Análisis 5º cuarteto BArtok

8/2/2019 Análisis 5º cuarteto BArtok

http://slidepdf.com/reader/full/analisis-5o-cuarteto-bartok 1/15

1

Analysisof BartókStringQuartet#5

JeffreyC.Smith

Music301CwithEricUlman

Whatdoesitmeantobemodern?Thetwentiethcenturysawseveraldifferentmusicalidiomsemerge,

somerevolutionary,othersmoreevolutionary.Doesthemeasureof modernreflecttheextenttowhich

anidiombreakswithtradition,atransgressivemeasure?Or,shouldthequestioninsteadreflect

evidenceof agenuinemovement,whereinagivenidiomevolvesintoaschoolandevenstyle,later

adoptedanddevelopedbysucceedingartists?Perhapsboth?Perhapsthequestionitself isnotworth

asking.

Giventhisisanacademicpaperon20thcenturymusic,formdictatestheobligatorySchönberg

discussion,hereoneparagraphlate.Wethencontinueonwithdiscussionof Webern,followedperhaps

byaBoulezreference.Of courseCage.Then,wespendtimeonthepilgrimagetoDarmstadt.AndI

suppose,Q.E.D.,Schönbergisthequintessentialmoderncomposer.

CertainlythebranchesemanatingfromthisSchönbergiantreearebroadandnumerous(andhave

producedanexceedinglylargenumberof dissertations).Yetsuchafocusonthequestionof modern,

whereinweadoptthestandardproposedabovesuggestinganidiomidentifiedfirstbythemagnitudeof

itsdeparturefromtraditionandthentheextenttowhichsuchanidiombecomesastyle,suchafocus

leavesunresolvedmorefundamentalquestions.Unfortunately,giventhefracturednatureof the20th

century,theseveralidiomsandstyles,therecursivelytransgressivestrikesagainsttraditioninthename

of thenewandunique,itsnotobviousthatallorevenmostbranchescanbetracedtoSchönberg.

Darmstadtdisciplesaside,whatdowedowithBartók,Barber,Shostakovich,andevenLigeti?



2

Addingtothiscomplexityonwhatwenowcometorecognizeasacompletelyfrivolousquestionof

modern,wecouldamendthecriteriatoincluderelevance.Butatwhatcost?Massadoptionmeans

GeorgeBushJr.asPresidentof theUnitedStates,ergothemasseslackanysignificanceasweconsidera

definitionof artisticrelevance.ElvisPresley,DukeEllington,theBeatles,and,Godwilling,AlanMenken

thereforemustbeexcludedfromanyquestionof relevancegivenwhatwenowknowof theimpactof

massmediaandtherecordingindustryonthehuddledmasses,theindoctrinationof themasseswith

thesentimentalandthesexual,andthemassworshipof idols(andprisons)overart.If Stockhausens

visionof theEagleManbearingTierKreisladenobjectsonlyhadthesupportof theDisneymarketing

machine,thenwemighthavenormativedatatoanalyzethehypothesis.Butalas,Disneydidnotback

thisartwork.

Butwhatabouttheworkof 2Pac?Withanincarcerationrateexceeding1%of theadultpopulationin

America,shouldntwepushStockhausensEaglemanasideandinsteadconsidertherelevanceof 2Pac

(e.g.TupacAmaruShakur)?Evenintheabsenceof Disneymarketingmachinesupportof Stockhausen,

anydefinitionof artthatpertainstorelevanceinthelate20thcenturywouldneedtoatleastreference

2Pac,andperhapshis1994LPThugLifeLP(akaTheHateUGiveLittleInfantsFucksEverybody ).The

factis,withastandardof relevanceappliedtothemasses,asidefromafewbarbarous jabsthat

alienatedhispianistdaughter,Stockhausenisirrelevant.2Pac,bycontrast,soldseveralgoldalbums.

