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Piano Concerto No. 3 (Bartók)

October 21, 2023

The Piano Concerto No. 3 in E major, Sz. 119, BB 127 of Béla Bartók is a musical composition for piano and orchestra. The work was composed in 1945 during the final months of his life, as a surprise birthday present for his second wife Ditta Pásztory-Bartók.

It consists of three movements and an average full performance time is between 23 and 27 minutes.

Context Edit

The Piano Concerto No. 3 was one of the pieces composed by Bartók after departing Hungary following the outbreak of World War II. Bartók's migration from Europe to America preceded that of his music. Lack of local interest, combined with Bartók's extended battle with leukemia and a general sense of discomfort in the American atmosphere prevented Bartók from composing a great deal in his early years in America. Fortunately, the composer was commissioned to create his Concerto for Orchestra which was extremely well received and decreased the composer's financial difficulties.[citation needed]

This, combined with an abatement of his medical condition, allowed for a change in the composer's general disposition. The changes in the composer's emotional and financial state are considered by a few to be the primary causes for the third piano concerto's seemingly light, airy, almost neoclassical tone, especially in comparison to Bartók's earlier works.[1][2]

However, while the composition of a piece as a gift (his wife Ditta Pásztory-Bartók's upcoming 42nd birthday on October 31, 1945 - Bartók intended the solo part for her to perform, providing her with a source of income after his death[3]) as opposed to a commission undoubtedly impacted the composing process, some think it[by whom?] more likely that the piece was instead the culmination of a trend of reduction and simplification which began almost ten years prior, with the Second Violin Concerto, and which concluded Bartók's exploration of tonality and complexity.[4]

Bartók died on September 26, 1945, with the concerto unfinished. The task of completing orchestration of the final 17 measures, drawing from Bartók's notes, was eventually executed by the composer's friend, Tibor Serly. The Third Piano Concerto was later published in an edition by Serly and Erwin Stein, an editor for Boosey & Hawkes.[5]

It was premiered in Philadelphia on February 8, 1946, under Hungarian conductor Eugene Ormandy with György Sándor as piano soloist. The piece has since been adapted for two pianos by Mátyás Seiber.[citation needed]

Beginning in the 1990s, the composer's son, Peter Bartók, in association with Argentinian musician Nelson Dellamaggiore, worked to re-print and revise past editions of the Third Piano Concerto, to eradicate the many printed errors identified but never corrected by his father.[6][7] Although few in actual number, changes made to the Piano Concerto affected the pitch content, pedalling and tempos of several key passages.[5] In 1994 Andrey Kasparov was soloist with the Columbus Indiana Philharmonic (formerly Columbus Pro Musica)[8] in the world premiere of the revised edition. According to conductor David Bowden, and Peter Bartók, who was in attendance: “These changes generally make the piano part more accessible or clarify questions of chordal structure....”[9]

The revised editions of both the two-piano reduction and the orchestral score of the Piano Concerto No. 3 are now available from Boosey & Hawkes.[6][10][11]

Music Edit

Piano Concerto No. 3 consists of three movements:

  1. Allegretto
  2. Adagio religioso
  3. Allegro vivace

which combine for an approximate duration of 23 minutes. The piece was originally scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 2 clarinets in A and B♭ (2nd doubling bass clarinet), 2 bassoons, 4 horns in F, 2 trumpets in C, 3 trombones, tuba, timpani, percussion, strings, and piano.

Allegretto Edit

The first movement, based basically in E major, features an original Hungarian "folk theme," similar to a nineteenth-century Hungarian verbunkos dance. The theme is first introduced by the piano.

