31295001808723

THE THREE PIANO CONCERTOS OF BELA BARTOK
by
ALICE TERESE STEWART, B.M.
A THESIS
IN
MUSIC LITERATURE
Submitted to the Graduate Faculty

of Texas Tech University in
Partial Fulfillment of
the Requirements for
the Degree of
MASTER OF MUSIC
Approved
Accepted
December, 1973
Cop-2
ACKNOWLEDGMENTS
I wish to express deep appreciation to Dr. Paul F. Cutter for
the direction of this thesis and to Professor Richard A. McGowan for
his helpful criticism.
ii
CONTENTS
ACKNOWLEDGMENTS
ii
LIST OF EXAMPLES
iv
INTRODUCTION
CHAPTER
I.
THE FIRST PIANO CONCERTO
10
II.
THE SECOND PIANO CONCERTO
36
III.
THE THIRD PIANO CONCERTO
63
CONCLUSION
90
BIBLIOGRAPHY
99
iii
LIST OF EXAMPLES
Example
1. First Piano Concerto
First Movement, Meas. 13-17
13
14
15
17
19
6, First Piano Concerto
Second Movement, Meas. 5-8
21
22
23
24
10a, First Piano Concerto
Third Movement, Meas. 5-7
27
10b. First Piano Concerto
27
10c. First Piano Concerto
28
28
29
30
14. First Piano Concerto; Third Movement, Meas. 254-272

(Truncated)
32
15. F i r s t Piano Concerto; Third Movement, Meas. 257-272
33
(Truncated)
38
16. Second Piano Concerto; First Movement, Meas. 1-7
39
iv
41
19. Second Piano Concerto
42
44
45
48
49
54
56
56
Third Movement, Meas. 95
57
59
60
30. Third Piano Concerto
65
First Movement, Meas. 22
66
77
Second Movement, Meas. 63
77
78
82
83
87
INTRODUCTION
Bela Bart(5k is generally regarded as one of the giants of
twentieth-century music. His indomitable spirit and his ability to
absorb outside influences into a distinct and personal style allowed
him to make a unique and important contribution to the literature of
this century.
Bart6k was b o m on March 25, 1881, in Nagyszentmikl6s, Hungary,
in a district which is now a part of Roumania. His father was the
director of a government agricultural school and was an amateur musician as well.
He died when Bela was only seven years old, however,
so he clearly had little influence on his son's musical development.

Fortunately for the young Bart6k, his mother was a wise and prudent
woman who took pains to see that her son received a satisfactory education, and she was a constant source of encouragement in his musical
efforts.
In 1889, Bart6k entered the Royal Academy of Music in Budapest
to study piano and composition with Istvan Thomas and Hans Koessler,
respectively.
The latter was extremely critical of the aspiring com-
poser's work, and due to such setbacks, his activity as a pianist

superseded that as a composer for several years. Indeed, throughout
most of his life, the acclaim accorded him was primarily due to his
extraordinary performing abilities.
The year 1900 brought Bartdk's first meeting with another

brilliant young Hungarian, Zoltan Kodaly, who was to become a lifelong friend.
Both youths were highly nationalistic, and their
fervor was to spark the investigations into authentic Hungarian folk

music for which they are still renowned.
By very painstaking means,
Bartok and Kodaly recorded and transcribed thousands of folk tunes

taken directly from the peasants themselves. It was indeed out of
authentic folk elements that Bart6k developed a Hungarian style not
only independent of German influence, but also possessed of a depth
of national origin lacking in the gypsy music of Liszt and his
followers.
In 1907, Bart5k received an appointment as professor of piano
at the Royal Academy, a position he held until 1934. He despised the
very thought of teaching composition, and for that reason, he never
did, save for a few private students to whom he taught the basic principles of notation and orchestration. During the years 1934-1940, he
was able to devote all of his time to folk-song research, composition,
and performing tours. It was during this period that be brought forth
several works that are considered by many to be among his most significant: Music for Strings, Percussion and Celeste (1936), Sonata for Two
Pianos and Percussion (1937) , and the Sixth String Quartet (1939).
In 1940, Bart5k traveled to the United States to perform publicly and to observe what his circumstances would be should he decide
to emigrate. The forces of Nazi Germany were penetrating deeply into
Hungarian government and culture, and Bartok realized painfully that
his creative liberty was in grave peril. The decision to emigrate

was made shortly, and after a brief return to Hungary for the purpose
of putting his affairs in order, he and his wife, Ditta, set out to
make a new home in a foreign land. The move was difficult; a man of
fifty-nine years with a profound love for his homeland was not able
to effect such a transplant with ease.
Financial support was difficult to obtain in the United States,
and after a grant from Columbia University ran out, Bartok's income
became dependent upon occasional concert and lecture appearances and
fees for commissioned works.
In 1943 his health, which had been a
constant cause for concern throughout his life, took a definite turn
for the worse. His illness was diagnosed as leukemia, and on September 26, 1945, he died in New York City's West Side Hospital.
The following is an apt description of Bart6k as man and
composer:
Bla Bart6k was a quiet, shy and retiring man, a composer largely unheralded and ignored during his lifetime. No label such as "impressionism" or "expressionism"
was affixed to his style by the critics; he did net
develop a "method" or inspire a group of ardent student
followers. Yet his contribution to 20th century music
was of epic proportion.-'The dichotomy of Bart6k's music is perhaps most noteworthy
with respect to the degree to which he drew upon outside sources
while always maintaining his own unique style. In the course of
Nick Rossi and Robert A. Choate, Music of Our Time (Boston:
Crescendo Publishing Co., 1969), pp. 37-38.
his life, his work was greatly affected by Brahms, Liszt, Beethoven,
Strauss, Bach, Frescobaldi, and Debussy, to name a few, but all were
readily absorbed, as were the folk elements, into an unmistakable
and personal sound.
The rhythmic element in B crt6k's music is particularly characteristic.
Its irregular and at times primitive nature reveals some
similarities to certain passages in Stravinsky's Le Sacre du Printemps

This is not indicative of a Stravinskian influence on Bartok; indeed.
Allegro barbaro, a classic example of this rhythmic style, preceded
Le Sacre by one year.
Bart6k's strong penchant for irregular rhythms
was principally a result of his folk-song research, but, as all outside influences, was quickly assimilated to become an integral and
dynamic part of his own style.
His studies in authentic folk music were also of paramount
importance melodically.
From the tunes sung to him by the peasants
themselves, Bart6k made extensive use of the pentatonic and various

synthetic scales, as well as the old church modes. These had been
employed extensively by Debussy, but it was only after Bart6k had
discovered them in the course of his own research that he became
familiar with the works of Debussy.
The French master's music
exerted strong influence over Bart6k throughout his life, evidenced

not only in the use of modes and pentatonic scales, but also in the
impressionistic of his "night music," in which he evokes the sounds
and sensations of the night.
Although his melodies and rhythms are commonly folk-oriented,

textural treatment was a matter in which he relied heavily upon past
masters. His music is highly contrapuntal, with extensive use of
canon and fugal devices. Material is often presented contrapuntally
in its first statement, and development sections are almost continuously contrapuntal, employing canon, free imitation, inversion, and
stretto.
Because of his relatively free use of dissonance, much of
Bartt5k*s music has a brittle, percussive sound; the acrid harmonies
hindered its general acceptance for many years. As with so many creative artists, his motivation was necessarily an inner force, for he
enjoyed little understanding or encouragement from those around him.
It is extraordinary that he pursued his course with such conviction
and calm assurance. From all written accounts, it seems that he
never lost his confidence, but quietly followed his own path without
the defiance of Beethoven and Wagner, the intimidation of Brahms, or
even the despair of ever achieving popular understanding that is
revealed in the writings of Schoenberg.
In the years since his death,
however, many of Bartok's works have achieved and maintained wide

popularity and seemingly permanent place in the repertoire.
Perhaps the works which have received the greatest amount of
study and discussion are the six string quartets; because they span
the years 1909-1939, they provide a clear picture of the composer's
creative development. Other works which have gained considerable
popularity are Allegro barbaro for piano (1911), Music for Strings,
Percussion, and Celeste (1936), Mikrokosmos for piano (1926-1939),
and the Concerto for Orchestra (1943).
Besides the three concertos for solo piano and orchestra, Bartaik wrote a Rhapsody (1905), his first published work, which was composed originally for solo piano and later scored for piano and orchestra
for his entry in the Prix Rubenstein in Paris. A Scherzo, Op. 2, was
also written for piano and orchestra, but, as the Rhapsody, is heard
very little in the standard performance of repertoire. The only other
work for piano and orchestra is an orchestral transcription of the
masterful chamber work. Sonata for Two Pianos and Percussion into the
Concerto for Two Pianos and Orchestra. The latter version is practically never heard, however, leaving the work, for all practical
purposes, a part of the chamber repertoire.
The first two of the three solo piano concertos are not among
Bart6k*s better-known works, while the third has acquired a position
of comparative popularity in the repertoire. The distinct differences
among the concertos can perhaps be attributed to the different stages
of the composer's development in which they were completed, but consistency of compositional procedure is present beneath the outward
contrasts.
The first concerto was completed in 1926, the same year as the
Sonata for piano, and the similarities in treatment of the piano are
obvious.
The concerto is the epitome of the composer's use of both
piano and orchestra for percussive ends, a concept that can be traced
back to the Allegro barbaro of 1911. It was undoubtedly this percussive use of the piano that suggested Andr^ Hodier's remark that Bart6k
2
"transformed his piano into a veritable iron tank."
The work is centrally located in Bart6k's creative development and has much in common
with the Third String Quartet (1927), one of Bartt^'s most brittle and
3
"severely classical" works. It seems that the third quartet marks a
turning point in his development, the farthest extreme of his unrelenting, percussive style, after which his music gradually becomes more
mellow.
By the year of the second concerto's completion (1931), the
winding down of Bart5k's percussive style is already felt, although
it is still present in places. The second movement introduces the
composer's characteristic "night music" to the piano concerto form.
This musical evocation of bird song and creatures of the night was
Introduced in the fourth movement of the Out of Doors suite for
piano (1926) and heard again in the central movement of the Fourth
String Quartet (1928).
A concern for symmetrical design is felt
more strongly in this concerto than in either of the others, revealing a characteristic of the period in which it was written.
The third concerto was the last work completed by Bart6k.
He was gravely ill when he began work on it, and labored desperately
ôel Burch, trans.. Since Debussy (London:
Warburg, 1961), p. 92.
Seeker and
^James Goodfriend, record notes for Thê Six String Quartets,

Columbia Records D3L 317.
8
to complete it before his death.
In actuality, the last seventeen
measures were not completed, but the sketch provided a clear indication of how it was to be finished; and Tibor Serly, a friend and
pupil of the composer, took over the task.
The calm and assurance
of the work is unique among the composer's larger repertoire; its

aesthetic is so far removed from that of the first that, upon
initial hearing, one would scarcely imagine they were conceived by
the same mind.
But the similarities are there upon closer examina-
tion, and there is no doubt that this farewell work is the farthest
extreme of the more melodious style that evolved following the Third
String Quartet.
The chapters that follow provide detailed formal analyses of
the three solo piano concertos. Formally, Bart6k was a classicist,
and the opening movement of each concerto is cast in some semblance
of the Classical sonata form. Unlike the solo concerto form of Mozart,
with its double exposition and multiplicity of themes, Bartok uses the
standard sonata form, which in its Classical usage, is illustrated
below with typical tonal levels.
Exposition
Development
First theme group (I)

Bridge (Modulatory)
Second theme group (V)
Closing (V)
Treatment of material in
Exposition in various keys,
employing sequences, contrapuntal devices, etc.
Recapitulation
Coda
First group (I)

Bridge (Non-modulatory)
Second group (I)
Closing (I)
Sometimes in Mozart,
became standard with
Beethoven.
The Classical idea of sonata form, as developed by Haydn and

perfected by Mozart, is principally that of conflict between contrasting themes, contrasting tonalities, or, most commonly, a combination
of the two. After developmental treatment of the exposition themes,
one enjoys the musical satisfaction of hearing the material in its
original form in the recapitulation, where the conflict in tonality
is resolved as well.
With Beethoven, the sonata form reaches epic proportions as
a harmonic and developmental vehicle. The development section is the
heart of the form, expanding the material by such means as sequence,
fragmentation, fugato, and, always, tonal conflict. The climax of
the movement is reached as the enormous tension created therein
resolves into the recapitulation.
The return of material is even
more dramatic due to Beethoven's capacity for increasing the significance of a theme in the course of a movement. The unassuming first
theme of the Third Symphony, for example, provides no indication of
the monumental work it will unfold, but by the end of the first movement, the material has gained a new dimension.
In this way, the form
becomes an organic whole, constantly developing and expanding in

depth and grandeur.
How Bart6k regarded this form and other simpler forms and
employed them in the concerto idea, is the subject of the following
chapters.
CHAPTER I
THE FIRST PIANO CONCERTO
When Bartok's Concerto _I for Piano and Orchestra was premiered
in New York in 1928, it was greeted by such descriptive phrases as
"unmitigated ugliness," "tonal chaos," and "one of the most dreadful
deluges of piffle, bombast, and nonsense ever perpetrated on an audience in these environs."
Despite this inauspicious beginning, the
work has gradually become accepted as an important contribution to the

twentieth-century repertoire.
Despite the fact that extreme dissonance was nothing new in
1928 (Stravinsky's Le Sacre du Printemps made its appearance in 1913),
Bart6k's bold and biting idiom was startling, indeed, to some listeners, anti-musical. But perhaps most difficult to accept was the
concept of the piano as an instrument of percussion.
For two cen-
turies, composers and performers had been concerned with the problems
of lyricism and tone, attempting to create sounds on the piano that
resembled those of the voice or more lyrical instruments. A percussive sound was considered a bad sound, and, according to the style in
which most piano music is written, this holds true. In the first
piano concerto, Bartok unashamedly features the piano as a solo percussion instrument and makes a convincing case for the idea that
^Henrietta Strauss, "Music," The Nation, 126, 7 Mar 1928, 273

Cincinnati Enquirer, 26 Feb., 1928.
^H. Noble, Musical America, 28 Feb., 1928.
10
11
percussion can indeed be eloquent. As always, he reveals an amazing
capacity for rhythmic expressiveness, and he manipulates the basic
elements of rhythm and intervals to create motives upon which the
entire concerto is based.
The work was written for a large, romantic orchestra, consisting of flute, oboe, clarinet, bassoon, and trumpet (two of each);
piccolo, English horn, and bass clarinet (one of each); four French
horns, three trombones, timpani, and strings. In addition, Bart6k
calls for a substantial batteria, or battery, referring to the percussion section, exclusive of the timpani. The members and function
of this section will be discussed in connection with the second movement, in which they are most prominent.
It should be mentioned here,
however, that in his preface Bartok states that the percussion instruments should, if possible, be placed directly behind the piano.
Halsey Stevens states that Bartok considered the concerto to
be "in E minor," and this is, undoubtedly the major tonal level. The
first movement is in classical sonata form, and it conveys a literal
interpretation of the Latin verb from which the term concerto is
derived, concertare (to fight).
From the opening double pedal-point
to the final chordstruck first by piano, then orchestra, rather than

simultaneouslythe movement is a bitter, relentless struggle. There
are two primary theme groups in the exposition, but every motive is so
closely related that one comes to realize that almost all the material
The Life and Music of B^la Bart6k (New York: Oxford University Press, 1967), p. 233.
12
is derived from one motive, stated in the introduction.
Consequently,
the movement is very closely constructed, containing no extraneous

material.
The following outline presents a summary of the formal plan.
More precise analysis, particularly of the development section,
follows.
Introduction
Exposition
Development
Meas. 1-37
Meas. 38- 64 1st group