Ah,butwhatof historyyouask?BeyondthefactthatthemasseselectedBushJr.,asecondargument

againstrelevancemanifests,namelywhoareweto judgetodaywhatwillsurvivetime?Fewstatements

providemore

solace

to

the

completely

irrelevant

artists

than

this,

the

who

am

Ito

judge

now

postulate.Oneperformance,twentyattendees,perhapsapaper,afewvibrantdebates(whichlast

substantiallylongerthantheperformanceitself oreventhetruncatedplaybackof therecordingof the

performanceasaprecursortothelivelydebateonthework),theseplusthesolaceof potentialhistory?



3

Ironically,academiaisoneof thefewmoderninstitutionssupportingmanymodernmovementsinart,

andasweknow,academiaitself providesashelterfromthecrueltyof themasses,aself sustaining

artificialworld,removedfromthestandardsof commerceandacceptance.Incontrasttothewhimsof

themasses,academiapromotestheuniquestandardaboveall(otherwiseknownasthedissertation).

Andsotheincreasinglyuniquebecomesnoteworthy,yet(unfortunately)increasinglyirrelevant.

RobertSchumannwasamoderncomposerinthe19thcentury.HisFantasiainCOp.17forthepiano

pushedtonalityintoanewrealm:theopeningmovement1avoidsatoniccadenceuntilthe297th

barin

apieceof some308bars.Thepiecewasseldomif everperformedduringhislifetime.Evenhiswife

Clararemoved

it

from

her

concert

repertoire

given

the

reaction

from

the

audience

(e.g.

the

educated

andprivileged).ItwasFranzLisztwhorecognizedthestatureof theworkandeventuallysucceededin

promotingtheFantasy,therebyachievingabroaderlevelof acceptance.AndwenotethatRoberts

Album für die Jugend washistopseller.Yethecapitulated,here,perhapstofeedhischildren2?

SkippingpastWagnerandhisTristanchord3,fewof CharlesIvespieceswereperformedinhislifetime,

andthosethatwereperformedmetafrostyreception.Arguably,Iveswasnotacceptedbeyondafew

eliteacademicsandmusicians(e.g.pianistslikeJohnKirkpatrickandcomposerslikeHenryCowell)until

Bernstein4beganperformingIvesworksinthesixties.UnlikeSchumann,Ivesdidntneedtocapitulate

tofeedhisonlyadopteddaughtergiventhefortunehegeneratedthroughtheinsurancebusinessheco

founded.Wemodern,postmodern,transgressive,antiDisneycomposersfindprofoundsolaceinthe

storyof CharlesIves theelusivetriumphafterdeath!

1Whichatonepointborethetitleruinsandinhisfinalmanuscripthadnotitlebutinsteadanillustrationof

threestarswhichthepublisherdeclined.Iincludeasmuchtosupportthenotionof moderninthecontextof the

19th

century.Otherexamplesof Schumannabound.2OrhisAlbumdidmorethanpaythebills ithelpedengagehischildren(andmanymoregenerationsof children)

inthestudyof pianoperformance.3Youarewelcome.

4Thecomposerof WestSideStory.



4

Yet,aswepondertheabsurdderivativeof theinitialpreposterousquestiononwhatismodern,namely

thestandardof relevance,wedidfindsolace,butonlybytradingourcontemporaneousirrelevancefor

thepotentialforposthumousascendance.Andsocapitulation(orconformanceif youprefer)isnot

required.IonceaskedChristianWolfewhyitwassoimportanttobeuniqueandbreakwithtradition,

andhisresponsewasIdontknow,it justseemedlikethethingtodoatthetime.Whatbeauty!And

courage!

Theyinsistonreturningtothequestion:whatdoesitmeantobemodern?Relevancehasnothingtodo

withthetopic.Marketingandmodernareoxymoronicterms(yetwemightsuggest,butonlywithsome

trepidation,that

few

were

more

skilled

in

the

art

of

marketing

than

John

Cage).

