Paper No. 2 Kevin Chow

Paper No.
2 Kevin Chow
Bartok’s Music for Strings, Percussion and Celeste is a masterpiece not only of systematical and
mathematical achievement, but also of profound inspiration and musical impact. Bartok draws
much of this inspiration from that which is deer to him; his love of nature and peasant music.
Bartok, I aim to explain and display these two influences in the 4th movement finale.
Right from the beginning we hear the influence of Eastern European peasant music. This is
displayed through Bartok’s rhythmic genius; with an opening section full of vitality and
exuberance. This section displays an incredibly effective use of asymmetrical rhythm and
syncopation. Foremost, the use of asymmetrical rhythm displays the influence Bulgarian folk
dance music had on Bartok. Given the cut common meter, the asymmetrical rhythm refers to the
utilization of slow and quick beats. Bartok was captivated by these folk-dance rhythms and
simply termed it ‘Bulgarian rhythm’.
In the score, we see that the harmonic rhythm of 𝅘𝅥 𝄾𝅘𝅥𝅮𝄽 𝅘𝅥 , 3-3-2 is somewhat similar in
comparison to the melody’s 𝅘𝅥𝅮𝅘𝅥𝅮𝅘𝅥 𝅘𝅥𝅮𝅘𝅥 𝅘𝅥𝅮 2-3-3. However, Bartok groups and slurs the rhythm of the
melody in a way that highlights the feel of 𝅘𝅥 𝅘𝅥 𝅘𝅥 with the down beat perceived to fall on the
second crotchet of the bar. The use of the quaver rest before the start of the melody also
enhances this syncopation of pulse. This specialized treatment rhythm provides incredible drive
and energy to the section. In addition, Bartok’s use of the Lydian scale is not to be overlooked as
it furthermore contributes to the uplifting and joyous character. One might be evoked the bustle
and hurry of nature in spring where all the flowers are blossoming and the animals are foraging.
This character is continued with the entrance of the piano from bars 26 - 44 with its simple yet
unsettling line. This is then followed by the return of the A section, this time without the clear A-
Paper No. 2 Kevin Chow
major harmonic support, but varied with a scalic figure. Interestingly, section C from bar 52 has
a striking resemblance to the Shrovetide Fare from Stravinsky’s Petrushka due to the alternating
major second quavers within a dense texture.
Bartok wanted to grasp the spirit of peasant music, and in many ways the relation of song and
dance captured this very spirit. The importance of dance to the peasants is evident in Bartok’s
own Romanian Dances as well as other composers such Brahms’s Hungarian Dances. What gave
these dances its unique Eastern European flavor was the use of modes and specialized scales.
One might think of the Hungarian Scale as a prime example of this. However, other modes such
as Dorian, Phrygian and alterations of these modes were also used in accordance to each region
or nation. From bar 85 we hear the use of the Dorian mode along with an alternating I-V bass.
This clearly evokes the music of the Eastern European peasant music with its lively dance
character.
Bartok harkens back to the theme of the first movement fugue at bar 198. Through this section,
Bartok once again recalls the life of nature. The theme here, is characteristic of Bartok’s ‘night
music’. Toth poetically wrote “Nature’s vast empire opens with the secret magic of the night”.
Whilst the original theme was restrained and eerie in its expression, this time the intervals are
doubled. This change, along with a richer harmonic base, creates a more open outpouring of
expression. One might hear the growl and yearning of the earth, perhaps as to remind of how
much the land has changed from the nostalgic past.
To the same effect, the solo cello voice preceding this reminds us of a lone wolf crying out to
nature. In the same vein, one could also hear it as the human isolation in nature. This subject is
Paper No. 2 Kevin Chow
also shown in Bartok’s song In The Valley, where the text speaks of the relationship between the
human life and the life of nature.
The stretto section effectively transitions back to the opening feel of vitality. But this return lacks
the full joy when compared the beginning of the movement as it feels strained. This is due to the
denser texture and richer, more dissonant harmonic language. It is not until the very end, where
the piece concludes with an A-major after a descending A-lydian scale where the stress is finally
released. While the symmetry here is much less defined than the first movement. By starting and
ending the fourth movement in the same light, Bartok hints at what he described as ‘the
miraculous order of nature’.

Paper No. 2 Kevin Chow

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Paper No.

simply termed it ‘Bulgarian rhythm’.

major second quavers within a dense texture.

much the land has changed from the nostalgic past.

human life and the life of nature.

miraculous order of nature’.

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