65-100 Bridge
101-130 2nd group
131-162 Closing
Meas. 163-180
181-188
189-233
234-248
249-269
270-333
334-366
Recapitulation
Coda
Meas. 366-387 1st group

388-408 Bridge
409-440 2nd group
441-462 Closing
Meas. 463-482
It opens with a thirty-seven-measure introduction, pitting a

six-measure low B^ pedal in piano and timpani against an A in horns
and trombones. The uneasy momentum stops for three measures as the
brass sustain an ominous Bb-M-G#-A_ chord.
The pedal resumes, this
time to be interrupted by a rhythmic motive in the horns based on a

minor third, -Ab (Ex. 1). As is so often the case with Bartok, it
is not an extraneous motive, but one upon which almost every other
principal motive in the movement is based, both rhythmically and
intervallically.
After six measures, the double pedal makes a two-
measure appearance. At m. 22, the bassoons, in octaves, state a
13
Example 1.
First Piano Concerto; First Movement,

Meas. 13-17
slightly modified version of the minor third motive, this time on the
level of E^//-G#. The timpani enters a final time on B^, but by this
time the piano has moved up to A.
The two instruments participate in
a short rhythmic dialogue, and an accelerando leads the piano into the
exposition and statement of the first theme group.
The tonal level
seems to be A, which is somewhat confusing in the light of Bartok's

description of the concerto as being in E.
In any case, the basic
material is twelve measures long, and contains four important motives,

referred to here as a_, b^, c_, and d_ (Ex. 2 ) . Motive b^ reveals both F_
and F// present melodically, creating an ambiguous D minor-major sound.
Motive c_ is derived from the introduction motive, and motive ^, a
seemingly insignificant sixteenth-note upbeat, will be heard many
more times.
The woodwinds imitate the last two measures of the group,
and c[ is the basis for a closing of the first group in meas. 50-65.
The bridge begins in m. 66, with parallel thirds in the piano
and motive jd used to signal each change of tonal level.
Rhythmic
compression heightens the tension as the thirds are sequenced up by

step, and the climax is reached in m. 82, significantly on JB,
14
Example 2. First Piano Concerto; First Movement,
Meas. 38-49
PU ô
^ y - -,#- -^
f t.
- ^
^ff
t^
ju
Hte
H-
f:^
dominant of the dominant in the key of A_. The piano revels in parallel . chords, while the strings continue with the d^motive. The
horn and trombone have the most important material at m. 82, stating
a motive that will be of developmental interest (Ex. 3). Already the
motive is in canonic inversion, the horn providing the imitation at
the distance of one measure. The rhythm of the motive is maintained
at m. 94, although the scalar motion has become stepwise oscillation
between two notes. Against this, the piano plays rising octave triplets, and the passage ends in conflictthe same chord struck alternately by piano and orchestra six times. This has produced the
15
Meas. 82-85
Tryj^yd
J J >A
T^vfcft^r f-Vr
>
Tf
sense of a tonal center on E^, which, being a fifth above A, would be

the logical key for the second theme group in a classical sonata form.
The second group offers temporary relief from the severity of
the material thus far.
Strings prepare with an E-F//-B chord, and the
piano enters with a light eight-measure phrase, again derived from the
introduction motive. The piano continues with a sixteenth-note excursion in changing meter derived from motive d^ until a ritardando signals
a return of first theme group material in m. 131. At this point a
case might be made for the beginning of the development section, since
the first material is present on a different tonal level, C^. However,
this material is not treated developmentally, but, rather, is repeated
almost in its entirety, deleting only the closing to the first group
and the central portion of the bridge. Thus, the material in meas.
131-162 functions as a closing section, as the sforzando chords in
alternation between piano and orchestra, this time struck eight times,
provide a more fitting close to the exposition, and the feeling at
m. 163 is definitely developmental.
16
The development is principally contrapuntal, although the texture is not dense. The tonal plan is not so far removed from the
traditional concept as might be imagined.
The development begins on
the level of G, and travels to D (m. 181), C (m. 226), and Bb (m. 270).
This resolves down a fifth, presumably into the recapitulation, to Eb,
but development continues, touching on F, Bb, F//, and finally B,
resolving up to A, just as the pedal B^ in the introduction moved up
to the level of B at the beginning of the movement.
The bridge motive (Ex. 3) opens the development, again treated
in canon one measure apart, but this time in a free mirrored form between
various pairs of instruments, rather than the exact inversion of the
exposition.
First clarinet and second bassoon state it first, for seven
measures, followed by bass clarinet and English horn for seven and finally oboe and second bassoon for seven measures. The other woodwind and
brass instruments contribute the head of the motive, but do not complete
it.
The piano enters with rhythmic material constructed in diminished
octaves (D-Db) and major seconds (Db-Eb), and this serves as a transition into the next section of the development, beginning in m. 189.
The brass and woodwinds reinforce the intervals of the preceding
piano material, and the piano continues with cadenza-like figurations
and glissandi. The second clarinet and bassoon state the ascending
bridge motive in octaves, as the piano descends into treatment of the
introduction motive (Ex. 4). Intervals of diminished octave and major
second are again present, and a triple pedal-point (D-Db-Eb) gives the
passage a static quality.
The bridge motive reappears in m. 221,
17
Meas. 201-206
'lCLt\(,
l\fi n
7^-^
^t
t c C^l-
m.
\drhpi
C^
^>^-
f^
7;^J J j i j fT^-F
V'D
TU\ '.-V
-J-r^
f^
_-3^
in canon at the second, between the second clarinet and bassoon, and
the section that began in m. 189 is transposed up to the level of GGb-Ab.
In meas. 234-244, a canon based on derivation of the introduc-
tion takes place between piano and clarinet. At the same time, a C--G_
ostinato is treated in canon between the bass line of the piano and
the contrabass, reinforced by the timpani. The woodwinds state the
bridge motive again in m. 245.
Beginning in m. 249, parallel thirds, which are derived from
the opening of the bridge, are presented in the piano in the same
rhythm as in the preceding section.
The material is in imitation at
the ninth in the piano, extending to m. 270. The woodwinds accompany

with the upbeat figure from motive d^.
In m. 270, the ostinato returns in the piano on Bb-Eb-Ab,
accompanying the same material, and particularly establishing the
importance of the Bb level.
In m. 286, strings and bassoons take
18
over the ostinato, which lasts thirty measures. Soloist and orchestra
compete in a relentless accelerando, presumably to the recapitulation.
Indeed, it appears that the recapitulation might occur at the Tempo I
in m. 334, with the return of motive a_. However, the propulsion of
the development is not resolved, and, more importantly, the motive
enters sporadically on many different tonal levels, none of which is
the original, A.
The woodwinds state it first on D^, then the piano,
entering on an upbeat F^. The clarinets screech it on high Bb, then

strings and flute on Eb, piano on F#, a pianissimo entrance in the
strings carrying fragments of the motive in imitation, and, finally,
a desperate Fx-G# entrance in the piano. After several more measures
of changing meter and fragments of the a_motive, horns and trumpets
dramatically present the return of the motive, at last on the correct
tonal level, A.
In bitter mockery, the trumpets and trombones slide
down through motive b^, playing the F^ and F// simultaneously (Ex. 5).
The piano enters immediately to play it as it was heard in the exposition and continues on with the entire first theme in essentially the
original form.
The closing of first theme material, utilizing motive d_, is
shortened considerably, and the parallel , chords are deleted from the
bridge.
The piano plays the octave triplets, ascending, as opposed to
the descending motion in the exposition.
Beginning in m. 409, the
piano plays a brilliant oscillating chord cluster, while the strings

treat motive d_ in exciting folk rhythms characteristic of Bartok.
19
Example 5.
First Piano Concerto; First Movement,

Meas. 369-370
'Tr* rnlsc '! ^
^vifiTTr^
This breaks in m. 415 for a rhythmically compressed return of the second

theme. After more chord clusters and treatment of motive d_, an extended
statement of the second theme is presented in meas. 425-441, where,
rather exceptionally, a key signature is found.
No key signature appears
in the orchestra, however, and the passage was probably written in this
way to facilitate reading.
Material from the second group is exploited for sixteen measures,
after which the parallel thirds from the bridge return for nine measures.
This reversal of theme recapitulation might be suggestive of Bartok's
regard for symmetry (cf., Fifth String Quartet, first movement, recapitulation), but, more likely, the thirds signal a return of the closing
section that ended the exposition.
It was not necessary, nor would it
have been fitting, to bring back the first theme, since its dramatic
recapitulation should be left without further comment. Materials in
the horns, trumpet, and trombone, taken from the last part of the bridge,
form a short transitional passage, and the coda begins in m. 463 with an
intense eighth-note pedal in the strings on -F//-M-A//-E^. The piano
enters a measure later with the first four measures of the second group,
in canon between the hands. Then, employing the first four notes, barline displacement, and canon, Bartok creates an enormous closing momentum,
20
At m. 474, the woodwinds state the rising bridge motive in imitation at
the distance of one measure, and the entire force moves relentlessly to
the final chord, ^-F#--B^.
The second movement is perhaps the most extraordinary in the
concerto.
To an even greater degree than the first movement, it relies
on rhythmic and intervallic elements as opposed to harmonic and melodic.

In ternary form, its initial and concluding sections are based on a
simple rhythmic motive of three eighth-notes.
The central section is
a polymodal episode presented by the woodwinds over a piano ostinato

based on the three-note motive.
Once again, the piano is employed as a percussive instrument,
even more directly than in the first movement.
The entire first sec-
tion is performed by the battery, or percussion section, and piano,

with a belated entrance by the woodwinds.
Strings and brass, with the
exception of the horns, are absent from the movement.

sists of:
The battery con-
two side drums, one with and one without snares, con corde
(c.c.) and senza corde (. c_.) , respectively; triangle; four cymbals,

two hanging, two to be played against one another; bass drum; and gong.
The percussion is for three performers, exclusive of timpani, and Bartok provides meticulous instructions for how each note is to be played.
A numeral placed beside a note refers the performer to the preface,
where the specific instructions are given.
A close examination reveals remarkable creativity in development of a simple rhythm and certain intervals, the following being
most important:
seconds, both major and minor; fourths, perfect and
21
augmented; major sevenths; and major and minor ninths. Enharmonic
spellings, such as a diminished octave rather than a major seventh,
probably have no significance tonally, but are used for the sake of
readability.
Bart6k felt that the traditional system of notation
was inadequate for twentieth-century music based on
a system of
twelve more or less equal tones.^

The movement opens with the motive of three eighth-notes in
the timpani, answered by three consecutive dotted quarter-notes on
the hanging cymbal. The rhythm is maintained on beats two and three
on the side drum, s_,.
The piano enters in the fifth measure with the
three eighth-notes in seconds and the dotted quarter-notes in fourths

(Ex. 6). This is repeated three times, with the number of measures
assigned to the dotted-quarter note reduced by one each time.
Example 6.
First Piano Concerto; Second Movement,

Meas.
5-8
<a^so
8
p. 60.
E m o L e n d v a i , Bgla B a r t o k (London:
Kahn and A v e r i l l ,
1971),
22
At irregular intervals, the timpani enters with the three eighth-notes,
while the other percussion instruments follow the phrasing of the
piano.
In meas. 21-29, there is a short transitional passage in the
piano, composed of sixteenth-notes in major sevenths (Db-C).
The pas-
sage is flowing and rhapsodic, in contrast with the brittleness of the

opening material.
In meas. 30-39, the material is more melodic, bearing a notable
resemblance to the introduction motive in the first movement (see Ex. 1)
It is contrapuntally conceived and is accompanied by echoes of the three
eighth-notes in the side drums. The lines are constructed in major and
minor seconds, and a three-measure unit is treated in canon at the aiagmented and perfect fourth, respectively, in the three upper voices
(Ex. 7). The bass states the first motive of the canon in inversion
in m. 35.
Example 7. First Piano Concerto; Second Movement,

Meas. 32-35
23
Bartok employs his characteristic major-minor sound in meas.
39-50 with a D-F-J/Z-A chord which recalls motive b^ in the first movement (see Ex. 2). The three-note rhythmic motive is retained in this
passage; harmony is static, and there is no recognizable melody. A
third idea appears in m. 51 (Ex. 8), although it is related intervallically to what has gone before and cannot free itself from
association with the basic three-note motive. The motive returns in
a clearcut form in m. 60, and, five measures later, is treated in
stretto between piano and side drum, s^.c_. , the latter entering with
the motive on the third note of the former.
They continue the motive
by alternating notes for three measures, and the oboe makes the first
non-percussive appearance in m. 69.
The material in the oboe, as well as that of the flute and
clarinet four and eight measures later, respectively, is again
Example 8.

Meas. 51-55
24
constructed of major and minor seconds and appears to be merely a forecast of the woodwind entrances that will begin in m. 91. The motive is
in four-part stretto, in meas. 72-73 and again in meas. 76-77, in the
three voices of the piano and the side drums (Ex. 9). In meas. 79-81,
the piano states a two-voiced canon at the major seventh, which leads
back to the motive. A short, two-part stretto between the hands
develops into an ostinato pattern of major sevenths in m. 85. This
ostinato marks the beginning of the central section of the movement
and prevails throughout the section beneath a polymodal and contrapuntal web created by the woodwinds.
The clarinet begins in m. 91, with a melody on A Aeolian. This
is then stated on E Aeolian in the English horn beginning in m. 100,
followed one measure later by a free inversion in the bassoon on F//
Mixolydian. With the next entrance, the melody begins to undergo minor
Example 9.