And

so,

having

perturbedyouthereaderforanexcess,Isummarilydismissthequestion.Thequestionitself is

irrelevant.Andthestandardproposedbythequestion,thatunique+following=modernisalso

summarilydismissed.Dismissedwithprejudice.

Bartók,however,wasamoderncomposer.(Suchconfrontation,andforwhatpurpose?Essaysin

seminarsarenotmeanttobestreamof consciousramblings,asif Iwritenotesfromunderground.)

Essaysshouldbeextremelycoherent,matterof factanddevoidof prejudice.They(unlessmeantto

offend)shouldcertainlynotincludeanyreferencestofuckandprisonmusic.Yet,if Iquestionthe

veryinstitutionsthatsanctiontheseabsurddefinitionsandgenealogicalapproachestothetwentieth

centuryanditsfather,PapaSchönberg,shouldntImakeiteasierforthatinstitution(anditspurveyors)

todismissmyargumentsasnothingbuttheramblingsof amadman?Butwhatof theentertainment

value

no,

Ireally

belittle

my

work

the

artistic

merits

of

such

apaper?

Icontradict

myself

so

freely

again,andhereoncemoreinanoverlycomplexsentence.

Letusnotdismissanartistof thestatureof Schönberg.But,too,letusnotdismissBartókbyapplying

someDarmstadtianstandardthat,relativetoSchönberg,hewasnotunique.Orratherhewasnot



5

uniqueenough:hedidnotassaulthistory5.Oh,butSchönbergfirstmasteredtonalitybefore

disembowelingit(Iamremindedoverandoveragain).AndthismovementawayfromGermany,this

nationalisticmovementinmusic:certainlyitwassignificant,butitwasanexpansionof Romanticismand

chromaticism,no?Nothingnew.

Unfortunately,awholesaleidentitycrisisplaguesthemodernworld.Responsesvarytothecrisisamong

sixandonehalf billionsouls:thenewvoyeurismonFacebook,thecontinuingtransgressiverevolt(e.g.

Iwantanewsound,ergoIholduniquenessaboveallelse),ironicallythedisintegrationof thenation

state(e.g.ImaCroatian,notaYugoslavian),tattoos,etc.AndsoIrecognizethehastebywhichI

dismissedthe

term

modern,

and

regret

such

areactionary

approach.

For,

it

seems

clear,

the

era

we

describeasmodernvaluestheunique,theindividual.Andsoacceptingthisstandardandsimplified

definition,IcansaywithallsobrietythatBartókwasamoderncomposer.Unique,weshallfind,does

notdependexclusivelyoniconoclasm6.Infact,inBartókscase,hisuniquestandardderivedprimarily

fromhisreverenceforthepast,includingthemusicaltraditionof theprecedingcenturies,butalsothe

language,customs,andfolktraditionsof hishomeland.Letmequoteexcerptsfromhisownbrief

autobiographicalessay:

[Whilestudyinginthemusic academy inBudapest early inmy life],I got rid of theBrahmsianstyle,but did not succeed viaWagner and Liszt,in findingthenew way soardently desiredFromthisstagnationI wasroused asby alightningstrokeby the first performanceinBudapest of ThusSpake Zarathustra,in1902.Thework wasreceived by real abhorrenceinmusical circleshere,but it filled mewiththegreatest enthusiasm. At last therewasaway of composingwhichseemed tohold theseedsof anew life

5YousaySchönbergdidnoteschewhistory?Yes,Ihavehisbookontonality.Itsexcellent.Butthatsbesidethe

point.Idontcriticizehim.Ienjoy(much)of hismusic.6If weallinsistonbreakingwithtraditionasthedefinitionof modern,thenwereallconformists,no?



