphony Orchestra|
The score is inscribed "15 August – 8 October 1943". It was premiered on December 1, 1944, in Symphony Hall, Boston, by the Boston Symphony Orchestra conducted by Serge Koussevitzky. It was a great success and has been regularly performed since.
It is perhaps the best-known of a number of pieces that have the apparently contradictory title Concerto for Orchestra. This is in contrast to the conventional concerto form, which features a solo instrument with orchestral accompaniment. Bartók said that he called the piece a concerto rather than a symphony because of the way each section of instruments is treated in a soloistic and virtuosic way.
The work was written in response to a commission from the Koussevitzky Foundation (run by the conductor Serge Koussevitzky) following Bartók's move to the United States from his native Hungary, which he had fled because of World War II. It has been speculated that Bartók's previous work, the String Quartet No. 6 (1939), could well have been his last were it not for this commission, which sparked a small number of other compositions, including his Sonata for Solo Violin and Piano Concerto No. 3.
Bartók revised the piece in February 1945, the biggest change coming in the last movement, where he wrote a longer ending. Both versions of the ending were published, and both versions are performed today.
The piece is scored for the following instrumentation.
The piece is in five movements:
- Introduzione. Andante non troppo – Allegro vivace
- Presentando le coppie. Allegro scherzando
- Elegia. Andante non troppo
- Intermezzo interrotto. Allegretto
- Finale. Presto
The work combines elements of Western art music and eastern European folk music, especially that of Hungary, and it departs from traditional tonality, often using non-traditional modes and artificial scales. Bartók researched folk melodies, and their influence is felt throughout the work. For example, the second main theme of the first movement, as played by the first oboe, resembles a folk melody, with its narrow range and almost haphazard rhythm. The drone in the horns and strings also indicates folk influence (see example).
II. Presentando le coppie
The second movement, called "Game of Pairs" (but see note below), is in five sections, each thematically distinct from each other, with a different pair of instruments playing together in each section. In each passage, a different interval separates the pair—bassoons are a minor sixth apart, oboes are in minor thirds, clarinets in minor sevenths, flutes in fifths, and muted trumpets in major seconds. The movement prominently features a side drum that taps out a rhythm at the beginning and end of the movement.
While the printed score titles the second movement "Giuoco delle coppie" or "Game of the couples", Bartók's manuscript had no title at all for this movement at the time the engraving-copy blueprint was made for the publisher. At some later date, Bartók added the words "Presentando le coppie" or "Presentation of the couples" to the manuscript and the addition of this title was included in the list of corrections to be made to the score. However, in Bartók's file blueprint the final title is found, and because it is believed to have been the composer's later thought, it is retained in the revised edition of the score.
The original 1946 printed score also had an incorrect metronome marking for this movement. This was brought to light by Sir Georg Solti as he was preparing to record the Concerto for Orchestra and the Dance Suite:
When preparing these two works for the recording I was determined that the tempi should be exactly as Bartók wrote and this led me to some extraordinary discoveries, chief of which was in the second movement of the Concerto for Orchestra. The printed score gives crotchet equals 74, which is extremely slow, but I thought that I must follow what it says. When we rehearsed I could see that the musicians didn't like it at all and in the break the side drum player (who starts the movement with a solo) came to me and said "Maestro, my part is marked crotchet equals 94", which I thought must be a mistake, since none of the other parts have a tempo marking. The only way to check was to locate the manuscript and through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page, which not only clearly showed crotchet equals 94, but a tempo marking of "Allegro scherzando" (the printed score gives "Allegretto scherzando"). Furthermore Bartók headed it "Presentando le coppie" (Presentation of the couples), not "Giuoco delle coppie" (Game of the couples). I was most excited by this, because it becomes a quite different piece. The programme of the first performance in Boston clearly has the movement marked "Allegro scherzando" and the keeper of the Bartók archives was able to give us further conclusive evidence that the faster tempo must be correct. I have no doubt that thousands of performances, including my own up to now, have been given at the wrong speed!
IV. Intermezzo interrotto
The fourth movement, "Intermezzo interrotto" (literally "interrupted intermezzo"), consists of a flowing melody with changing time signatures, intermixed with a theme that appears to quote the song "Da geh' ich zu Maxim" from Franz Lehár's operetta The Merry Widow, but Bartók had heard neither the operetta nor the song and was ridiculing the march tune in Dmitri Shostakovich's Symphony No. 7 "Leningrad", which refers to Lehár's then-popular song. The theme is itself interrupted by glissandi on the trombones and woodwinds.