Meas. 72-73
r/'g /I o
_^y
t_!trif-^r
25
alterations on each hearing, creating almost continual variation or
development.
The oboe enters in m. 108 on A Aeolian, one measure later
in the clarinet on Bb Mixolydian, and, in m. 119, in both flute and

clarinet, on A Dorian. The entire woodwind section is in force by
m. 126, joined by the horns, and mounts to a climax in m. 131. Intensity gradually diminishes after this, and the middle section fades to
pianissimo in m. 142.
The piano has by no means been uninvolved in the excitement of
this section.
Bart6k uses the ostinato to build up enormous chord
clusters, and the gradual thickening and rapid thinning of the clusters
strongly enhance the drama of the climax. The ostinato begins with two
notes, a major seventh, in each hand. After twelve measures, with the
entrance of the English horn in m. 100, a middle note is added, creating a perfect and augmented fourth in each hand. This prevails for
nineteen measures, and with the dual entrance of flut*e and clarinet in
m. 119, it is thickened to five notes. After seven measures, the point
of climax is reached with the entrance of the horns and the high unison
wailing of flutes, oboe, and clarinets, and the clusters are increased
to six notes. Seven measures later, the tension begins to relax, and
the clusters are diminishedthree measures of five notes, three of
three, and three of two. The cluster technique may be a questionable
one, but it cannot be denied that Bartok used it here in an intelligent
and logical manner.
In m. 142, the transitory passage heard in m. 21 returns, with
minor changes. It leads, as in the opening section, into a melodic
26
line of major and minor seconds, this time heard in the woodwinds, while
the piano presents the three-note motive. This leads to the D majorminor sonority in m. 159, similar to that of m. 39, and the material in
meas, 165-169 is comparable to that in meas. 51-55.
This time, however,
the two-part canon at the minor second is between piano and woodwinds.
The three-note motive is again treated in stretto from piano to
clarinet to timpani to side drums, .^. and s^._. , respectively.
A clos-
ing section featuring the motive and echoes of the major seventh transitional passage begins in m. 178, and the coda begins in m, 188, A brief
recall of the middle section by the clarinet and bassoon fade quickly,
and the movement is left to close with the three-note motive from which
it started.
It is heard in stretto again among piano, timpani, and
side drums, then left to piano and side drum ^.c_. only.
The tempo
changes to Allegro in m, 215, and a sixteen-measure transition leads

into the finale without a pause.
The third movement of the concerto is truly remarkable for its
economy.
Its form is also the classical sonata form, but is not as
clearly constructed as the first movement.
Because its motives are so
closely related, it is often difficult to determine exactly what is

being developed, and the recapitulation is changed greatly from the
exposition.
The basic plan is as follows:
Exposition
Meas. 1-50
51-88
88-116
117-147
148-209
Development
1st group
Bridge
2nd group
Transition
Closing
Meas. 210-356
Recapitulation
Meas. 357-387
388-396
396-462
Coda
.
Meas. 462-534
1st group
Bridge
2nd group
expanded
27
The first motive is anticipated in the transition by the drums
and timpani, while the trombones make jeering glissandi. The movement
proper begins at the Allegro molto, where the orchestra begins an
ostinato that extends fifty-five measures on the tonal center of E.
The piano enters with a rhythmic motive on E^ that is similar to the
opening motive (a.) of the first movement. The complete first section
lasts through m. 50, but it is composed of three main motives (Ex. 10)
that are repeated and alternated in interrupted phrases that move
melodically to the dominant (m. 18) and up melodically back to the
tonic (m. 51). It might be noted that motive b^ bears a resemblance
to the sixteen-note motive d_ in the first movement. Once again, the
motives are constructed in major and minor seconds.
Example 10. First Piano Concerto; Third Movement

a. Meas. 5-7
b.
Meas. 11-14
28
c. Meas. 30-31
M.i^
^t^
S^
The bridge begins in m. 51, with the strings overlapping the

ostinato for five measures, while the piano plays percussive chords
(G#-D#-E^) in alternation between the hands. In m. 57, the piano presents a motive that will be the basis for most of the movement, stating
it in canon at the seventh for six measures (Ex. 11). At this point,
the tonal level appears to be C^//, due to the apparent dominant, G^//, in
the strings, and, in m. 63, it moves to B^ for a sequential statement of
the chords heard in meas. 53-56.
The bridge motive returns in m. 65,
Example 11. First Piano Concerto; Third Movement,

Meas. 57-62
^^1- -^.i;
29
initially in canon, but it quickly begins to change and develop into a
pattern of contrary motion between the hands (Ex. 12). This contrary
motion is an idea that will be of great importance in the course of the
movement.
Scalar material related to the bridge motive is heard in the
oboes, clarinets, and bassoon in contrary motion in meas. 76-81.
In
meas. 84-88, the piano states a sequential canon at the twelfth, based
on the head of the bridge motive. The accompanying figure in the piano
in m. 88 prepares the entrance of the second group, which is stated
first in the trumpet (Ex. 13). The principal motive of the second
group is a free inversion of the head of the bridge motive. The tonal
level is not clear, but after each phrase, the piano and woodwinds rise
to an apparent resolution on A.
The trombones have the motive next, in
imitation at the fourth, one measure apart. Beginning in m. 103, there

is a stepwise answering phrase in fifths in the oboe and English horn,
also derived from the bridge motive. This is promptly treated in canon
by the bassoon one measure later, and the clarinet enters another
Meas. 68-71
30
Meas. 92-95
r__#.
I^&^R4
measure later with similar, but not exact, material.
In m. 110, oboe
and clarinet participate in a canon at the octave with bass clarinet

and bassoon, one measure apart. This passage never really resolves,
but moves into a transition in m, 117. The woodwinds state contrapuntal material based on a perfect fourth, but, although their lines
are similar, they are not exact, and no real imitation is taking place,
The key signature is that of F#, and this seems to be the tonal center
of the passage.
In m. 148, the level seems to have moved to C//, and
the closing section begins.

Closing material is again taken from the bridge motive, in
canon at the fifth between piano and strings. This lasts for seven
measures, at which time the bridge material is again treated in canon
between the hands of the piano, this time at the interval of a diminished octave and lasting for seven measures. In m. 163, the piano is
again treating the bridge motive in contrary motion, and, in m, 180,
31
the material is expanded into octaves in each hand, still in contrary
motion.
Beginning in m, 182, a form of the motive is stated in con-
trary motion in the woodwinds, answered by the piano, then heard in

the strings. Continued statements of the same motive are heard in
piano and strings until m. 208. Here the rhythm suggests the opening motive of the movement, and the timpani picks it up to lead into
the development in m. 210,
As the timpani presents the motive, the piano plays motive c^.
The timpani turns the motive into a two-measure ostinato pattern that
will continue for twenty-six measures.
In m, 222, the piano presents
motive b^, and it serves as a basis for the next thirty-two measures
of the piano part. The motive is treated in imitation between the
hands, and the line rises steadily by step, with chromatic sixteenthnote flourishes in the flutes and strings, coming to a climax in
m, 256. At this point, the piano breaks into sixteen measures of an
oscillating chord cluster, which creates a fantastic shimmering effect.
This is a truly remarkable moment in the piece, not only for the
unique sound effect, but also because the horns are presenting what is
almost a new theme on I^ (Ex. 14), indeed, practically the only real
theme in the movement.
It is undoubtedly derived from the bridge
motive, but it is almost as if BarttSk, after a highly motivic exposition, put the various elements together into a long development theme.
As it is initially stated, it is eighteen measures long, but subsequent
statements are shortened.
In addition to this, the trombone states
32
(Meas. l^^-ni
(Truncated)
I
t^M-^^l-
^&-
ftW^'
^^WW^.
tP
counterpoint that is also based on the bridge motive (Ex. 15). This
is heard in a different instrument every time the main development
theme is stated.
In meas. 256-272, the flutes state a treatment of
b^ that was previously stated in the piano, and, in m. 272, the first
flute takes over the development theme on the level of Bb, The
bassoon is carrying the counterpoint, and the piano is accompanying
with playful sixteenth-note figures, apparently not associated with
any previous motives.
In m. 284, the strings enter with the theme
once again on F^, with flutes, oboes, and clarinet carrying the
counterpoint, but only the oboe completing it. In m. 290, the
piano's sixteenth-note figure states the theme in the upper octave
on Bb, in a stretto with the strings. In m. 300, the woodwinds state
a compressed version of the theme on F#, while the piano accompanies
with more sixteenth-note figures.
33
Example 15. First Piano Concerto; Third Movement
Meas. lbl-111
(Truncated)
}rorr\lot,rse.
[~-^^
b^-
3^
ff-
In m. 312, the piano states sixteenth-note figures of a minor

ninth, while the brass instruments state the three quarter-notes that
start the development theme, on the levels of A, F//, D, and Bb, each
entry a quarter note closer to the preceding one. A lyrical passage
begins in m. 320, as the strings have a three-part stretto on the first
three measures of the theme. Rhythmic compression creates an accelerando effect, as the development theme is reduced to a motive harking
back to the bridge. After a gentle accompanying figure, the piano
takes over the motive at m. 338, stating it in descending sequence.
A timpani entrance in m. 353 signals the approach of the recapitulation, which occurs, in a greatly altered form, beginning at m. 357.
At this point, it is worth noting the apparent significance
with which Bartok treats the timpani.
It is used in dialogue with
the piano in the first group, adding rhythmic reinforcement to the

ideas being presented.
It drops out at the bridge, and does not
34
reappear until the development.
Here it is present so long as mater-
ial from the first group is being treated. When the development theme
is stated in m. 256, the timpani again drops out, this time resting
until it is called upon to signal the recapitulation.
Bartok seems
to regard it as a herald of the important sections, as well as an

integral part of the first group material.
The piano carries the principal material over, again, an
ostinato in the strings (and timpani).
Both motives a and b are
treated by the piano, and b^ is heard further in the woodwinds in

m. 376. In m. 388 the bridge begins, as the timpani drops out
gradually and the piano moves into a bombastic octave passage. The
second group appears in m. 398 in the English horn with an accompanying figure in the piano. The oboe joins in m. 407, and the flutes
take up the material in m. 413. The development theme returns in the
trumpet on C in m. 419, while the piano concerns itself with a variation on the countersubject. The material in meas. 435-451 is based
exclusively upon the bridge motive in its original form, ornamented
with sixteenth-notes in the right hand of the piano.
In m. 452, the
left-hand material is strikingly similar to the introduction theme of

the first movement, but it is also the first three notes of the bridge
motive.
The hands move in contrary motion, just as the woodwinds are
moving in contrary parallel thirds. The timpani has been struck and
rolled intermittently throughout this section, and it plays its final
note in m. 462. This factor, as well as the closing momentum following suggests that the coda begins in m. 462. Once again, the bridge
35
motive in contrary motion is the essence of the material through
m. 482.
Here the piano plays glissandi, while the woodwinds present
material resembling that of the bridge.
In meas. 491-519, the inter-
est is entirely rhythmic, with changing meters and offbeat doublestops in the strings providing characteristic Bartokian excitement.
The woodwind material is decorative in this passage, with virtuosic
runs, trills, and arpeggios in the upper registers.
From m. 519 to the end, a final statement of the durable
bridge motive is heard, again in contrary motion, rising rhythmically
in the piano.
The entire orchestra, including timpani, and soloist
move in contrary motion to the final open fifth, E-B.

Bartk's First Piano Concerto was, and still is, a controversial
piece.
Its percussive treatment of the piano, and, especially, the vio-
lent nature of almost every measure of the work, move one to question
its musicality.
But this brings us to the inevitable question of just
what music really is, and the foolishness of debating such a question
is obvious.
Whether or not one considers the concerto a pleasant piece
to listen to, it would be difficult to deny that Bartok communicates

through the work.
Although it employed concepts of sound not familiar
to most listeners, it does not come across as an experimental work.
It
is a product of Bart<^k's maturity; not his full maturity, to be sure,

but it is in no way a young piece.
In a manner reminiscent of Beetho-
ven's middle period, Bartok emerges in complete control, sure of pirpose almost to the point of defiance, and a master of compositional
technique.
CHAPTER II
THE SECOND PIANO CONCERTO
The Second Piano Concerto was completed in 1931, when Bartok
was fifty years old.
It is indicative of the fascination with sym-
metry that characterizes the composer's later works.
The most obvious
manifestations are the derivation of most of the third movement materials from the first movement and the closeness to arch form of the
second movement.
But, on a smaller scale, the melodic devices of con-
trary motion and inversion of themes is present to a great degree as

well.
The over-all character of the work is very different from that
of the first concerto, although many of the same techniques are

employed.
It is generally less percussive and not quite so intense,
and it is conceived in a more virtuosic manner.
The chorale of the
second movement looks toward the Adagio religioso of the third concerto, thus making the entire work identifiable as a middle point in
Bart6k's activity with the piano concerto.
The opening movement is extremely contrapuntal, with a rhyth9
mic vitality not unlike that of Bach.
The violent rhythms so
prevalent in the first concerto are used to a far lesser degree here,
and the motion seems to be perpetual from beginning to end.
The sound
throughout the movement is very bright, due to Bartok's omission of

strings from the scoring.
9
Stevens, The Life and Music of Bela Bartok, p. 241
36
37
The formal plan, featuring a large, ternary first group, is
diagrammed below, including major tonal centers:
Exposition
Development
Meas.
Meas.
1-73
1-31
1st group - G
1st statement (Motives
a, b^, ) G
32-57 Bridge G-Bb
58-74 2nd statement (Motives
b^, c_, a.)-Bb-G
74-81 Transition Ab
82-94 2nd group - F#
95-118
119-135
136-154
155-172
173-179
Recapitulation (Themes inverted)
Coda
Meas. 180-199
200-211
212-221
222-253
254-283
Meas. 284-307
1st group (Motives b, a, c) G

Bridge G
Stretto on a. V/G
Solo cadenza
2nd group (Modified)
The first theme is composed of three motives, stated by the

trumpet, piano, and oboe, respectively (Ex. 16). The prevailing
tonal level is G through m. 31, although the motives are heard on
many other levels in the course of the section.
states motive b^ in D, then sequences it in C.
In m. 8, the piano
In m. 10, the flutes
begin an imitative passage on motive _, followed at the distance of

a measure by the oboes and, one measure later, clarinets. The piano
takes the forefront again in m. 13, with motive b^ in one-measure
sequences on C, Eb, Gb, and Ab.
The effect from here to m. 25 is
almost comicthe horns have developed an ostinato-like pattern of

continuous eighth-notes, reinforced on the afterbeat by timpani and
woodwinds, and it seems as if, at m. 18, the piano discovers that
38
Example 16.
Second Piano Concerto; First Movement,

Meas. 1-7
he is expounding upon the motive without any orchestral support or

interest.
He flounders with fragments for two measures, until the
eighth-note accompaniment fades out at m. 23.
The piano regains his
poise and makes a fortissimo statement of motive b^. A stretto passage on motive a. follows, again on the level of G, to close the first
statement of the first theme group.
First trumpet states it first,
followed two measures later by first horn, and two beats later, second
trumpet.
Entrances begin falling one beat apart, with third trumpet,
first trumpet, third horn, first horn, second trumpet, first trumpet,
and third trumpet, followed by fragmentation in stretto:
the four
ascending sixteenth-notes at the end of the motive played half a beat

apart by the brass instruments for two measures.
A unison statement
of the ascending figure in the woodwinds signals the beginning of a

bridge passage.
39
The bridge is quite lengthy, extending from m. 32 to m. 57.
It is constructed of sixteenth-note triplets, usually in contrary
motion in the piano, with sixteenth-note quadruplets in the woodwinds
and horns. Measures 33 and 34 are in almost exact mirror imitation
between the hands, at the distance of half a beat. The oboe states a
motive in m. 34 that is heard throughout the bridge (Ex. 17). It
bears a close resemblance to all three motives of the first group,
although it is not an exact statement of any of them. Another passage
of mirror imitation takes place in the piano in measures 36 and 37.
The tonality is apparently shifting, as no definite level seems to be
established at any time; however, the clarinet has been emphasizing a
tritone ^-D-Ab since the beginning of the bridge. The ambiguous nature
of this interval may be a deliberate effort to avoid establishing a
clear tonality.
At m. 41, the bridge motive is heard again in oboe and
bassoon and, one measure later, in flute and clarinet. The piano ornaments with more sixteenth-note triplets. Measures 44 and 45 contain a
mirror canon at the octave in the piano, and m. 46 begins a sequence
Example 17. Second Piano Concerto; First Movement,

Meas. 33-34
40
between the hands, each figure dropping a half-step every beat. The
sequence moves from G to Db by m. 48, at which point the sequence
drops every half-beat for twd beats, and in the second half of the
measure, drops a third on every half-beat. At m. 49, the piano establishes an ostinato pattern that lasts for six measures, while the
woodwinds once again state the bridge motive. Oboe and bassoon state
it one beat apart, followed by a variant of the motive in the clarinet
in m. 50, Bassoon and oboe carry the motive again, this time with the
flute answering on the variant. Repetitions of the motive and fragmentation extend to m. 55, where the piano breaks the ostinato pattern
and presumably winds up the bridge passage with a continuously repeated
four-note pattern that comes to an abrupt halt in m. 57.
Instead of a new theme, which normally would be expected at
this point, Bartok brings back motive b^ of the first thematic group,
this time on the level of Bb.
It does not remain on this level for
long, moving to F in the following measure, then to C, G, and D in the

three measures after. Because of the instability of the tonal level,
it appears that the bridge has not ended, as Bartok is using motive b^
in a surprisingly traditional circle of fifths. In measure 69, motive
c is treated accordingly, moving from Db to Ab to Eb, the dominant of
the key in which this section began. The oboe and clarinet imitate at
the distance of one beat after each statement of the motive in the
piano.
At measure 68, another stretto passage, comparable to that in
meas. 25-30, takes place, again in G, the first imitation at the
41
distance of three beats, and the remaining three at the distance of
one beat.
Bartok's construction suggests a ternary first theme group,
another example of his concern for symmetry.
The section ends on a
chord built in fifths sounded in the brass instruments.