The first chord of the first movement, which consists of four pitches, E, F♯, A, and B, is relatively tonal, especially when compared to the first chord of Piano Concerto No. 1. The chord develops further with the addition of C♯ in the second bar, resulting in the pentatonic, which is followed with G♯, leaving a major scale short of D♯. Bartók continues to add D to complete the Mixolydian scale, followed by G natural to suggest the Dorian mode. Finally, in bar six, Bartók displays the Lydian mode through G♯ and A♯.[citation needed] This complex melodic pattern is an example of what Bartók called "polymodal chromaticism," the rapid succession of many modes through chromatic alteration to produce a chromatic texture.[4]

Adagio religioso Edit

The second movement, based in C major, seems to mirror the style of a Beethoven chorale. The string introduction followed by the chorale on piano is a clear allusion to the third movement of Beethoven's String Quartet in A minor.[12][13]

Bartók includes a harmony related to the Tristan chord, a set of intervals from Richard Wagner's Tristan und Isolde referred to as the "characteristically sad and yearning harmony of Romanticism."[4] The final resolution of the Tristan chord comes as a C-based pentatonic mode, and as Bartók was known to consider pentatonicism a chief characteristic of ancient Hungarian folksong, this can be considered a musical symbol of his Hungarian homeland. The middle section is in Bartók's Night music style. It contains imitations of natural sounds of insect and bird calls.[12]

Allegro vivace Edit

The third and final movement demonstrates a joie de vivre and apparent optimism often found in Bartók's final movements, though with considerably stronger folk inspiration with its apparent Hungarian folk melody and its rondo-like returning theme. It has been said that this movement "captures the infectious ebullient spirit of the folk song."[14] There is also a central fugato section in almost Baroque style.

References Edit

  1. ^ Morgan, Robert P., Twentieth-Century Music, W. W. Norton & Company, Inc., New York, pp. 179-186, [1991]
  2. ^ Antokoletz, Elliott, The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music, Univ. of California Press, Berkeley, [1984]
  3. ^ Kovács, Sándor, "Final Concertos", in The Bartók Companion, edited by Malcolm Gillies (Portland, Oregon: Amadeus Press, 1993), pp. 538–553
  4. ^ a b c Gillies, Malcolm, "Final Chamber Works", in The Bartók Companion, edited by Malcolm Gillies (Portland, Oregon: Amadeus Press, 1993), pp. 331–345.
  5. ^ a b Kasparov, Andrey. “Third Piano Concerto in the Revised 1994 Edition: Newly Discovered Corrections by the Composer.” Hungarian Music Quarterly 11, Nos. 3-4 (2000): 2-11.
  6. ^ a b Bartók, Peter (August 2008). "Béla Bartók's works, corrected editions". Bartokrecords.com. Retrieved 2013-05-21.
  7. ^ Somfai, László. Béla Bartók: Composition, Concepts, and Autograph Sources. Berkeley: University of California Press, 1996.
  8. ^ Columbus Indiana Philharmonic (2011-09-17). . Thecip.org. Archived from the original on 2014-02-22. Retrieved 2013-05-21.
  9. ^ Sluder, Claude K. “Revised Bartók composition highlights Pro Musica concert.” The Republic 16 February 1994.
  10. ^ Boosey & Hawkes. "Béla Bartók - Piano Concerto 3 (1994)". Boosey.com. Retrieved 2013-05-21.
  11. ^ Boosey & Hawkes. "Béla Bartók - Piano Concerto 3". Boosey.com. Retrieved 2013-05-21.
  12. ^ a b Kovács, János, "Concerto for Piano and Orchestra No. 3" Booklet note for Hungaroton HCD 31888-91 (2000)
  13. ^ Whittall, Arnold, The Concerto in Modern Times: Central Europe in the Twentieth Century in A Guide to the Concerto, edited by Layton, Robert, Oxford University Press, p. 284, [1996]
  14. ^ Nissman, Barbara, Bartók and the Piano: A Performer's View, The Scarecrow Press, Inc., Lanham, pp. 274-283, [2002]

Recordings Edit

Media Edit

 
Piano Concerto No. 3
Very first bars of the third piano concerto from Bela Bartok
Problems playing this file? See media help.

