Béla Bartók. Music for Strings, Percussion & Celesta, Sz. , BB Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Premiered in , Music for Strings, Percussion and Celesta was an incredibly compelling step forward in transferring these forces into the. Alan Gilbert, Music Director. Music for Strings, Percussion, and Celesta, BB Béla Bartók. Insights Digital Extras. Curated by New York Philharmonic Staff.
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One of the members of the audience was the year-old conductor and leader of the Basler Kammerorchester, an ensemble founded in with the aim of cultivating the little-known field of early music and the even less familiar field of new music.
The young conductor was Paul Sacher. The conductor asked for the right to the world premiere only, for which he offered the composer the sum of Swiss francs. He was ready to write a work under the conditions specified by Sacher. To a large extent I will probably be able to avoid difficulties of execution, but it is another matter to avoid difficulties of rhythm. Anything new already poses difficulties for the players because of its unfamiliarity.
At any rate, I will try to write something relatively easy to play in this respect, too.
After all, Sgrings do not write music with the express intention of producing things that are hard to perform. In order to extend the sound in his compositions, he had been making an intensive study of the timbres of various percussion instruments and of their possible combinations. The new work would be minutes long and would be in four movements.
The score was completed on 7 September petcussion Pressure of time compelled the composer to forsake his usual procedure of first drawing up sketches and particella, instead of which he embarked straightaway on the fair copy, which he then refined in the course of September and October. As the Basler Kammerorchester at that time consisted partly of amateurs, Sacher needed to start rehearsals as soon as possible, that is to say, at the end of November.
On 19 January the composer arrived in Basel in order to be present at the last two rehearsals. He was relieved to be able to write to his wife in Budapest that, contrary to his expectation, all had gone well, almost perfectly indeed. The anniversary concert on 21 January, in which his composition was played last, was a great success snd both composer and performers.
Béla Bartók: Music for String Instruments, Percussion and Celesta
The advertising brochure of Universal Edition was soon percusison to report that the work had enjoyed triumphant successes worldwide, with around 50 performances in its first year. The Music for Strings, Percussion and Celesta received premieres in a large number of countries: It is also recognized as a key work in the music of the 20th century.
Of the large number of scholarly articles devoted to it, I would like to stress here the particular importance of two studies. This study was the first to reveal the formal and harmonic principles on which the composition is based golden section, axis system etc. According to certain principles, this is a fairly strict kind of fugue, composed as follows.
Music for Strings, Percussion & Celesta, Sz. 106, BB 114
The 2nd entry sits a fifth higher, the 4th also a fifth higher than the 2nd, and so on with the 6th, 8th etc.
Once the most distant key — E flat — has been reached in both directions high point of the movementthe subsequent entries have the subject in inversion until the home key of A is reached, after which there is a short coda. Second movement, in C. Sonata form second subject in G. Third movement, in Fsharp. Fourth movement, in A.
Music for Strings, Percussion &… | Details | AllMusic
Section G bars contains the main subject of the first movement, not in its original chromatic form but in an extended, diatonic version. Masterly though it is, the formal construction serves as a vehicle for a new kind of symphonic dramaturgy and for a new and irresistibly effective percussiob of musical poetry. The third movement is a lament inspired by Hungarian folk music, framed by awe-inspiring nature sounds.
The constant return of the fugal theme from the first movement gives organic unity to a series of complementary moods.
Mikrokosmos – Band 3. Nine Little Piano Pieces. Satz – Andante tranquillo 2. Satz – Allegro 3.
Music for Strings, Percussion and Celesta, Béla Bartók | Articulate Silences