The chord is picked up immediately by the piano and used in an
exciting rhythmic dialogue with timpani (Ex. 18). This transitional
episode lasts for eight measures and is reminiscent of the percussive
style of the First Concerto. At measure 82, the mood is suddenly
Example 18. Second Piano Concerto, First Movement,
Meas. 74-75
I i/y^^^n I
42
Tranquillo, and the second theme group is heard in the piano (Ex. 19).
Again, it is based on fifths, the hands moving in an almost exact
mirror pattern. This figure, motive d., will be of great importance
in the development.
Beginning in m. 86, it is treated in stretto by
bassoon, clarinet, oboe, and flute, entering at distances of one, two,

and four beats, respectively.
In measures 89-93, the piano treats
the motive in canon between the hands in a descending sequential pattern.

The sequence leads directly into the development section in
m. 95 which begins with the percussive material of m. 74. In m. 99,
the horns enter with motive d_ and an extension that appears to be
derived from the bridge motive (Ex. 20). It is repeated a fifth higher
by the horns in m. 103 and heard in close stretto by the woodwinds, in
unison, two beats later.
The woodwinds repeat the first fragment of

Meas. 82-83
^'^'
^ - 5 -
43
Example 20. Second Piano Concerto, First Movement
Meas. 99-103
ikthdT_t
S.
SH
nsB
4^'
the motive an octave higher in m. 106, and the horn enters in the
middle of the measure with a fragment from the second part of the
motive.
Throughout the section, the piano treats the material from
m. 74, and at m. 110, it breaks into a two-measure canon at the

octave, using sixteenth-note material loosely based on the second
part of the motive. The canon is sequenced up a half-step in m. 112
and up an augmented second in m. 114. The momentum continues with
the support of the orchestra, until it comes to an abrupt halt at
the end of m. 118. Motive b^ is stated by the piano in a complete
change of mood, marked leggiero. The flute echoes the statement on
a level a tritone away from the piano's (Db-A_) , and before it is complete, the piano states just the first measure on the level of D.
The horn answers on G//, followed by the piano on F^. Piano and woodwinds begin a descending sequence on the last four sixteenth-notes
of the motive, progressing D//-C#-B-A-G-C.
In meas. 128-131, trombone
horn, and trumpet have a short reference to the stretto passage on

motive a_ that twice closed the first theme group, but it is cut short
by a unison Bb in the orchestra and the four descending sixteenthnotes. The oboe states motive a, which is again followed by the
44
four sixteenth-notes. After a pause full of expectation at m. 135,
the piano begins, less percussively this time, material from m. 74.
The oboes state motive c_, followed by a statement of the same by the
clarinets.
Beginning in m. 142, the motive is fragmented, until m.
146, where the piano states the entire motive. Fragmentation occurs
through m. 151, after which a single fragment is sequenced between
piano and woodwinds,
Beginning at m. 155 is a passage that has been compared to

the invention style of Bach,
It does indeed sound very Bach-like,
with a subject derived from motive c_ being treated imitatively by

piano and woodwinds.
Right hand imitates left to begin, followed by
clarinet, right hand again, and bassoon, each at the distance of one
measure.
Beginning in m. 159, the entries occur one beat apart, some
with the head of the motive inverted and with the statements gradually
being cut short from the original motive. Entries occur in right hand,
left hand, oboe, flute, bassoon, clarinet, oboe, and finally, a statement of just the first four notes of the motives by each of the woodwinds. The piano has motive c once again at m. 165, continuously
sequencing, and in m. 169, an inversion of the head of motive a is
heard in the bassoon and horn.
This leads to a climax in the winds
at m, 173, at which point the piano takes up the motive in its inverted
form.
The orchestra states the motive in five-part stretto, and the
piano sweeps up to the recapitulation, beginning in m. 180.

The return begins with an inversion of motive b^. This is one
of the most striking examples of Bart^k's symmetrical design, reminiscent of the Fifth String Quartet. The brass section enters quickly
45
with motive a in stretto and also inverted, Meas. 182-187 reveal more
Hdrror writing between the hands of the piano. Another piano sweep
comparable to meas. 178-179 leads to another statement of b^, and in
m. 193, the clarinets present motive in inversion. All the woodwinds join in treatment of , while the piano ornaments with running
figures. The piano makes a descending glissando to the beginning of
the bridge passage in m. 200, and the triplet figure of the bridge is
also inverted.
The bridge motive in the woodwinds is inverted as well,
being tossed about imitatively as in the exposition.
In m, 212 one
finds one of Bartok's most creative strokes with regard to symmetry.

The passage that goes to m. 220, leading to the cadenza, is a stretto
section based on a retrograde inversion of the motive (Ex. 21). The
orchestra builds, in contrary motion, to an open fifth on A-D^-A,
marked fortissimo.
The solo cadenza falls into three principal sections, although
the entire passage is based on motive a.. The first section lasts
through m. 234 and is concerned with stretto between the hands, the
left hand inverting the motive. Only the first part of the motive is
used in the first eight measures, and from meas. 231-234, the four
ascending sixteenth-notes are developed in imitation. The second
Meas. 212-213
Ho r JI 5
46
section is a continuous statement of the motive in the right hand
against parallel triads in the left. The right hand begins to fragment the motive at m. 238, and in meas. 243-244, the section closes
with the last four sixteenth-notes of the motive in descending stretto,
just the opposite of the close of the previous section.
The third
section begins at m. 245 with close stretto on the inversion of a_, the
left hand leading this time.
In m. 247, the motive is shortened to
the first five notes for purposes of stretto, and this treatment closes
the cadenza.
The recapitulation continues at m. 254, where the clarinets and
bassoons state motive d_. The piano maintains a continuous sixteenthnote accompaniment throughout: this section.
Flute and clarinet state d_
next in m. 256, and the motive that was added to it in the development
is treated in imitation and inversion in meas. 258-259. Motive d_ is in
three-part stretto in horns, bassoons, and clarinets in meas, 260-261,
with fragments of the development motive in the flutes and oboes. The
development motive is in stretto in horns, bassoons, and clarinets in
meas, 261-262, The same motive continues to be heard in stretto at
various times through m, 281.
Measure 282 contains a piano trill that makes the transition to
the coda. The flute states motive a^ to begin the coda, followed by a
statement of the same by the piano. A two-part stretto between the two
trumpets, one of them with an inversion of the a_ motive, corresponds
with the stretto sections that closed important sections in the bulk of
the movement.
The piano plays a virtuosic scale of ascending triad
47
chords, while the trumpet plays a closing fanfare.
The piano plays a
sweeping ascending scale, and the ensemble ends on a G Major chord.

The second movement could be analyzed as a ternary form, but
it is suggestive of the arch form that Bartok found so appropriate
for the inner movement of his most symmetrical works. The initial
and closing sections of the movement consist of a strangely beautiful
chorale constructed in fifths, alternating with a dialogue between
piano and timpani. These sections enclose a frantic scherzo which,
in turn, encloses a section of Bartok's characteristic night music.
The following diagram outlines the formal plan:
Opening section (A)
Meas,
1-22
23-29
30-38
39-53
54-61
63-64
Central section (B)
Chorale
Meas. 1-88 Scherzo
Dialogue
89-165 Night
Chorale
music
Dialogue
166-208 Scherzo
Chorale
Transition
(Dialogue)
Closing section (A)

Meas.
1- 9
10-31
32-36
37-41
Chorale
Dialogue
Chorale
Closing
(Dialogue)
The opening of the movement is a beautiful contrast to the

bright timbre of the first movement. Whereas strings were totally
absent from the former, they are the sole participants in the first
twenty-one measures of this movement, a chorale opening on the vertical structure of -C---A-E^ (Ex. 22). The first violins and violas
are divided, creating a seven-voiced structure, and the upper three
voices move in contrary motion to the lower four. The chorale is in
ternary form, the opening phrase returning in m. 17. The effect is
one of tranquility, as the lines move almost exclusively in whole and
^^^,^^^^\
-"^
48
Example 22. Second Piano Concerto; Second Movement,
Meas. 1-5
i_l 11'. C-
i2
-D.
half steps and create an atmosphere of immobility.
The section begins
on a chord with jF as the bass note, and it ends on a chord built up

on C^, definitely suggesting a tonic-dominant relationship.
Measures 21-29 are a dialogue between piano and timpani, each
entering on C^, which closed the opening section. The piano twice
states a slightly ornamented version of a simple melodic descent,
answered each time by a muffled roll from the timpani (Ex. 23). The
next three measures are slightly more dramatic and introduce a significant motive, the minor third, in both piano and timpani.
The return of the chorale in m. 30 is shortened to nine measures;
the piano is already beginning to override its importance.
This time it
begins on the level of Ab and ends on Eb, again a distance of a fifth.

It is of the same character as before and is again answered by a roll
of the timpani, followed by dialogue with the piano.
49
Example 23, Second Piano Concerto; Second Movement,

Meas. 23-26
\i
fwjjg/ii
3?
/C-AP
^v
- ^
tx
V- (
t '/pj-j-v
iELEO
j^MJl
Again in accordance with the strings, both timpani and piano

enter on Eb. This time the piano inverts the ascending motive of its
first statement and brings the minor third into play immediately.
The
section is greatly expanded, the first statement made three times and
the second drawn out into a dramatic piano recitative with continuous
accompanying roll on the timpani. The latter begins at m. 45, consisting of three phrases that center around A.
Each phrase reaches a
higher peak (B^, D^, and G, respectively), and the passage ends dramatically on C-Eb-B.
^
^-'
50
The chorale returns once again to roimd out the first major
section of the form.
It is eight measures in length and is answered
by a single note from the timpani and an echo of the alternating section from the piano.
It begins on E, but rises only a diminished
fifth, to Ab.
The Presto marks the beginning of the second major section, a
demonic scherzo-like area of the piece. Precise analysis of this section is difficult, as it seems to go by in an instant and we are far
more aware of an over-all effect than of any minute details of construction. The Presto is also in ternary form, the center section
being characteristic of Bartok's "night music." This type of musical
excursion was often used by Bartok as the central feature of a movement, as in the second and fourth movements of the Fifth String Quartet, or even as the center of the entire work, as in the third of
five movements in the Fourth String Quartet, completed only three
years before this concerto. Here it is, indeed, the central point
of the work.
The first section of the Presto lasts until m. 89 and
is a perpetuum mobile for piano.
The first seventeen measures are
concerned primarily with chromatic elaboration around certain notes,

most importantly Eb, _D, and , and finally coming to an eighth-note
resting spot on E^. The horns and clarinets provide emphasis on the
weak beats and occasionally participate in chromatic dialogue. In
m. 18, the piano begins thirteen measures of running sixteenth-notes
in seconds and thirds in each hand.
Oboe and clarinet have a seven-
measure eighth-note theme that is heard in inversion in flute and horn
51
beginning on the l a s t h a l f - b e a t of m. 24.
The f i r s t horn joins i n
with the o r i g i n a l again in m. 26, and the'two versions of the theme

compete through measure 30.
The trombones then carry a s l i g h t l y
varied form of the theme through m. 35.
The piano, in the meantime,
has returned to single-voiced chromaticism i n each hand t h a t t r e a t s

this i n meas. 36-44, while the winds t r e a t fragments of the theme.
Rising chromatic sequences i n the piano lead to i t s statement of the
theme i n large c l u s t e r s i n m. 62.
As i t progresses down the key-
board, the chords diminish in s i z e , u n t i l only a single note remains

in each hand in m. 78.
The chords j u s t as rapidly increase from h e r e ,
however, and, a t 89, chord c l u s t e r s make the t r a n s i t i o n into the s e c tion of night music.
Bartok t r u l y creates the sounds of the night in t h i s passage,
by means of t r i l l s in the s t r i n g s , b i r d - c a l l s in the high woodwinds,
and mysterious t r i p l e t figures in the horn and trumpet.
In meas. 103-
115, the winds are p a r t i c u l a r l y a c t i v e , with ascending chromatic

sixteenth-note figures in the upper p a r t s and t r i p l e t figures in the
lower.
All of t h i s i s accompanied by enormous sixteenth-note chord
c l u s t e r s in the piano, some of them covering every note in a given

octave in one hand.
At m. 107, the piano part changes to single run-
ning sixteenth-notes in groups of five with only a h a l f - s t e p between

the hands.
The f l u t e and p i c c o l o , beginning in m. 108, carry a dimi-
nution of the t r i p l e t figure being s t a t e d in oboe and c l a r i n e t .

m. 121, the piano resumes i t s c l u s t e r s for three measures, then
changes back to running f i g u r e s .
Curiously, a t m. 124, the horn
At
52
speaks forth a motive (-C-p;) that calls to mind the motto of Strauss's
Also Sprach Zarathustra. This observation may very well be nothing
but speculation or a coincidence, but what makes the similarity particularly interesting is the fact that Strauss and, particularly,
Zarathustra had served as a source of inspiration to Bartok in 1902,
when he was floundering in his compositional efforts. However, the
motive does not stop at this point, but continues to reiterate the
same pitches both up and down over a period of thirteen measures.
The woodwinds are reveling in trills and grace-note figures throughout this passage, and the strings have set up a four-bar pizzicato
ostinato pattern that lasts until m. 140, where the piano joins in a
varied form for four measures. The muted horn triplet from the
beginning of the night music section reappears in m. 155, along
with the bird calls in oboe and clarinet.
These references to the opening of the night music bring the
section to a close, and at m. 166, the first section of the Presto
returns, varied and shortened to about half its original length. The
first part is the same length, seventeen measures long, employing
basically the same materials as before, but at times the motives are
in a different order or inverted.
In m. 182, the eighth-note motive
returns in the woodwinds, corresponding to m. 17 of the Presto. This

time, however, the piano retains its single-line accompaniment rather
than going into the seconds and thirds of the previous time. The section ends, in m. 204, on the same level, Eb, on which it started.
53
A three-measure transition and a trill lead to the return of
the Adagio, shortened and somewhat changed in character. The chorale
has lost its sense of tranquility, as the strings tremolo each chord,
and the piano carries its trill over the strings, creating a tense,
nervous atmosphere.
The chorale lasts nine measures, beginning on
Db and ending on Ab, preserving the tonic-dominant relationship.

