If Mozart had written the quartets of Bartók clock plans ... | Euterpe - Classical Music Blog
Therefore, to avoid any confusion in this text, and also to prevent some inattentive reader will look after the Mozart quartets that do not exist, we will give birth to an imaginary composer, Zoltán Mozartók Amadeus, a romantic blend of Mozart to Bartók.
Both Béla Bartók as our Mozartók as youngsters explored the interior of Hungary in search of popular, truly national melodies and were surprised by what effectively found: clock plans pentatonic scales, bitonalidades, and melodies that sounded wild to Western ears. We can get an idea of what they heard watching clock plans the videos clock plans below are all of excellent Muzsikás group, who has done any research clock plans work seeking clock plans to enforce the original song "root" of Hungary:
The work of both composers suffered great influence of this material - but each in its own way. Mozartók tried to adapt the melody to their small academic musical world while Bartók struggled to expand their world in order to embrace all the originality of Hungarian clock plans music. Let's see some examples to compare this difference in vision.
Mozartók, probably under influence Viennese tchaikovskiana, used this melody in the third movement (Valse: Allegro moderato) of his String Quartet # 8 in A Major KSz.85; listen to an excerpt here and be sure to notice that it uses both the original form as the inverted (upside down) of the melody:
Before continuing, you may want to ask shame: it sounds Hungarian? Reminds somehow the music video up there? This is the point to keep in mind when we got Bartók and heard his music. Here, the String Quartet # 3, it uses only the inverted form of the same folk tune used by Mozartók (listen to it here in three sections) in much of the work ...
I understand that this may sound somewhat aggressive and hard in the first auditions, but a more understated harmony would not evoke the exoticism of Hungarian songs. It would be like listening to bossa nova with simple chords, or Brazilian rhythms like samba and capoeira without the setbacks so characteristic.
When Mozartók clock plans visited Bulgaria and heard a dance typical of the region, he did not know very well how to record the rhythms and setbacks as the video above, and therefore the Bulgarian dance that closes his String Quartet # 11 in C # minor KSZ. 102 sounds like an American dancing samba, observe:
Bartók also heard the same dance when visiting Bulgarian same region, but to write it down with greater fidelity, he had to create a beat (rhythm) new, 4 + 2 + 3 times, which today causes some chills - and sometimes even nightmares - in some groups of string quartets. Listen to the beginning of the third movement (Scherzo: Alla bulgarese) from your String Quartet # 5:
In the previous video, it's hard not to notice the strange instrument that accompanies the violin. His name is ütögardon, or simply gardon; is an instrument tuned in D and in D remains even when the violin comes in other shades - which might explain some harmonic innovations in the works of Bartók. But what I like to call the attention is on how to play the instrument:
There are two ways to play the gardon, and one of them is beating with a stick of wood on strings. The classical string instruments also feature a similar technique called col legno, when the sound is produced by hitting with the wooden part of the bow on the strings. Mozartók never wrote, but his master Mozart (the real, the original Salzburg) he had written at least two books with excerpts indicating col legno legno col using nothing because, in his words, such a technique was "an aberration": one is the March K.335 # 1 and the other is the Concerto for Violin and Orchestra K.219 # 5 in Turkish from the last movement:
The other way is to touch the pulling rope Gardon forward pizzicatos different from the conventional instruments where the rope is pulled aside to facilitate resonance. Knowing clock plans this, Bartók created a new type of pizzicato directing musicians to pull the rope vertically, with force, so she knocked on purpose on the fretboard creating a percussive effect. This pizzicato eventually earning his name, "Bartók pizzicato"; listen to it here in two sections of the String Quartet # 4, comparing it with the normal pizzicato:
Returning to Mozartók, we can trace many other parallels between his work and the work of Bartók, clock plans so great is the use of themes in common by the two composers. For example, compare this pinched excerpt from String Quartet # 9 KSz.91 where Mozartók makes use of the popular theme Hogyan torzítja egy dallamot szép Olyan ...