6

Meanwhilethemagic of Richard Strausshad evaporated. Areally thoroughstudy of Lisztsoeuvrerevealed tomethetrueessenceof composing...Inmy studiesof folk music I discovered that what wehad knownasHungarian folk songstill thenweremoreor lesstrivial songsby popular composersand did not containmuchthat wasvaluable.I felt anurgetogodeeper intothisquestionTheoutcomeof thesestudieswasof decisiveinfluenceuponmy work,becauseit freed me fromthetyrannical ruleof themajor and minor keys.Thegreater part of thecollected treasure,and themorevaluable part,wasinold ecclesiastical or old Greek modes,or based onmore primitive(pentatonic)scales,and themelodieswere full of themost freeand varied rhythmic phrasesand changesof tempi, played bothrubatoand giusto.It becameclear tomethat theold modes,whichhad been forgotteninour music,had lost nothingof their vigour.Their new employment madenew rhythmic combinations possible.Thisnew way of usingthediatonic scalebrought freedom fromtherigid useof major and minor keys,and eventually led toanew conceptionof thechromatic scale,every toneof whichcametobeconsidered of equal valueand could beused freely and independently

7 .

Bartóksoughtthenewway,perhapsreflectiveof hisdesiretobeunique,ormoreprecisely,hisdesire

todiscoverhisownvoice.AccordingtoBartók,hediscoveredthisvoice,notthroughBrahms,Wagner,

Straussor

even

Liszt,

but

by

looking

back

further

into

the

traditions

of

the

folk

music

from

the

region

of

hisbirth.

Bartókssixstringquartets,composedduringthemostadventurousperiodof hiscreativelife,represent

someof themoreinterestingcontributionsBartókofferedtothe20thcenturycanon.Adetailed

examinationof hisfifthquartet(composedin1934)willperhapssatisfytheacademicrequirementsfor

thisessay,butmoreimportantlyoffersomeevidencetosupportthedualthesisthatBartókwasa

moderncomposerinthathewasunique,butincontrasttosomepeers,Bartóksuniquenesswas

steepedintradition.Hewasatraditionalmodernist.

7BélaBartókEssays,SelectedandEditedbyBenjaminSuchoff,Universityof NebraskaPress,Lincoln,1976.



7

Asrepresentedinthefifthquartet,therecanbenodoubtthatwehaveencounteredanewandexciting

musicallanguage.Itisfirstarhythmiclanguagewithlyricallyconnectedlines,anextremelychromatic

languagedevoidof tonalcentersandcadences,andindeedanaturallanguagefullof balanceand

symmetry.Thelanguageismarkedbyitsextremecontrastingtopics:nightmusic,ormomentsof

stasisandexplorationsof ambientsoundsvs.explosiverhetoricalstatementssuchastheopeningand

closingof thefirstmovement,contrastedagainbythesweepingfolkdances.Weencounterunique

timbres,articulations,andtexturesthroughoutthework.Theformitself isnovel,amirrorlikereflexive

structure,projectingperhapsbothtimespastandpresent.Ultimately,wediscoverthecentralstructure

unifyingtheform,textures,andtechnique:auniqueplanof symmetrywhichpermeateseveryaspectof

thework.

Yettherecanbenodoubtthattheworkfollowstradition,perhapsnotinastrictsense,butcertainlyina

referentialsense.Thevoiceleadinghasbeencarefullyconsideredinallparts.Thepiecefrequently

borrowsfromcounterpointandfugue.Theformof thefirstandlastmovementscorrelatehighlytothe

expectedsonatalikeformof afirstmovementquartetandarondolikeformof alastmovement.While

certainlynottonal,weseeacleartonalplanemergeinthepiece.Addtothisthefolkmelodiesand

dancelikemetersandrhythms,andwerecognizehowpervasivethehistoricalreferencesandmaterials

aboundinthepiece.

Yetthiscombinationof experimentandtraditionhascreatedasublimeworkof art.Tosupportthe

abovesecondarythesis,namelythatBartóks5thquartetwasuniquenotbyvirtueof itsrupturewiththe

pastbut

rather

the

composers

ability

to

experiment

musically

while

embracing

tradition,

it

will

be

necessarytoelaborateontheabovepointsinsomedetail.