The piano-timpani dialogue is in one section, not separated
by the chorale, and accompanied by tremolo in the strings. The
descending motive of the piano is highly ornamented and is heard
twice before the piano proceeds into the phrase that presents the
minor third.
recitative.
In m. 17, the figure ascends, leading directly into the

It is even more dramatic this time than in the opening
section, as the string tremolo heightens the tension, and the timpani
participates by bold eighth-note statements in what sounds almost like
a rhythmic stretto with the piano.
Following this passage, the same
length as in the first section, the chorale returns. It is no longer

in tremolo, but it has a submissive sound and lasts only five measures.
The piano enters with one last echo of its descending motive in its
original form. The low strings play the first six notes of the E Major
scale, and with the piano take an unexpected turn to C Minor for the
final chord.
The effect is unsettling, as if, by subordination of the
chorale, the diabolical has somehow won out over the sacred.
The third movement has little really new thematic material, but
draws upon themes from the first movement and the minor third motive
from the second.
It might best be described formally as a developmental
rondo, as the minor third motive, expanded into a primary theme group,
54
alternates with the first movement material. Retaining the motive
labels designated in the first movement to indicate the transformed
version of first movement motives, the formal plan is as follows:
Introduction
A (m 3rd theme) B^ (i) Transition
Meas, 1-6
7-44
78-93 94-137
Transition
45-73
73-77
(>)
p_ (d,a) A (Accompanied cadenza Coda
Meas. 138-143 ^44-161 162^206
ZtlTAf''^^^
^^^'^^^
207-303
The movement opens with an ascending pentatonic scale, minus
one note, played by the piano. After a fortissimo minor third (^-_F)
is sounded in the full orchestra, the timpani enters with a minor third
figure on C-Eb. After a three-and-one-half measure introduction, the
piano enters with a minor third theme (Ex, 24), This is closer to the
Example 24, Second Piano Concerto; Third Movement
Meas,
hMcif^Ji-X
t):
y-
7-14
l-liSMîsfr-H
55
rather barbaric nature of the first concerto than anything else in the
work, and the sixteenth-note triplets give it a characteristically
Bart6kian rhythm.
The strings take up the minor third at the end of
the piano phrase, and, in m, 18, the woodwinds again play D-Y_, The
piano states a consequent phrase from m. 19 to m, 27, answered again
by strings and woodwinds on D-F^, In m, 32, the piano moves to G#-B
for a canon at the octave between the hands, lasting nine measures.
The timpani has been active throughout this passage with a continuous
eighth-note ostinato on C-Eb,
This pattern moves to Bb-Eb in m, 42,
as the orchestra closes the first major section on an ambiguous

F#-G#-A//-C# chord.
In m, 45 the second section begins, with motive b^ from the
first movement, transformed rhythmically (Ex. 25). Its two-measure
statement in the piano is answered by the strings in stepwise contrary motion with each other. The key center is firmly G, although
the piano will make some tonal excursions in its various statements.
In meas. 54-65, it travels through C, Eb, Gb, Ab, and finally back
to G, just as in the corresponding passage (meas. 13-25) in the first
movement. The comic effect of indecision in the piano is here also,
just as in the first movement. The figure in the strings (Ex. 26)
continues in accompanying the stretto section based on motive a_ in
meas. 66-73.
This brass stretto is directly comparable to meas. 24-
31 in the first movement.
The timpani and low strings reintroduce
the minor third motive in m, 73, on X~Ab, and when the piano enters
with it in m. 78, it is on the level of Bb-Db. The remainder of the
56
Example 25. Second Piano Concerto; Third Movement,
Meas. 45-47
'iaho

Meas. 47-49
115^ r\<fs
P
^F^
m
i
^3^^^
-4. < 1?,
-J 4 #
<P
tet
theme is changed slightly, but the rhythmic vitality is the same. The
theme does not last as long this time, but moves quickly into a development of motive c from the first movement, also rhythmically transformed (Ex. 27).
57
Meas. 95
This one-measure figure is sequenced five times, each time

down the interval of a third, and the last three statements shortened
to only three beats each. After a transitional measure of octave
triplets, another sequence takes place on the inversion of , this
time sequenced four times, up a fifth each time. Measures 107-127
are treatment of the octave triplet pattern, beginning with ascending
and descending thirds in each hand, and in meas. 110-112, an imitative
sequence touching on Ab, Db, Gb, Cb, Fb, A, and E. Measures 113-115
emphasize a tritone range, -Ab.
The following two measures empha-
size fifths a minor third apart, Eb-Bb, Gb-Db, A-. One more
sequence begins on the last beat of m. 118 and ends on the first
beat of m. 127. The tonal progression in the left hand is Eb, Ab,
Db, Gb, B, E, A, D, G, and C, while the right hand moves F//, B, G,
C, F, Bb, Eb, Ab, Db, and Cb.
This developmental section is closed by another stretto passage on motive a.
It is heard first in the woodwinds, the clarinets
and bassoons inverted to create contrary motion with flutes and oboes.
The piano enters two beats later, hands in contrary motion, and after
58
two more beats, the brasses state the motive, trumpets pitting an
inversion against the horns. The piano rests at m. 132, as the winds
continue with the last four notes of the motive, and at m. 133, the
strings play the material from m. 47 (see Ex. 26).
At m. 138, timpani and low strings introduce the minor third
motive once again, this time on E-G.
Six measures later, the piano
joins with an inversion of the theme, making this return similar to

the inverted recapitulation in the first movement.
In meas. 153-156,
there is a canon at the fifth in the piano, followed by free imitation

in the next four measures.
In m. 162, the piano states motive d^ from the first movement,
changed rhythmically (Ex. 28). Immediately upon the piano's completion, the trumpets enter with the motive down a fifth, and in m. 167,
it is in inversion in the woodwinds and first horn.
Starting in m.
170, the last five notes of the motive are treated in inversion by
the piano, followed one beat later by imitation in the original form
by the flutes, oboes, and bassoon. This continues through m. 174,
where the imitation is taken between the hands of the piano, in the
original form.
The passage beginning in m. 178 is a rhythmic trans-
formation of the passage beginning in m. 110 of the first movement,

a two-part canon at the octave. Measures 182-185 contain three twomeasure units of canon in retrograde inversion, and a canon at the
octave takes place in meas. 187-191. Flute, oboe, clarinet, and
bassoon state the motive, imitated two beats later by piccolo and
trximpet, and, one beat later, by horn, bassoon, and low strings.
59
Meas. 162-164
9^S- _
ej^^h^
The motive is inverted by the first violins after two beats, followed
after one beat by second violins, violas, and cellos after another
beat, and woodwinds after still another.
Measure 196 begins the conclusion to this development on
motive d_, presenting motive a. in retrograde inversion, just as it was
in meas. 212-221 in the first movement (Ex. 29). The motive is again
treated in stretto among the brass, and eventually among the woodwinds,
building to a climax to introduce the cadenza.
The section from m. 207 to m. 254 has the effect of being an
accompanied cadenza, if such a thing is not self-negating.
It is
indeed a virtuosic vehicle for the solo piano, with rhythmic and
motivic support from various instruments. The section through m. 229
is based entirely upon the minor third motive and receives additional
60
Meas. 196-197
ntrp^s
Y^rn^Pn
^^^^^mm
rhythmic excitement from the use of the bass drum.
The timpani lends
support beginning in m. 230, as the piano is engaged in wide leaps in

both hands. Chromatic sixteenth-note octaves are the basis for the
remainder of the cadenza, with echoes and comments being made by the
strings and woodwinds in meas. 236, 239-242, 244, and 246-254. The
orchestra has no independent material in this passage, so it appears
that the cadenza is actually still in progress.
The section that follows, meas. 255-303, is strangely rhapsodic, and while it corresponds to meas. 254-281 in the first movement,
the orchestral material is not so clearly derived from motive d_. Certain fragments from the motive are present, but no so obviously. The
fragment is more clearly seen in imitation and inversion in meas. 262272, and a contrary motion sequence in meas. 273-275, In m, 275, the
viola states a theme which does not have an obvious predecessor. It
is highly unlikely that Bartok would introduce a totally new theme at
such a late stage, but it does not appear to have a direct relationship to anything that has gone before.
It begins on A_ in the viola.
61
is picked up on three measures later in the second violin and again
on A after three measures in the first violin. The flute states it
on E^ after two measures, and this appears to be its final exposure.
In m. 290, a different but similar theme is played in English horn and
clarinet, a fifth apart (Bb-F^), echoed three measures later in the
bassoon on Eb, and two measures later, on C// in the flute. In meas.
292-301, the piano has what begins as an inversion of the theme in the
woodwinds, but in the process of being sequenced twice, changes somewhat intervallically.
After two rising arpeggios built in fourths, the orchestra
enters, in m. 304, with the closing stretto section, again on motive a_.
Whether the coda begins here or at m. 255 is debatable, as the section
beginning at m. 255 is difficult to classify, but m. 304 parallels the
beginning of the first movement coda.
In any case, the stretto passage
at m. 304 is a brilliant display of brass, with the first trumpet stating the motive in inversion in m. 307. The motive is quickly fragmented
making use of the last four notes. The trombone and trumpet solos in
meas. 311-315 are rhythmic variations of the solos in the directly corresponding place, meas. 295-301 in the first movement, and the piano
again ascends on triads. The delicate sixteenth-note figure given to
the piano as the accelerando begins in m. 322 is an absolutely charming touch, assurance of a happy ending after the trials of the entire
concerto. With the strings playing a reminiscence of their answering
figure from m. 47 and winds doubling on most parts, the piano plays an
ascending pentatonic scale to the final G Major chord.
62
In overall sound and content, the Second Piano Concerto is a
more pleasant piece than the First Piano Concerto.
It is a work of
great virtuosity and vitality and more immediately appealing than its
predecessor.
If at times it sounds less purposeful, it must be because
it is, indeed, a work of transition.
Through this and other works of
the same period, Bartok developed the principles of S3mmietry, balance,

and expressiveness with which he would concern himself for the rest
of his life.
CHAPTER III
THE THIRD PIANO CONCERTO
Upon first hearing B^la Bartok's last completed work, one is
immediately impressed by the fact that this is a work in an entirely
different vein from either of its predecessors, indeed, from practically every other major work by the composer.
Bartok was criti-
cized by many of his admirers for the nature of the work, as they
considered it a compromise for the sake of a more readily acceptable
work. On paper the concerto does appear far less creative and
detailed than the first or second, yet a closer look reveals that, at
the end of his life Bartok was still the master that he had proven
himself earlier.
It displays the same command of contrapuntal devices,
the same sense of construction and unity, but in an even subtler manner.
The aura of the entire concerto is one of serenity and assurance,
diametrically opposed to the fierce struggle of the first or the brilliant vitality of the second.
Although Bartdk calls for an orchestra close to the grand
proportions of the first two concertos (piccolo, English horn, and
contrabassoon are absent), the scoring is extremely light and conveys
the impression of being written for a much smaller orchestra.
Once again, the opening movement is in sonata form, quite
straight-forward this time, the only ambiguities being the distinction of transitional passages from primary and subsidiary theme groups.
63
64
Tonalities are clear, with the movement centered primarily in E Mixolydian, although fluctuation of mode does occur. Harmonies are
simpler and more tertian than in the first two concertos, and tonal
relationships are quite traditional with regard to subsidiary themes
and recapitulation.
The general formal plan, including tonal centers,
is outlined below:
Exposition
Meas.
1-11
11-17
18-53
54-67
68-74
Development
1st group E
Becomes
transitional
Bridge
2nd group G
Closing G
Meas.
75-88 Ab
87-98 Bb
99-110 C-D-E-F#
110-117 G//
Recapitulation
Meas.
118-127
128-136
1st group E
Becomes
transitional
137-161 Bridge
162-174 2nd group E
175-187 Closing E
The simple design of the movement, including a brief and

clearly designed development, as well as omission of a coda, reveal
a neat and classically-conceived piece, not unlike most sonata-form
works of Mozart. One of the most remarkable things about the work
is that Bartok's trademarks are undeniably present: some inversion
of themes in the recapitulation, interrelation of thematic materials,
contrapuntal ingenuity, yet all subtly present beneath a tender,
romantic mood atypical of his other works. The writing is clear and
much simpler than that of earlier works, and the solo part is not
especially virtuosic.
65
This last point is exemplified at the outset, as the piano
presents a one-voiced theme, doubled two octaves lower in the left
hand (Ex. 30). The melody is heavily ornamented and, despite numerour chromatic alterations, is firmly centered in the Mixolydian
mode on E.
The tonality is never in doubt, as the accompaniment in
the second violins and violas, both divisi, fluctuates rapidly between
an open fifth on E-B and a minor third, and the clarients sustain E-G.
In addition, just prior to the piano entrance, the timpani establishes
a tonic-dominant relationship with ^- on beat three to beat one. The
melody proper lasts approximately eight measures, but does not cadence
and proceeds to become transitional in m. 11, The orchestral scoring
is still very thin at this point, as, indeed, it will remain, relatively, throughout the entire piece. Cello and contrabass have joined,
as have flute and horn, with gentle supporting tones. A quintuplet
motive evolves in the piano out of the ornamental figurations of the
Example 30. Third Piano Concerto; First Movement,
Meas. 1-11
^-3^^
m
^
-h^f
66
theme and at m. 15 it is centered on B Major, giving the impression that
it will resolve, as a dominant, back to E. This it never does, however,
as the piano introduces a C//, which, with the -A-- in horns and bassoons, creates a D7 chord that resolves to G in m, 19.
With the first theme in a new key and stated by the first violins, the bridge proper begins. The theme is quickly modified, and in
m. 21 the opening figure is heard in oboe, bassoon,"second violin, and
viola, on the level of C.
The motive in the first violins at m. 22 is
a transitional motive that will be significant in the course of the

movement (Ex. 31). The head of the first theme is imitated by various
instruments in meas. 24-26: horns on Cb, trumpets on Ab, oboe and
second violin on F^, and flute, clarinets, and first violins on Ab.
The entire orchestra has a complete Db7 chord on the first beat of
m. 27, and the piano enters with an inversion of the motive from m. 22
on the level of Db.
The orchestra strikes the chord again on beat three
of m. 28, and the piano enters on the downbeat with the same material as
previously.
Once more the chord is struck on beat three, and the piano
enters on the second half of the beat, this time continuing the material
into a series of parallel thirds.
This parallel motion, combined with
the chromatic material in the strings, prevents the establishment of
Example 31. Third Piano Concerto; First Movement,