Excerpt from the fourth movement. The timpanist plays a chromatic bass line, requiring using the pedal to change pitches.
Problems playing this file? See media help.
In this movement, the timpani are featured when the second theme is introduced, requiring 10 different pitches of the timpani over the course of 20 seconds. The general structure is "ABA–interruption–BA."
The following are only a small selection of the numerous available recordings.
- Recorded on 4–5 February 1946, with Fritz Reiner conducting the Pittsburgh Symphony Orchestra. Columbia Masterworks M-793 (78 rpm). Columbia Records later released a 12-inch LP recording. Columbia ML 4102 (monaural). New York: Columbia.
- In 1953, Angel Records released a recording with Herbert von Karajan conducting the Philharmonia Orchestra. 12-inch LP recording. ANG 35003. Hollywood: Angel Records.
- In 1954, Columbia Records released a recording with Eugene Ormandy conducting the Philadelphia Orchestra. 12-inch LP recording. Columbia ML 4973. New York: Columbia.
- In 1956, RCA Victor released a recording with Fritz Reiner conducting the Chicago Symphony Orchestra. 12-inch LP recording. [N.p.]: RCA.
- In 1956, Decca Records released a recording with Ernest Ansermet conducting the Orchestre de la Suisse Romande, also including Frank Martin's Concerto for seven winds, percussion, and string orchestra. Decca LXT 5305; London CS-6086; Decca Eclipse (stereo). London: Decca.
- In 1958, Capitol Records released a recording with Rafael Kubelik conducting the Royal Philharmonic Orchestra, also including Bartók's Two portraits, op. 5. 12-inch LP recording. [Hollywood]: Capitol Records.
- In 1960, Columbia Records released a recording with Leonard Bernstein conducting the New York Philharmonic Orchestra, recorded at St. George Hotel, Brooklyn, New York, November 30, 1959. 12-inch LP recording. Columbia MS 6140 (stereo). New York: Columbia Records.
- In 1962,RCA Records released a recording with Erich Leinsdorf conducting the Boston Symphony Orchestra, made in Symphony Hall, Boston. 12-inch LP recording. RCA Victor LM-2643 (monaural). New York: RCA Victor.
- In 1965, Columbia Records released a recording with George Szell conducting the Cleveland Orchestra, also including Leoš Janáček's Sinfonietta. 12-inch LP recording. Columbia ML 6215 (stereo). New York: Columbia.
- In 1965, Decca Records released a recording with Georg Solti conducting the London Symphony Orchestra. 12-inch LP recording. Decca SXL 6212 (stereo).
- In 2012, Naxos Records released a recording with Marin Alsop conducting the Baltimore Symphony Orchestra in addition to Bartók's Music for Strings, Percussion, and Celesta. Digital recording. Naxos 8.572486.
- Cooper, David (1996). Bartók: Concerto for Orchestra. Cambridge: Cambridge University Press. ISBN 0-521-48505-3.
- Bartók, Béla. "Explanation to Concerto for Orchestra," for the Boston premiere at Symphony Hall.[full citation needed]
- Bartók, Béla (2004). Concerto for Orchestra (Score). New York: Boosey & Hawkes. ISBN 0-85162-189-9.
- Peter Bartók, "Preface to the Revised Edition, 1993", in Béla Bartók, Concerto for Orchestra: Full Score, revised edition, [iii–v] (London, New York, Bonn, Sydney, Tokyo: Boosey & Hawkes, 1993). The citation is on p. iv.
- Sir Georg Solti, Liner notes from London LP LDR 71036, Bartók Concerto for Orchestra and Dance Suite, Chicago Symphony Orchestra, recorded January 1980.
- Griffiths, Paul (February 22, 1999). "A Peacetime Hearing of the Shostakovich 'Leningrad,' Forged in War". The New York Times. Retrieved 30 March 2010.
- Hibberd, Kristian. "Saturday 18th May 2002". London Shostakovich Orchestra. Archived from the original on 16 May 2011.
- Mostel, Raphael. "The Merry Widow's Fling With Hitler", TabletMag.com, 30 December 2014, accessed 11 November 2016
- Recorded on 14 February 1954
- Recorded on 22 October 1955
- Recorded on 11–12/15 November 1956
- Recorded on 1 November 1958
- Recorded on September 1962
- Recorded on 15–16 January 1965
- Clements, Andrew (May 8, 2012). "Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta – review". The Guardian. Retrieved May 20, 2015.