8

Weimmediatelydetectanobviousreflexivesymmetryacrosstheentirework8.Asthefollowingtable

depicts,thefulcrumof theworkisfoundinthecentralmovement,theScherzo,andspecificallythetrio

of thisminuet.TheScherzo,inturn,isflankedoneithersidebymomentsof stasis,ornightmusic,

namelytheAdagiomoltoandtheAndante.Byextension,aswemovefromthecentertowardsthe

perimeter,theoutermovementsof thepiece,thesehighlydiversemovementshighlightrhetoricaland

declamatoryqualities.

A B C B AMvmnt Allegro AdagioMolto Scherzo Andante AllegroVivace

Style Rhetorical Ambientstasis Dance Ambientstasis Rhetorical

Form

Sonata

form

Arch

Minuet

Variation

on

B

Rondo

Pitch9 Bflat D Csharp G Bflat

Formof BartóksFifthStringQuartet Thesymmetricalreflexivestructure,representedatthehighestlevelintherelationshipof the

movementsthemselves,permeateseveryaspectof thework.Thecentralmovement,theScherzo,

followsminuetform,orABA;itskeystructuremaintainsthereflexivity,rotatingfromCsharptoEinthe

trioand

back

to

C

sharp

10

.

TheAdagio

strictly

follows

ascheme

of

three

successive

subjects,

namely

ABC,followedbythereturnof thosesubjectsinverted,bothinorderof returnbutalsothematerials

themselves,orCBA11.Andtheoutermovements,asweshallseem,arethemselvesbuiltonarchlike

reflexivestructures.

8The

analysis

of

form

contained

in

the

next

few

pages

borrows

extensively

from

the

analysis

György

Ligeti

performedonthework,aspublishedintheBooseyandHawkeseditionof thequartet,HawkesPocketScores,

London,2.25,1939[Ligeti],aswellasBartóksownanalysispublishedintheaforementionedEssays[Bartók].

WhileLigetisanalysissometimesdepartsfromthenotesof Bartókhimself (forexampleBartókclaimedthefirst

movementhadonlytwosubjectsintheexpositionvs.Ligetisthree),IfindLigetisanalysisinsightfuland

compelling.9Thereferencestokeysdonotsuggesttonalitiesbutratheraseminalpitch.

10SeeBartok,p.414.

11SeeLigeti,p.3.



9

Ouratten

reference

violinope

abeyance

joinedini

qualityof

unfold.

thepiece

Thesym

samerefl

timethe

tion,therefo

dbelow,sug

nsthetrio,s

viaapizzicat

mitationbyt

thenightm

erecognize

descendsin

etricalstruc

exivequalitie

enterof the

re,isdrawnt

gestsaBulga

eeminglysus

otexturein

hecello.Th

sicof thesl

wehavearri

amotiontot

Bartók5

ureisrecurs

sinthismov

firstmovem

othenexus,

rian9/8dan

pendingtim

hesecondvi

openingtex

wermovem

edatasigni

hefinalcad

thQuartet:T

ive.Aswed

ement.Mor

nt(asoppos

thetrioof th

e(3:2:2:3).

.Anobviou

olin,andthe

tureallowst

nts,yetwith

icant junctu

nceof Bfl

hirdMovem

lveintomor

eover,weid

edtothece

eminuetint

sthetriou

folkmelody

nfullyinriliehissectiont

thearrival

einthepiec

tforthefina

ntScherzo:

edetailof th

entifyasimil

terof thepi

hescherzo.

folds,anost

isthenintro

vowiththev

floatwitht

f theviola,w

e.Fromher

lmovement.

Trio

efirstmove

rmomentt

ce).Itsee

histrio,as

inatiinthefi

duced,firsti

iola,eventua

estasislike

eseeafolk

,theweight

ent,wefind

thetrio,thi

sthatweha

st

lly

ance

of

the

ve



10

thefirstmovementitself actingasanexpositionof sortsfortheentirework,preannouncingthe

reflexivesymmetry,wherethearchcrestsinadancelikefolkmelody.