Meas. 22
67
any tonality.
In meas. 35-36, the parallel motion is in fourths and
fifths, and in meas. 37-39, an octave passage in contrary motion provides perhaps the only spot in the movement that could be termed
virtuosic.
Chromatically descending sixteenth-note figures in the
piano ornament the eighth-note descent of the woodwinds in meas. 4043, and another section of the bridge begins in m. 44.
The material at this point is still too unstable tonally to be
\
considered a second theme group.
It is primarily on an E7 sound and
falls into a graceful four-measure phrase that is taken by the orchestra in a varied repetition beginning in meas. 48. On the repeat, the
first measure is again on E7, but quickly moves through an F7 to a Bb7.
This moves up by step to cm7, and the material in m. 52 is on a D7 that
leads into the second theme group key of G Major.
In m. 51, the oboe
and clarinets state a motive that relates to the bridge motive of m. 22

as it also anticipates the second theme group.
It is of interest that the key Bartdk chose for the second group
is a minor third above the tonic.
That interval appears to be important
in the movement, as the B and related closing material are based upon
it; indeed, "the movement ends with two successive minor thirds in the
top voice of the piano.
It is not within the scope of this analysis to
propose what the significance of this interval is with regard to the

concerto.
However, it is interesting that, in the course of scientific
musical study carried on by Bart<5k and Zoltan Kodaly, the theory was
propounded that the primary interval, the one first recognized and
68
imitated by the human child is the minor third.^
For this reason, it
seems especially appropriate as a significant interval in this movement, which is also noteworthy for its simplicity of style.
In any case, the second group is centered in the key of G,
although it moves to other levels before settling back for the closing section.
In m. 56, the clarinet answers the piano figure in
inversion, and in m. 58, the piano moves to the level of Bb, another
minor third relationship.
The similarity between the bridge motive
from m. 22 and the second group is very clear in m. 62, where the
bridge motive is treated in imitation one beat apart by piano, viola,
cello (in inversion), and second violin, respectively.
The motive
sounds like the second group due to the rhythmic and inter^/allic
similarity. At m. 64 there is a short imitation, one beat apart,
among right hand, left hand, cello, and viola (in inversion). Both
hands continue the motive in m. 65, and violins in m. 66, answered
by an inversion in viola, cello, and woodwinds. The harmony is C
Major (the subdominant) in m. 66 and the first half of m. 67, changing to a D Major (dominant) chord which resolves to G in m. 68.
This affirmation of G Major may be taken to signal the beginning of the closing section, which lasts only seven measures. A major
third, derived from the second group and the bridge motive, is the
initial substance of this passage, descending chromatically against
chromatically ascending eighth-notes.
In the second measure, a minor
third makes the descent, an octave lower. Major thirds close the
Lendvai, Bla Bart6k, p. 48.
69
section, alternating between piano and clarinet, while the timpani
further substantiates the key center of the closing with four quarter
notes, -D^-G-.
The piano sustains a third, -B^, as the final sound
of the exposition, while the horn enters with the first four notes of
the first theme on the pitches Eb-Db-F-Eb. The moment has a Debussylike sound, partly due to the augmented triad that is created (Eb-G-B)
and partly due to the en dehors sound of the muted horn. The Eb sound
is totally foreign until the piano begins the development on the level
of Ab in m. 75.
The development section is quite brief, only forty-three measures, and is remarkably romantic in its long, flowing lines, richly
arpeggiated accompaniment, and tonal clarity.
It neatly divides into
four distinct sections and bears very little resemblance to the developments of the previous two concertos. From its initial Ab tonality,
the development moves by step back to E. The first section lasts
through m. 86 and is concerned with the principal theme, played in
unison by the woodwinds and accompanied by sweeping two-octave arpeggio
figures in the piano.
all tonic harmony.
The key is Ab Mixolydian throughout, with almost
The theme is varied somewhat from its original form
and the double-dotted notes and thirty-second notes have been smoothed
out into less jagged rhythmic patterns. The final cadence in Ab is not
an authentic cadence, but rather a beautifully effective use of the
major subtonic chord, diatonic to the mode, resolving to the tonic.
There is a quick Ab7-Db movement in m. 86, followed by a diminished
seventh chord on A, which resolves to Bb Mixolydian, the key of the
next section.
70
The second section is also based on the first theme, but in a
new key and stated by the piano. The arpeggiated accompaniment is
continued in the left hand, and the right hand carries the theme in
a manner similar to the woodwind statement.
Beginning at the end of
m. 91, there is a three-voiced canon at the unison and octave, among

piano and first and second violins. The entrances are one beat apart
and the imitation is exact (with the exception of the first two notes
of the second violin) for six beats, or slightly over two measures.
In m. 96, a half-diminished seventh arpeggio in the piano, imitated
at the distance of a beat by first and second violins, violas, and
cellos, respectively, leads to a brief establishment of Eb as the
tonality.
This is changed when a Bb chord, acting as a dominant
function, resolves deceptively and very beautifully to a C Major

chord.
Thus, another Mixolydian cadence of a major subtonic to
tonic ushers in a new tonality and the third section of the development.
The bridge motive and second group constitute the propelling
force in this section, which is the most exciting part of the development harmonically.
The flute states the motive at m. 99, against an
inversion in the piano. The oboe then enters into dialogue with the
piano, while the horns state the opening motive of the first theme in
imitation.
This unit of three and one-third measures is sequenced up
a step to D Mixolydian in m. 102. It is not repeated exactly, as the

motive is varied slightly and the entire unit is compressed into only
two measures. On the last half of the second beat in m. 104, the
71
motive is heard in E Mixolydian for one and one-half beats.
This
compression of harmonic movement leads to an arrival on F//, the dominant of the dominant, in m. 105.
The tonality is established by
four authentic cadences, making use of the minor dominant.
The bridge
motive is used in dialogue between piano and strings, entirely on the

F// harmony, in meas. 107-109.
In m. 109, the piano plays an ascend-
ing triad arpeggio which resolves, with the orchestra, to a G# Major

chord on the downbeat of m. 110.
This resolution, which is reiterated
in meas. 111-112, suggests another subtonic to tonic cadence into

another Mixolydian key a step higher.
The arrival on G# marks the beginning of the final section of
the development, which is merely an eight-bar transition back into the
recapitulation.
The Dj^ in the bass in m. 110 and m. 112 serves as the
leading tone in the key of E.
In meas. 111-112, the horn announces the
bridge motive in eighth-notes and enharmonically spelled in Ab, while

the second violins sustain a high B# trill.
After the second cadence
in G#, in m. 112, the trill drops to B^ , and the horn begins an inversion of the bridge motive, still spelled in Ab.
Violins and violas
play three chromatically descending triads in , inversion, ending on a

G#, harmony.
The trill has descended accordingly and stands on G# as
first violins and violas play a final pizzicato G# triad.
First vio-
lins take the trill in m. 117, slowing it down as it moves to Fx, then
speeding up once again just before the piano enters with the recapitulation of the first theme.
The // becomes the third of the E Major
chord, creating a deceptive resolution into the return of the first

group.
72
Although the development section is not lengthy, it serves
three traditional developmental functions very effectively:
it pre-
sents old material in a new light (in particular, the first theme),
provides harmonic excitement, and creates conflict and climax that
are satisfactorily resolved in the recapitulation. Most importantly,
it is a section of compellingly beautiful music, and the tranquillity
of the resolution into the recapitulation is absolutely breath-taking.
When the piano states the first theme, beginning in m. 118,
an additional voice is present beneath the melody, both voices doubled
at the octave.
The theme is presented in its entirety, the only major
change coming in m. 132, as the sixteenth quintuplets continue their

stepwise descent to the tonality of C. The bridge proper begins in C,
which is a fifth below the key of the corresponding point in the exposition. This relationship of keys is traditional and classical.
As in the exposition, the bridge, beginning with the upbeat to
m. 137, opens with an orchestral statement of the first theme. The
orchestra attempts to create a fugue from the theme, but the entries
are progressively shorter and enter at progressively shorter intervals:
first violin, second violin and oboe after three measures, viola and
bassoon after five beats, cello and contrabass after two beats. The
sixteenth-note bridge motive is anticipated on a Bb7 harmony in imitation among horns, trumpet, and trombones in meas. 143-144. This serves as a fanfare for the entrance of the piano in Eb. The material is
treated in the same manner as was the bridge motive in m. 27 of the
exposition, but the movement is descending, and the figuration more
73
closely resembles the chromatic pattern that follows. That chromatic
pattern is the ascending line in meas. 147-152, which is an inverted
expansion of the material in meas. 40-43.
It should be noted here
that the bridge material in meas. 27-39 has been eliminated in the
recapitulation, thus relieving this section of what little disquieting material there was in the exposition.
The four-measure phrase in meas. 154-157 corresponds directly
to that of meas. 44-47, this time on an A7 harmony, another drop of a
fifth from the exposition.
The thirty-second note motion descends,
then ascends, in free inversion of the exposition figure. As before,

the orchestra states an answering phrase, now on C//7, and the chromatically rising bass line in meas. 160-161 brings back the tonality
of E for the return of the second theme material.
The second theme presents no major changes. The theme is in
octaves and, through octave displacement, the interval is a minor tenth
rather than a minor third.
Cello and horn give the answering motive
this time, and in m. 166 the woodwind section takes the motive for a
measure.
From m. 170 through m. 174, the transition to the closing
parallels closely the corresponding passage in the exposition, except

that here the piano does not participate.
The orchestra prepares
imitatively for the closing section, which is expanded to thirteen

measures, beginning in m. 175. The character of the section is like
that of the exposition, but beginning in m. 180 the major third dialogue between piano and woodwinds is extended.
Flute, oboe, and
clarinet all participate, and the chromatic eighth-note figure that
74
appeared in oboe and flute in meas. 175-176 is treated imitatively in
the strings in meas. 180-184. A solo flute recalls the opening theme,
and pianissimo thirds in the piano bring the movement to a close, without a coda.
The striking contrasts in mood and orchestration between first
and second movements in Bart6k's first two concertos are not present in
the third.
The serenity of the Adagio religioso is an outgrowth of,
rather than a contrast to, the preceding movement. Bartdk had never
used the word religioso before as an indication, but it was to appear
again in his only subsequent composition, the incomplete Viola Concerto.
It is natural that, nearing the end of his life, his thoughts
should turn reflectively, whether or not the word religioso need be

taken in the literal sense. As in the second concerto, the form is
ternary, the outer chorale-like sections enclosing a central core of
night music.
However, the effect is entirely different; piano and
orchestra alternate peacefully, there is no demonic scherzo, the

night music is bright and cheerful rather than fearsome, and the
total result is one of profound inner contentment. The following
diagram is particularly helpful in recognizing the structure of the
central section, but it presents an outline of the entire movement.
A
Meas.
B
1-15
16-57
Imitation in strings
Statement of chorale
by piano, with comments by strings
58-67
68-71
72-75
76-78
79-85
86-88
a. ("bird calls")
b^ (Transition)
a.
b^
a.
b^
A
89-137
Return of c h o r a l e i n woodwinds with piano c o u n t e r p o i n t .
75
The first section, through m. 57, is performed by strings and
piano, with the exception of the single note E in the horn in m. 57
and the almost complete G Major scale in the clarinet in meas. 3-13.
In the first fifteen measures, the strings outline the harmonic
course that the piano will take in stating the chorale: C, G, E, F,
A minor, C.
In true Bartokian fashion, the harmony is presented through
five-voiced imitation (first violin is divisi, contrabass absent), but

so rhythmically and harmonically conceived as not to sound contrapuntal.
The voices enter from top to bottom at the distance of two beats for
three-measure units on C (meas. 1-3) and G (meas. 4-6). The tonalities
of E, F, and A minor receive two-measure units, and the entrances accordingly fall one beat apart. Free inversion is present in the imitations,
initially in the second and fourth voices, and subsequently in others.
The final statement on C lasts four measures, the entrances again two
beats apart, and the cello stating an ominous Eb in m. 15. Now Bartok
begins a dialogue to m. 57 between piano and answering strings, the
harmonic movement following and expanding that of meas. 1-14.
The piano enters with a placid, four-measure chorale phrase,
beginning on C and cadencing on a G Major triad. An answering fourmeasure phrase based on the imitative opening material confirms the G
tonality in the strings. Another four-measure phrase by the piano
cadences in E by means of tritone root movement from Bb. The first
four soprano notes of the phrase are an exact inversion of the first
four notes of the opening chorale phrase (meas. 16-17), a relationship
that is disguised by the lyricism of the lines. This time the strings
76
confirm the tonal level with a three-measure phrase, although the third
measure is expanded in meter from ^ to ^.
The meter returns to ^ for
another four-measure phrase in the piano, cadencing on F, and answered

by a three-measure phrase in the strings.
Tension builds in the fol-
lowing eight-measure phrase in the piano, as appoggiaturas (# in m. 41

and # in m. 45) threaten the peace of the section.
The strings in
meas. 46-47 provide ascending motion into the most passionate phrase
of this first section.
A series of four unresolved seventh chords,
each a third lower than the preceding, creates the tension in the sixmeasure phrase, culminating with a BbmM7 resolving deceptively to a C
Major chord.
This is serenely confirmed by the strings, with a slight
variation on the rhythm of the opening motive.
A whole-note E^ from
the horn suggests a change of material, just as the horn signaled the
development section in the first movement.
The central section is a passage of nature sounds that is
strongly reminiscent of other night music sections or movements (the
second concerto. Fifth String Quartet, Music for Strings, Percussion,
and Celeste), but totally free of the mysterious, almost macabre atmosphere of those.
Here is Bart6k as the lover of nature, utilizing
woodwinds and piano to create bird sounds and other effects.
Tremolos
in the violins at the outset sound every note within the fifth A-,
inclusively, to establish some semblance of a tonality on A.
Oboe and
clarinet begin by stating the particular "bird sound" that is theirs

throughout most of the section.
The motive in the piano and its inver-
sion in meas. 60-61 (Ex. 32) will be used for subtle contrapuntal
77
Example 32. Third Piano Concerto; Second Movement,
Meas, 60-61
rkpt-fi'^k
fe
X^
tr
treatment in the section.
Its answering motive, which bears a resem-
blance to the closing motive of the first movement, is stated by

piano and flute in m. 63 (Ex. 33). In m, 64, as oboe and clarinet
give their sounds, the piano plays its motive again and is answered
in inversion and augmentation by viola and cello, pizzicato. The
inversion of the motive in m, 65 is treated similarly, and the answering motive is heard again in flute and piano in m. 67. The piano
expands the answering motive into a transitional and rather rhapsodic
passage in meas. 68-71, leading to further treatment of the piano bird
sound.
In meas. 72-73 (Ex. 34), flute and oboe state the motive, imi-
tated in augmentation by the piano. This is followed by imitation in

the cello that is an augmentation of the flute, diminution of the piano.
Example 33. Third Piano Concerto; Second Movement

