The string quartet fourth (Bartok)
String quartet fourth (げんがくしじゅうそうきょくだい 4 ばん) Sz.91 of Bartok is string quartet composed in 1928. It is a work of the third next year. This product has five movements whereas a previous work is a single movement and was slow unification of the form called A-B-A'-(B') and resembles it in the first movement and the fifth movement, the second movement and the fourth movement on one of speed, time, a form, and it is symmetrical constitution of middle so-called arched structure that Part 1 and Part 3 have the first movement, the fifth movement and the connection in the motive in a ternary form as for the third movement each. In addition, methodology shown in a previous work is pursued in the percussive how to play and law of harmony still more thoroughly, and special ways of playing to radicalize the harmony which is violent rhythm and disharmony more are used many than the third and are done with an outstanding difficult piece of music in string quartet in performance art.
Table of contents
The composition year
According to the note of Bartok of the record of a game of go, I was composed from July, 1928 through September.
Movement constitution
- Allegro
- Prestissimo con sordino
- Non troppo lento
- Allegro pizzicato
- Allegro molto
Performance time is approximately a little less than 23 minutes in all songs
Premiere
On March 20, 1929, it is Budapest. It depends on Val Toba well string quartet. The premiere by the professional アルテ string quartet which caught the presentation of this work was carried out in Liege in 1930.
Contents of the work
The first movement is sonata form, but is transformed freely. It becomes the music by the counterpoint of three voices from the exposition beginning of the first subject and impresses it with the character that is the polyphonic of this product. The second subject has a songs and ballads style somewhat. The music is comprised of two subjects powerfully.
Second movement, コン ソルディーノ are meanings of "soak a mute". With the classic style, I am the scherzo. I consist of ternary forms of A-B-A', but, in the A' part, the subject of the B part is developed, too and deviates from a trio and relations called the reproduction of the main part. The main part is based on an upper line, a descending scale pattern with pitch by a chromatic scale five times, and it is for the diatonic scale this in the trio part. In addition, the use of the glissando is one of the characteristics, too.
Because the third movement is a movement playing a key role of the whole this work, but on the other hand is not made to suffer by arched structure, I have partial independence-like character. It is the constitution that is モノフォニック supporting that an opening muttering piece gradually grows up by harmony at this movement whereas other movements are comprised of polyphony by the counterpoint. But, in the beginning part, the first movement and the latter half have the fifth movement and the connection in the motive.
The fourth movement is constructed by ピツィカート. I order so-called "Bartok ピツィカート" that Bartok adds it to normal ピツィカート how to play here and to more strongly pull a string and nail over the fingerboard for the first time. If (harmonic overtone line scale on the basis of the harmonic overtone), a trio of the diatonic scale are like a chromatic scale from a ternary form the main part, constitution in itself is symmetric with the second movement, too; is located.
At a movement of the sonata form comprised of the first movement and a symmetric design, the subject changed the half pitch of the first movement motive into all pitch, too, and the fifth movement put transformation. As for the character of the musical piece, violent rhythm is filled with it as well as the first movement; is powerful, and the counterpoint-like processing is carried out elaborately, too.
Reference book
- Paul Griffiths, work, Akira Wada, reason "Bartok - - life and work - -" 泰流社 1986 ISBN 4884705599
This article is taken from the Japanese Wikipedia The string quartet fourth (Bartok)
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