Bartók5thQuartet:FirstMovementAllegro:m.86

Theostinatiofferedinthelowerstringscreatesanimmediatecontrasttotheprecedingdeclamatory

section

of

the

development.

A

bar

into

the

ostinati

we

have

the

fortissimo,

an

equally

declamatory

entranceinbothviolins,butthistime,incontrasttobefore,afolklikestatement.Thefollowingtable

allowsustoplacethesettingof thismomentinthecontextof thefirstmovement.

ABCDCB AExposition Development Recapitulation

A

TR

1424

B

2444

C

4458

D

59132

C

132146

B146159

A159176

Coda177218

2nd

sub

3rd

sub

A&B C

inverted

B

inverted

A

inverted

A

material



11

Bartók5thQuartet:FirstMovementStructure

Weimmediatelynoticethatthistransitiontoafolklikedancetopicwithostinatioccurspreciselyatthe

midpointof thework(excludingthecoda),embeddedinadevelopmentsection.Andsowenotethe

parallelbetweenthefirstmovementandtheentirework:theheartof thework,andperhapstheheart

of thecomposer:asimplefolkmelody.

Thesymmetricalobservationsapplytotheformof theothermovements.Asreferencedabove,wefind

theAdagio

Molto

offers

three

subjects

in

succession,

followed

by

their

inversion

in

reverse

order,

or

A

BCCBA.TheAndante,aswemightexpect,ismorecomplicated.Whilenotastrictinversionof the

Adagio(if thearchlikeformplayedoutacrossthismovement),wefindthesamematerialsof the

AdagioMoltoexceptvaried,andsotheAndanteactsasavariationontheAdagioMolto.Yet,aswe

moveawayfromourfulcrum,namelythetrioof theScherzo,theweightof thepiecegrows.The

Andantebeginswithavariationof thefirstsubjectof theAdagioMolto,orA(mm.122),followedbya

variationof thesecondsubject,B(mm.2342),andeventuallythethirdsubject,C(mm.4254),a

canonicvariation12.Yetherewedonotseetheinversionof thesesamevariations,asintheAdagio

Molto,butinsteadencounteratransition(mm.5460),adevelopment(mm.6081),andarecapitulation

of sorts(mm.81101).AndsotheAndanteseemsintegratedwiththeAdagioMolto,thecombination

suggestingtheformof theopeningAllegro.

Ourfinal

movement

is

the

most

complex

in

terms

of

form,

and

at

828

bars

carries

the

most

weight

of

thequartet.Followingtheanalysisof Ligeti,arondolikeformsomewhatoscillatesbetweenaninitial

12SeeLigeti,pp45.

B

flat?

C? D? E? F#? Aflat? Bflat? Bflat?



12

subjectandepisodes.Yetweseegrotesquetransformations13.Thefollowingtableoutlinestheform

of thefinalmovement14

15.

Bartók5thQuartet:FinalMovementStructure

Thiscomplexmovementincludessurprises.Forexample,thedevelopmentsection(if youwill)packs

togetheraTrioandFugue.Yetthemostbizarremomentof thepieceoccurswiththesecondrecurrence

of thesecondsubjectintherecapitulation(if youwill)atmm.699720.Thecompletetextureshiftfrom

thefrenetic,lyricallinestoamockinglysimpletextureof accompanimentplusmelody.Perhapswesee

areferencetotheostinatiaccompanimentof folkmelodyweencounteredatthefulcrumof theAllegro

andthefulcrumof theentirework,theTrioof theScherzo.Yethere,wehavenothingof thevitalityand

nostalgiaof thepreviousfolklikedancesections.Instead,wehavethefirstandonlyobvious

tonic/dominantrelationshipprovidingacontortedreferencetoafolkmelodywithdance

accompaniment.Thesectionseemscompletelyincongruous,andsowemightaskwhathappened.Did

theweightof thepiece(orperhapseventheweightof history)reducethenostalgicreferencesof folk

melodiestoaborted,grotesqueimages16?If weexaminethefinalmovementfromamacroperspective

andfollowBartóksownnotesonthemovement17,aclearsymmetricalreflexivestructureonceagain

emerges.