Meas. 63
78
Example 34. Third Piano Concert; Second Movement,
Meas. 72-73
fluh
S .^fihnJ.
fe
J.
^ .
>
Ae^
CA''/?
and an inversion of both.

not in inversion.
^ -y^
The viola then imitates the cello, although
In the next measure, the entire process is inverted.
Bartok*s contrapuntal skill is evident to the score-reader, yet so

subtly done as to be scarcely noticeable to the listener.
The
answering motive is heard in flute, piccolo, and oboe, then in the

piano, in m. 75.
The passage from m. 76 to m. 78 is again transitional and
rhapsodic. The four measures that follow have an impressionistic
sotmd, high repeated notes sounding in the woodwinds, while the piano
plays four-note whole-step patterns in contrary motion.
In m. 84, the
oboe states once again the piano motive, answered by the augmented
Tieon Dallin, Techniques of Twentieth Century Composition
(Dubuque, Iowa: Wm. C. Brown, 19575", p. 175.
79
inversion in the low strings, while the piano plays ascending sweeps
and trills.
The answering motive is heard a final time in piccolo
and oboes in m. 85, and a brief reference to the transitional section

by the piano brings the section to a close.
At m. 89, the piano chorale of meas. 16-54 returns, now
stated by the woodwinds with lovely two-part imitative counterpoint
in the piano. The first phrase is answered in the piano, not with
the imitative material used by the strings in the opening section,
but by cadenza-like figurations and trills. The second phrase is
another exact restatement by the woodwinds with piano counterpoint
followed by an expanded cadenza-like passage that is not unlike passages in some of the late works of Beethoven. The third and fourth
phrases are treated in the same manner, increasing in intensity just
as in the first section.
The piano answers the fourth phrase in
meas. 120-121, not with the cadenza-like material, but with a transitional passage on the two-part counterpoint, corresponding to the
orchestral transition in meas. 46-47.
Strings make their first
appearance in the return section in meas. 122-123, as they attempt

to state the impassioned fifth phrase of the chorale. They complete only two measures, then are interrupted by woodwinds stating the
same two measures. The strings enter again for a measure, answered
again by the woodwinds. The piano has been accompanying with ascending triplet arpeggios, and at m. 128, begins its complete statement of
of the fifth phrase, changed somewhat, and even more dramatic than its
statement in the exposition.
resolves to C Major.
As before, it moves to a Bb7 chord and
The strings re-enter with the imitative material
80
from the beginning of the movement, again slightly transformed rhythmically to ^sound as if in three. The piano makes its only statement
of the material, in two-voiced imitation, with the cello and contrabass, then cadences unexpectedly but tranquilly on an E Major harmony.
The serene and meditative character of the movement has remained
intact, despite the anguish in the fourth and fifth phrases of the
chorale. Unlike the strange close of the corresponding movement in
the second concerto, this cadence is clearly at rest.
The last seventeen measures and most of the dynamic and
expressive indications in the third movement are those of Tibor
12
Serly.
Bartok gave no tempo indication at the opening, thus, the
Allegro vivace is Serly's addition as well.
The meter is o and

8
2
remains so with only two exceptions: the , section in the center
3
of the movement and the , section that begins the coda. Without the
meter changes characteristic of Bartok's fast movements, rhythmic
excitement is generated through fluctuation of meter across the barlines and duple versus triple subdivisions, techniques that are
typical of Beethoven and Brahms. The form is a rondo, in the spirit
of the classical concerto finale, with the final return of A and the
coda both greatly expanded.
The following diagram shows the formal plan, representing
major sections with corresponding letters and including tonal
centers:
12
At his death, Bartok left the third concerto complete, with
the exception of the last seventeen measures, which he left in the form
of a sketch. His friend and pupil, Tibor Serly, undertook the task, of
completing the score and, with others, providing it with additional
editing.
81
A
138-203
2Qi^-221
228-321
Transition
C//
321-343
Transition
344-375
Transition
376-391
(Expansion)
527-641 E
Transition
392-426 Bb
427-472 Fugue-like
473-482 Bb
483-526
Coda
644-720
721-768 E
The rhythmic basis of the opening section is best described as

an iamb followed by a trochee, firmly set in the tonality of E. The
first phrase is eight measures long, and is designated as (Ex. 35).
The following twelve measures are comprised of three four-bar units
based on the iambic unit and employing intervals of a second and a
chromatically moving inner voice (Ex. 36). At m. 161, the eightmeasure phrase of returns in a higher register and changed and suggesting a center on C.
The material in b^ is also changed slightly,
the units shortened to three and two measures. Beginning in m, 178,

chromatically rising major seconds in the piano build toward a climax
for ten measur-es, and in m, 188, the momentum is taken by octaves to
an E Major chord in m. 191. The passage, from meas. 191-203 serves as
a closing for the opening section of the rondo, and the octave descent
in the piano on a minor dominant seventh resolves the section in E.
82
Example 35.
Third Piano Concerto; Third Movement
Meas. 142-148
i^=\P
f-^
:A
dTU
TU
A transition follows for the next ten measures, with strings

and woodwinds participating in alternating rhythms based on the preceding material.
At m. 213, the timpani begins a fifteen-measure
rhythmic interlude with support from the bass drum.
As this dies out
dynamically, the piano enters with the second thematic material, a

highly contrapuntal section based on C// Dorian.
The passage from
83
Example 36. Third Piano Concerto; Third Movement,

Meas. 149-156
^%e=-e
m
f
a
ijSL
f*t=)f
icm
T:
meas. 228-252 i s not unlike a t y p i c a l Bach fugue, the lower voice

s t a t i n g an eight-measure subject that i s answered tonally by the
upper voice.
The lower voice continues in free counterpoint, and,
beginning in m, 243, a two-measure p a t t e r n based on the f i r s t motive

i s sequenced three times, r i s i n g by s t e p .
Four more measures con-
clude the piano exposition, and the f i r s t v i o l i n s enter with the

subject in m. 253.
The v i o l a provides the answer, while the f i r s t
v i o l i n continues with the same counterpoint as was in the piano,

and the piano reinforces the harmonies with two-voiced chord-type
rhythms doubled at the octave.
!fii|||a
The piano s t a t e s another sequence
84
in meas. 210-211 ^ this time on a four-measure pattern.
Seven more
measures of free two-voiced counterpoint lead to a statement of the

subject in F Mixolydian, doubled at the octave.
The passage from meas. 292-305 is a four-part stretto in the
woodwinds, each voice entering at the distance of two measures.
Flute
is first, followed by oboe, both in inversion; and clarinet and bassoon, respectively, enter with the subject in its original form.
The
piano plays a canon at the minor tenth in meas. 306-313 which is also
a four-measure unit sequenced up a fifth.
Material taken from meas.
280-282 is the substance of meas. 314-322. At m. 322, a transition

begins, still treating the subject of the second group.
The first
six measures of the subject are stated in octaves by the strings, then
a fugato ensues for the entire orchestra.
Flute and first violins,
oboe and second violins, clarinet and violas enter respectively at

tiie distance of one measure.
Bassoon, cellos, and contrabasses are
the last to enter, at the distance of two measures.

is engaged in sparse free counterpoint.
The brass section
The third measure of the sub-
ject serves as the basis for the rising sequential passage in meas.
334-343 that leads into a return of the first section (A).
The opening material is varied somewhat, although it retains
its characteristic rhythm and is centered on E.
It is constructed
this time in three phrases of eight, eight, and four measures, respectively.
A new rhythmic figure, two dotted eighth-notes per measure.
85
is introduced in the last two measures of each phrase.
This provides
a contrast of duple versus triple meter between the measures.
The b^
material is omitted in this return, and meas. 364-376 is the closing

passage of the section.
A short transition based on the earlier one lasts until m. 382.
At this point the timpani again bridges the gap to the next section,
this time for only ten measures. A new section, C, ternary in design,
begins at m. 392, with a lilting trio-like melody in second violin and
viola.
It is accompanied by gracefully arpeggiated chords in the piano,
and the tonality in Bb Major, the tritone key of E.
The five-measure
phrase is answered by a five-measure phrase by piano alone which is an

answer to its own material rather than to the tune stated in the
strings.
In meas. 402-420, the piano begins imitative treatment of
its material, while the strings treat their melody in imitation.
The
second part of the piano material is treated in meas. 406-409 imitatively, and the entire figure is in imitation at the second in meas.
413-420.
In both cases, the entries are one measure apart.
In the
strings, at the same time, the melody is treaced in free imitation at

the distance of a measure in meas. 404-410, by first violin and viola.
Cello and second violin make false entries in meas. 402 and 403,
respectively, but do not continue.
Beginning in m. 412, viola and
second violin make false entries, and first violin and cello continue
in free imitation.
The woodwinds enter in m. 421, presenting the motive that
is the basis for the fugue-like central episode in this ternary section.
86
The motive is based on descending and ascending fifths (Ex. 37), and
for six measures instigates a transition into the central episode.
The meter changes to ^ (in order to "slow down" the motive) , and the
motive is presented by viola and cello.
It is expanded into an eight-
measure phrase, which is accompanied by ascending scales and trills

in the piano.
The phrase is then stated by the second violins, with
light accompaniment in viola and cello and continued scales in the

piano.
In m. 443, the phrase is taken by the first violins, and after
a measure, the woodwinds enter with the phrase in inversion.
Dynamics
mount as the piano continues its scale passages, until m. 452. At

this point, the piano finally states the phrase in contrary motion
between the hands, forte and in octaves.
in the woodwinds.
Free imitation is present
A transitional passage based on the last four notes
of the phrase lasts through meas. 459-472. At m. 473 the trio-like

melody, this time in the piano, returns accompanied by fifths in the
horns.
The first four bars truly sound like a phrase from a trio sec-
tion of Beethoven's, they are so diatonic and classical in sound.
The
melody is in imitation in the piano for the first four measures, then
settles into parallel thirds.
In meas. 483-490 an imitative four-
measure pattern is sequenced up a fourth, beginning a transitional passage.
In m. 502, a tritone in the piano signals a return to E and thus,
the opening section.
The transition is quite lengthy, employing a long
ascending chromatic sweep into m. 527.

The rhythmic character of the opening section is present here,
but the tonality has not yet reached E.
The tonal center is F//, con-
firmed by the C//-F// movement in the low strings.
Preparation for the
J^r
87
Example 37. Third Piano Concerto; Third Movement
Meas. 427-430
)lrnU Mi
ms^m
T i.*"
real return of the opening section lasts through m. 542, and even
after the piano enters with the opening section material in E, the
low strings maintain the F//-C# for ten measures. The first eightmeasure phrase in the piano is complete, followed by two measures
of the dotted eighth-note figure sounded in the brass and oboe.
The piano plays eighth-note quintuplets in meas. 553-556, while
the woodwinds state material derived from b^. Two more measures of
the dotted eighth-note pattern follow.
Beginning in m. 559, there
are four phrases based on b^, all being eight measures in length
with the exception of the third, which is six measures long. These
are played by piano and woodwinds, the latter stating the basic
material and the former embellishing.
In m. 588, the series of
phrases closes with a full orchestral tutti, and in meas. 590-605,

the orchestra makes two eight-measure statements of . Violins
state the dotted eighth-note figure in meas. 605-606, and another
series of phrases on b_ begins in m. 607. For two five-measure
88
p h r a s e s , piano e m b e l l i s h e s t h e m a t e r i a l i n t h e woodwinds.
In m. 616,
t h e m a t e r i a l i s taken by t h e piano for two five-measure p h r a s e s .
t h i r d p h r a s e i s expanded i n t o r i s i n g chromatic sweep p a r a l l e l to t h a t

of meas. 178-191.
I n s t e a d of r o a r i n g i n t o a new s e c t i o n a t the top
of t h e p a s s a g e , however, t h e e n t i r e force comes to a complete h a l t .

A f t e r a pause equal to two measures, t h e coda b e g i n s .
The meter i s changed to 3 , and t h e tempo marking
is Presto.
(editorial)
The f i r s t s e c t i o n of t h e coda i s r a t h e r d i f f i c u l t
to
r e l a t e d i r e c t l y t o what has gone b e f o r e , although t h e rhythmic momentum i s w e l l i n keeping with t h e r e s t of the movement.
Thematic
d e r i v a t i o n i s n o t c l e a r , but t h e r e are c l e a r l y two eight-measure

p h r a s e s s t a t e d i n the piano of a r i s i n g s e q u e n t i a l n a t u r e .
The
second p h r a s e grows i n t o an e x t e n s i o n t h a t moves i n t o the keys of C,

F//, and D, b e f o r e the piano begins a twenty-five-measure passage of
perpetual eighth-notes.
The t o n a l i t y i s u n c l e a r , and t h e m a t e r i a l
i s n o t r e a d i l y t r a c e a b l e to any themes i n the movement, in e i t h e r

piano o r woodwinds.
The octave passage i n meas. 705-720 provides
a t r a n s i t i o n i n t o t h e second s e c t i o n of t h e coda, which i s back i n

8
meter and marked ( a g a i n , e d i t o r i a l l y ) as Tempo I .

The f i n a l s e c t i o n of t h e concerto begins with t h e two t h r e e -
bar p h r a s e s based on t h e opening s e c t i o n motive, i n t e r s p e r s e d with

t h e t h r e e - n o t e descending f i g u r e from the c l o s i n g .
The t o n a l i t y a t
m. 733 i s E Minor, as t h e piano begins a t h r e e - o c t a v e descent in

octaves.
Again, the opening motive and f i g u r e from the c l o s i n g of A
89
are heard in two short phrases, but the closing figure is augmented
rhythmically at the end of the second phrase. The piano ascends in
octaves as the orchestra plays the dotted eighth-note motive, and in
meas. 752-755, V7-I^ cadences are played back and forth between piano
and orchestra in E Minor.
In m. 756, however, the // appears in the
viola, creating an E Major chord. The remaining measures are merely

cadential (Mixolydian cadences, with a minor dominant), and an
ascending chromatic octave scale in the piano leads to the final
cadence on E Major.
It is not within the scope of this thesis to determine
whether Bartok remained true to his compositional principles or
conceded in the hopes of gaining wider popularity.
It is difficult
to understand why he would forsake a path he had followed for so long

and against so much opposition, particularly since he must have known
he was close to death.
It may be that he did, indeed, wish to write
a legacy that would be viewed with favor after his death. On the
other hand, one almost senses in this concerto the serene and indomitable spirit which, as in the late works of Beethoven, has risen
above the struggle.
CONCLUSION
The desire to delve deeply into the piano concertos of B^la
Bartok was awakened upon my first hearing of all three.
My initial
response was the obviousthat they are works in striking contrast

with one another.
After close analysis, repeated hearings, and care-
ful consideration, the same reaction remains as strong as at the

outset.
The concertos are drawn from the years 1926, 1931, and 1945,
placing all of them within the realm of mature works.
However, Bar-
tok's development was constant, and, although his first concerto for
solo piano was completed at the age of forty-five, there was far more
to come in the way of his stylistic evolution.
Although it is impos-
sible to trace a definite course of development through only three

works, the piano concertos suggept Bartok's direction in his mature
years in much the same way as the string quartets exemplify the
stages of both his early and later development.
The first concerto is a bold work, striking in its originality, its acrid dissonances, and its percussive idiom.
The relentless
rhythmic nature, subtly present even in the second movement, conveys

the impression that the entire concerto is the result of a single
stroke.
The use of form carries out this concept.