To conclude, it is important to note that despite having Mozartók
Therefore, to avoid any confusion in this text, and also to prevent some inattentive reader will look after the Mozart quartets that do not exist, we will give birth to an imaginary composer, Zoltán Mozartók Amadeus, a romantic blend of Mozart to Bartók.
Both Béla Bartók as our Mozartók as youngsters explored the interior of Hungary in search of popular, truly national melodies and were surprised by what effectively found: clock plans pentatonic scales, bitonalidades, and melodies that sounded wild to Western ears. We can get an idea of what they heard watching clock plans the videos clock plans below are all of excellent Muzsikás group, who has done any research clock plans work seeking clock plans to enforce the original song "root" of Hungary:
The work of both composers suffered great influence of this material - but each in its own way. Mozartók tried to adapt the melody to their small academic musical world while Bartók struggled to expand their world in order to embrace all the originality of Hungarian clock plans music. Let's see some examples to compare this difference in vision.
Mozartók, probably under influence Viennese tchaikovskiana, used this melody in the third movement (Valse: Allegro moderato) of his String Quartet # 8 in A Major KSz.85; listen to an excerpt here and be sure to notice that it uses both the original form as the inverted (upside down) of the melody:
Before continuing, you may want to ask shame: it sounds Hungarian? Reminds somehow the music video up there? This is the point to keep in mind when we got Bartók and heard his music. Here, the String Quartet # 3, it uses only the inverted form of the same folk tune used by Mozartók (listen to it here in three sections) in much of the work ...
I understand that this may sound somewhat aggressive and hard in the first auditions, but a more understated harmony would not evoke the exoticism of Hungarian songs. It would be like listening to bossa nova with simple chords, or Brazilian rhythms like samba and capoeira without the setbacks so characteristic.
When Mozartók clock plans visited Bulgaria and heard a dance typical of the region, he did not know very well how to record the rhythms and setbacks as the video above, and therefore the Bulgarian dance that closes his String Quartet # 11 in C # minor KSZ. 102 sounds like an American dancing samba, observe:
Bartók also heard the same dance when visiting Bulgarian same region, but to write it down with greater fidelity, he had to create a beat (rhythm) new, 4 + 2 + 3 times, which today causes some chills - and sometimes even nightmares - in some groups of string quartets. Listen to the beginning of the third movement (Scherzo: Alla bulgarese) from your String Quartet # 5:
In the previous video, it's hard not to notice the strange instrument that accompanies the violin. His name is ütögardon, or simply gardon; is an instrument tuned in D and in D remains even when the violin comes in other shades - which might explain some harmonic innovations in the works of Bartók. But what I like to call the attention is on how to play the instrument:
There are two ways to play the gardon, and one of them is beating with a stick of wood on strings. The classical string instruments also feature a similar technique called col legno, when the sound is produced by hitting with the wooden part of the bow on the strings. Mozartók never wrote, but his master Mozart (the real, the original Salzburg) he had written at least two books with excerpts indicating col legno legno col using nothing because, in his words, such a technique was "an aberration": one is the March K.335 # 1 and the other is the Concerto for Violin and Orchestra K.219 # 5 in Turkish from the last movement:
The other way is to touch the pulling rope Gardon forward pizzicatos different from the conventional instruments where the rope is pulled aside to facilitate resonance. Knowing clock plans this, Bartók created a new type of pizzicato directing musicians to pull the rope vertically, with force, so she knocked on purpose on the fretboard creating a percussive effect. This pizzicato eventually earning his name, "Bartók pizzicato"; listen to it here in two sections of the String Quartet # 4, comparing it with the normal pizzicato:
Returning to Mozartók, we can trace many other parallels between his work and the work of Bartók, clock plans so great is the use of themes in common by the two composers. For example, compare this pinched excerpt from String Quartet # 9 KSz.91 where Mozartók makes use of the popular theme Hogyan torzítja egy dallamot szép Olyan ...
To conclude, it is important to note that despite having Mozartók
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