Bartókhas

modeled

the

final

movement

after

the

first

movement.

13SeeLigeti,p.6.

14SeeLigiti,p.6.

15SeeBartók,pp414415.

16Hencetheproposedthesis.

17SeeBartókp.415.

Exposition? Development? Recapitulation? Coda?

114

14

54

55

109

109

149

150

200

202

368

368

484

484527 527

546

546

623

624

698

699

720

721

780

781

828

Intro 1st

sub

2nd

sub

1st

sub

inv

TR Trio Fugato

(1st

sub)

Episode Intro

recap

1st

sub

recap

2nd

sub

recap

2nd

sub

var

2nd

sub

Coda

A B C B A TR Coda



13

Thesym

Consider,

opening,

eventuall

defineda

theoctav

Foranoth

thearriva

providing

finalbars

rotatewit

18SeeBart

19Stephen

60.20

Richard21

SeeWal

etricalnatur

again,thefi

eventuallyto

upthewho

stheaccent

e,withhalf o

erexample

lattheEnat

acadenceo

of thefinal

hdescendin

ókp.414.

Walsh,Bartó

Taruskin,The

shp.61.

edefinesth

stmovemen

Enatural(w

letonescale

darrivalat

f itsweighto

Bart

f thisaxials

ural(domina

sortstoour

ovementof

voices.

ChamberMu

OxfordHistory

form,butp

.Wenotic

hichactsasa

toBflat.W

.5.Fromth

neitherside

k5thQuarte

ymmetry20,

nt)atm.215

Bflatfinal.

thequartet,

sic,BBCMusic

of Western

rmeateseve

aclearkey

dominantt

seeinthe

estandpoint

.

t:FirstMov

considerthe

,weseethe

ndagain,w

etincontra

Guides,Britis

usic,Vol.4,O

nthekeystr

tructuretha

Bflat18)for

peningbars

of symmetr

mentAllegr

finalbarsof

reflectionpl

noticethis

sttothefirst

hBroadcastin

xfordUniversi

uctureandli

movesfrom

thedevelop

herelations

,of courset

thefirstmov

youtinthei

ameaxialsy

movement,

Corporation,

tyPress,Oxfor

esof thepi

Bflatinthe

ent19,andt

ipof Bflatt

etritonebi

ement.21Aft

nvertedinte

mmetryinth

scendingvo

London,1982

d,2005,p.40

ce.

en

oE

sects

er

vals,

e

ices

,p.

0.



14

Wealson

formwe

interestin

voicesha

havebro

firstviolin

Bartóks

form,tok

certainly

hasbeen

inversion

andartic

nostalgic

Ba

oticesymme

ightexpect

gbeingthe

ebroken

int

enintofour.

,thensecon

experimenti

eystructure,

ottradition

augmentedt

of material

lations.And

guides.

Bartók5thQ

tók5thQuart

tryof theen

inafourvoi

peningof th

otwo,

the

vi

Theyenter

dviolin,then

symmetry

cadences,li

l.Tonalityh

osupportan

andreversed

sotherefer

uartet:First

et:FinalMo

ranceof voi

ecounterp

piece.Atm

olinsas

one

sinafugue;

cello.Event

ermeatede

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15

IsitpossiblethatamodelformodernityexistswithinBartókandinparticularhisstringquartets?Isit

possiblethatthetransitionfromtheRomanticEratotheModernErawasnotmarkedbyrevolution,but

insteadevolution?If weaccepttheabsurdstandardof modernityasastandardof unique,thencanone

arguethatBartóksquartetisanylessuniquethantheworksof hiscontemporaries?Wenowclearly

recognizethequestionisabsurd,nothingmorethanaprolongeddistraction,andso,atlast,wemove

on.

Análisis 5º cuarteto BArtok

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