The first movement, in sonata form, is constructed almost
entirely upon one motive, stated in the introduction.
The many faces
of the motive constitute the principal materials of the exposition.

90
91
Rhythms and intervals are developed, rather than real themes, and,
through contrapuntal intensity and rhythmic propulsion, the climax
is reached.
Rather surprisingly, tonal conflict is an important fac-
tor, for the first theme tries desperately to establish its return
on the correct level, but it is subjected to numerous false starts
before the recapitulation is achieved.
Because of the harshness of
the harmonies, however, distinct tonal levels are difficult to hear,

and the result is seemingly motivic and rhythmic, rather than tonal,
conflict.
The sheer size of the development (204 measures out of
482) reveals a similarity to Beethoven's concept of the developmental

struggle, and the recapitulation of the first theme exhibits a defiance not unlike Beethoven as well.
The closing of the movement leaves
no doubt that the conflict is not yet resolved.

In a subtle manner, the second movement is rhythmically incessant and thus forms the perfect bond between the outer movements.
The
central section of its ternary form is a natural outgrowth of the first

section and is related to the introduction motive of the first movement.
The expressiveness with which the percussion instruments speak is extraordinary, revealing another side to percussive writing that than of the
first movement.
There is something enigmatic about the movement, yet it is
unwavering in its expressive direction.
The intent of purpose is
equally strong here as in the other movements, despite a slower tempo

and a subdued dynamic level.
92
The third movement enters with the intention of resolving the
conflict, but there is no relaxation. Once again, a single motive is
the basis for most of the movement, and it too is related to the first
movement's introduction motive. Treatment is principally contrapuntal,
and the driving rhythm is again the propelling force, rather than
shifting tonalities. The actual development is not as long as that
of the first movement (146 measures out of 534) , but the movement
itself is almost entirely developmental. At the point of recapitulation, there is no resolution of conflict, and the material is greatly
modified, heard in fragmentation, imitation, and contrary motion, as
well as in combination, until the very end. Just as the development
section, it appears that neither the recapitulation nor the coda is
able to provide a satisfactory resolution to the struggle. The ending
is at best a compromise, and one experiences it with a sense of emerging from a battle in which there is no victor.
Perhaps the parallels between Bart6k and Beethoven are often
overemphasized, but it is difficult to hear a work of such driving
energy without recalling the latter's middle works. What better
example of continuous development of one motive is there than the
opening movement of Beethoven's Fifth Symphony?
The Sonata in _ Minor,
Op. 57, is a classic example of the victorless battle and tension that
will not be laid to rest.
The First Piano Concerto is a work of a man at the height of
a style period. What he had to say he said boldly, unequivocally,
almost in one breath.
The percussive style, developed to its height
93
in this and the third quartet, was not abandoned by Bart6k but was
employed in combination with a more melodious style.
The early stages
of this further development is evident in the second concerto.

The second concerto is a hybrid, merging more appealing, diatonic elements with traces of the percussive style of its predecessor.
The heterogeneities are obvious, but they do not subtract from the overall attractiveness of the work.
The first theme is quite diatonic and
centered on G, but the transition to the second theme group, beginning

in m, 74, reverts to the primitive character of the first concerto.
The greatest degree of contrast in elements is found in the third movement, in which a barbaric first theme alternates in a rondo with the
diatonic themes of the first movement, transformed rhythmically.
In
this concerto, however, the forces of diatonicism and relative lyricism

have the last word, as the barbaric theme is silenced.
With regard to form, this concerto is an example of Bartok's
adaptation to the principles of symmetry.
For example, the large first
theme group in the opening movement exhibits a sense of symmetry, for

it lies in a loose ternary form, closing, after tonal diversion, in the
original key.
Following a highly contrapuntal development, the first
theme group is heard in inversion, also for the sake of a symmetrical

design.
Tension leading into the recapitulation is created not so much
by rhythmic propulsion as by stretto and a ritenuto that almost brings

the motion to a halt.
The beginning of the recapitulation is the
resumption of the perpetuum mobile that permeates the movement.
94
The second movement is perhaps the most masterful stroke of
the concerto.
Here Bart6k again poses diverse elements against one
another, this time in an arch form.
At the first entrance of the
piano-timpani dialogue in the opening section, one senses an uneasy

relationship with the string chorale.
This tension is quietly in-
creased and eventually explodes into the scherzo.
This nightmarish
whirlwind slips easily into the central realm of night-music, no less

quieting than what has gone before.
Even after the scherzo subsides,
the calm of the opening is lacking in the return of the chorale. ~

With subordination of the strings by the piano and timpani, the
struggle ends quietly and ominously.
This is perhaps the greatest
single movement in the three concertos in the sense of purely musical

drama, and it is appropriate that Bart6k begins the following movement with a barbarous theme rather than the sunny G Major material
that opened the first movement.
The rondo form enables him to pre-
sent sharply contrasting materials in the various sections, with the

diatonicism of the first movement material emerging the victor in the
optimistic spirit of the Classical rondo.
That the second concerto is a transitional work can hardly be
disputed, heterogeneous in its use of diatonicism and chromaticism,
lyricism and percussiveness.
It looks backward in its harshness,
forward in its lyricism and symmetry, and, despite its diverse element, remains remarkably unified through Bart6k's characteristically
motivic relationships .
95
There is a span of fourteen years between the second and
third concertos, as opposed to only five between first and second,
and the change in aesthetics is vast.
The lyricism that found lim-
ited expression in the second is the very soul of the third, and
it is expressed in the very simplest terms.
The sense of serious
conflict is absent, and piano and orchestra speak as one.

The opening sonata-form movement_is compact, unassuming, and
straight-forward.
Following the storm and bravura of the previous
concerto's opening movements, the third does not appear to be in

keeping with Bartok's style.
However, the same might be said of
sonata-form first movements of Beethoven, when comparing the C Major

sonata. Op, 53 or the F Minor sonata. Op. 57, with the E Major sonata.
Op. 109.
In the case of both Bart6k and Beethoven, the later example
is not conceived as a contradiction of, but a final result of, its

predecessors.
Just as one must experience grief to comprehend real
joy, so he must know conflict in order to achieve such a profound

serenity.
That serenity is again expressed in the second movement, in
which piano and orchestra are not competitors but allies, and in
which the central section is not an intrusion but a further inspiration.
Although the union of religion and nature might seem too
programmatic for an abstract work of Bart6k, it is certainly suggested and effectively achieved, whether or not by intention.
The vitality of the third movement is of a nature quite
different from that of any movement in either of the two preceding
concertos.
The character is affirmative throughout, reveling in
96
seemingly spontaneous counterpoint, and maintaining a rhythmic excitement free from harsh irregularity.
The movement is unquestionably
classical in spirit, the lively episodes and expanded return of the

principal section creating a striking similarity to the typical rondo
of Beethoven,
The finale is an uplifting affirmation, following the
delicacy of the first movement and the spirituality of the second.

The third concerto is supremely classical, the first movement
approaching a Mozartian aesthetic, the second and third more closely
akin to Beethoven.
Although the other two concertos are classical in
form and procedures as well, the lyricism and clarity of the third
make the analogy more pronounced.
It is important to recognize the roles assigned to piano and
orchestra in each of the concertos, as this is a problem with which
every concerto composer is faced.
Not one of the works could be
regarded as either a solo for piano with orchestral accompaniment or

as a symphony with piano obbligato.
The two forces are primarily on
equal terms, whether in conflict or agreement, and, in most cases,

are treated in the same manner.
In the first concerto, the entire orchestra becomes a percussion ensemble as does the piano, and excepting the woodwind
counterpoint in the second movement and very occasional passages
in the first and third, there is scarcely a real melody in the work.
Thematic material is shared and eventually stated or treated contrapuntally in every section of the orchestra.
Independence of parts is
an integral element, and the points at which the orchestra is merely

supporting the piano are isolated.
97
The second concerto, as well, strikes an excellent balance
between soloist and orchestra.
Variety in color is achieved through
the absence of strings in the first movement, exclusive use of

strings, piano, and timpani in the opening of the second, and the
combined forces of the full orchestra in the third.
The brilliance
of the pianistic writing in the first movement is complemented by

the brass stretto that occurs throughout.
Both piano and orchestral
materials are conceived contrapuntally, participating in continuous

imitation and stretto.
In the scherzo of the second movement, the
piano and orchestra are conceived inseparably, creating tension not

through conflict with each other, but through nervous figuration,
chromaticism, and the ultimate effect of the entire section upon the
return of the chorale.
In the finale, the timpani anticipates the
minor-third theme prior to the statement in the piano, and, although

the piano reintroduces the rhythmically transformed motives of the
first movement, it is answered in turn by a transformed version of
the stretto by the brass,
The third concerto is scored for a large orchestra, but the
texture is transparent.
It is not subordinated to the piano in any
way, however, for the texture of the latter is delicate as well.
The
soloist is charged with the initial statement of themes, but these

are readily answered by the orchestra, and the development is a joint
effort.
Perhaps the most beautiful example of compatibility between
piano and orchestra is the second movement, in which strings and

piano answer and enrich each other, and woodwinds join
for the
98
"bird songs" in the central section. The finale reveals the orchestra
again answering the piano and participating in spirited counterpoint
after the initial solo statements. In general, the orchestration is
more chordally conceived in the third concerto than in either of the
others, certainly because this work is more diatonic,
Bart6k's piano concertos are, indeed, works in striking contrast with one another.
ethereal.
They are, in turn, savage, bravura, and
Because of their differences, it is difficult to grasp
their essence as a whole; perhaps most important is that they are

works of conviction, always direct and never wavering in their purposes.
In capturing the essence of each, we are allowed varied
glimpses of Bartok the manas individiialist, as architect, and as

poetand in so doing it becomes apparent that one is not at variance
with another.
BIBLIOGRAPHY
Austin, William W, Music in the 20th Century. New York:
Norton and Company, 1966,
W.W,
Bart6k, B^la, Concerto No. 3 for Piano and Orchestra. New York:
Boosey and Hawkes, 1947.
Bart6k, B^la. Concerto 1_ for Piano and Orchestra, New York:
Boosey and Hawkes, 1954.
Bart6k, Bla, Concerto II for Piano and Orchestra. Vienna:
Philharmonia Scores, 1932.
B4la Bart6k: A Memorial Review Including Articles on His Life and
Works Reprinted from Tempo. New York: Boosey and Hawkes,
1950,
Cincinnati Enquirer. 26 Feb. 1928, as quoted in Slominsky's Lexicon
of Musical Invective. Seattle: University of Washington
Press, 1965"
Dallin, Leon. Techniques of Twentieth Century Composition. Dubuque,
Iowa: Wm, C. Brown Company, 1957.
Fenyo, Thomas, The Piano Music of B^la Bart6k. Unpublished Ph. D.
dissertation. University of California at Los Angeles, 1956.
Foss, Hubert J.
1933,
Music In My Time. London: Rich and Cowan, Ltd.,
Goodfriend, James. Record notes for The Six String Quartets.

Columbia Records D3L 317.
Graf, Max. Modem Music. New York: Philosophical Library, 1946.
Guerry, Jack Edwin. BarttSk's Concertos for Solo Piano: A Stylistic
and Formal Analysis. Unpublished Ph. D. dissertation, Michigan State University, 1965.
Hodier, Andre. Since Debussy.
and Warburg, 1961.
Lendvai, E m o .
Bela Bartok.
Trans. Noel Burch. London: Sacker
London: Kahn and Averill, 1971.

99
100
Machlis, Joseph. Introduction to Contemporary Music. New York:
W. W. Norton and Company, 1961,
Moreux, Serge. Bela Bart6k. London: Harvill Press, 1953.
Noble, H. Musical America. New York Times, 18 Feb. 1928, as quoted
in Slominsky's Lexicon of Musical Invective. Seattle: University of Washington Pre'ss, 1965.
Rossi, Nick and Choate, Robert A. Music of Our Time. Boston:
Crescendo Publishing Company, 1969.
Slominsky, Nicolas, ed. Lexicon of Musical Invective. Seattle:
University of Washington Press, 1965.
Stevens, Halsey, The Life and Music of Bela Bartok. New York:
Oxford University Press, 1964.
Strauss, Henrietta.
"Music." The Nation, 126 (1928), 275.
Waldbauer, Ivan F, "Bartok's First Piano Concerto: A Publication

History." Musical Quarterly, 51 (1965), 478-492.
' ^ ^ ^ -

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THE THREE PIANO CONCERTOS OF BELA BARTOK

Submitted to the Graduate Faculty

THE FIRST PIANO CONCERTO

THE SECOND PIANO CONCERTO

THE THIRD PIANO CONCERTO

First Movement, Meas. 13-17

2. First Piano Concerto

First Movement, Meas. 38-49

3. First Piano Concerto

First Movement, Meas. 82-85

4. First Piano Concerto

First Movement, Meas. 201-206

5. First Piano Concerto

First Movement, Meas. 369-370

6, First Piano Concerto

Second Movement, Meas. 5-8

7. First Piano Concerto

Second Movement, Meas. 32-35

8. First Piano Concerto

Second Movement, Meas. 51-55

9. First Piano Concerto

Second Movement, Meas. 72-73

10a, First Piano Concerto

Third Movement, Meas. 5-7

10b. First Piano Concerto

Third Movement, Meas. 11-14

10c. First Piano Concerto

Third Movement, Meas. 30-31

11. First Piano Concerto

Third Movement, Meas. 57-62

12. First Piano Concerto

Third Movement, Meas. 68-71

13. First Piano Concerto

Third Movement, Meas. 92-95

14. First Piano Concerto; Third Movement, Meas. 254-272

15. F i r s t Piano Concerto; Third Movement, Meas. 257-272

19. Second Piano Concerto

First Movement, Meas. 82-83

20. Second Piano Concerto

First Movement, Meas. 99-103

21. Second Piano Concerto

First Movement, Meas. 212-213

22. Second Piano Concerto

Second Movement, Meas. 1-5

23. Second Piano Concerto

Second Movement, Meas. 23-26

24. Second Piano Concerto

Third Movement, Meas. 7-14

25. Second Piano Concerto

Third Movement, Meas. 45-47

26. Second Piano Concerto

Third Movement, Meas. 47-49

27. Second Piano Concerto

Third Movement, Meas. 95

28. Second Piano Concerto

Third Movement, Meas. 162-164

29. Second Piano Concerto

Third Movement, Meas. 196-197

30. Third Piano Concerto

First Movement, Meas. 1-11

31. Third Piano Concerto

First Movement, Meas. 22

32. Third Piano Concerto

Second Movement, Meas. 60-61