External links Edit

October 21, 2023
piano, concerto, bartók, piano, concerto, major, béla, bartók, musical, composition, piano, orchestra, work, composed, 1945, during, final, months, life, surprise, birthday, present, second, wife, ditta, pásztory, bartók, consists, three, movements, average, f. The Piano Concerto No 3 in E major Sz 119 BB 127 of Bela Bartok is a musical composition for piano and orchestra The work was composed in 1945 during the final months of his life as a surprise birthday present for his second wife Ditta Pasztory Bartok It consists of three movements and an average full performance time is between 23 and 27 minutes Contents 1 Context 2 Music 2 1 Allegretto 2 2 Adagio religioso 2 3 Allegro vivace 3 References 4 Recordings 5 Media 6 External linksContext EditThe Piano Concerto No 3 was one of the pieces composed by Bartok after departing Hungary following the outbreak of World War II Bartok s migration from Europe to America preceded that of his music Lack of local interest combined with Bartok s extended battle with leukemia and a general sense of discomfort in the American atmosphere prevented Bartok from composing a great deal in his early years in America Fortunately the composer was commissioned to create his Concerto for Orchestra which was extremely well received and decreased the composer s financial difficulties citation needed This combined with an abatement of his medical condition allowed for a change in the composer s general disposition The changes in the composer s emotional and financial state are considered by a few to be the primary causes for the third piano concerto s seemingly light airy almost neoclassical tone especially in comparison to Bartok s earlier works 1 2 However while the composition of a piece as a gift his wife Ditta Pasztory Bartok s upcoming 42nd birthday on October 31 1945 Bartok intended the solo part for her to perform providing her with a source of income after his death 3 as opposed to a commission undoubtedly impacted the composing process some think it by whom more likely that the piece was instead the culmination of a trend of reduction and simplification which began almost ten years prior with the Second Violin Concerto and which concluded Bartok s exploration of tonality and complexity 4 Bartok died on September 26 1945 with the concerto unfinished The task of completing orchestration of the final 17 measures drawing from Bartok s notes was eventually executed by the composer s friend Tibor Serly The Third Piano Concerto was later published in an edition by Serly and Erwin Stein an editor for Boosey amp Hawkes 5 It was premiered in Philadelphia on February 8 1946 under Hungarian conductor Eugene Ormandy with Gyorgy Sandor as piano soloist The piece has since been adapted for two pianos by Matyas Seiber citation needed Beginning in the 1990s the composer s son Peter Bartok in association with Argentinian musician Nelson Dellamaggiore worked to re print and revise past editions of the Third Piano Concerto to eradicate the many printed errors identified but never corrected by his father 6 7 Although few in actual number changes made to the Piano Concerto affected the pitch content pedalling and tempos of several key passages 5 In 1994 Andrey Kasparov was soloist with the Columbus Indiana Philharmonic formerly Columbus Pro Musica 8 in the world premiere of the revised edition According to conductor David Bowden and Peter Bartok who was in attendance These changes generally make the piano part more accessible or clarify questions of chordal structure 9 The revised editions of both the two piano reduction and the orchestral score of the Piano Concerto No 3 are now available from Boosey amp Hawkes 6 10 11 Music EditPiano Concerto No 3 consists of three movements AllegrettoAdagio religiosoAllegro vivace which combine for an approximate duration of 23 minutes The piece was originally scored for 2 flutes 2nd doubling piccolo 2 oboes 2nd doubling cor anglais 2 clarinets in A and B 2nd doubling bass clarinet 2 bassoons 4 horns in F 2 trumpets in C 3 trombones tuba timpani percussion strings and piano Allegretto Edit The first movement based basically in E major features an original Hungarian folk theme similar to a nineteenth century Hungarian verbunkos dance The theme is first introduced by the piano The first chord of the first movement which consists of four pitches E F A and B is relatively tonal especially when compared to the first chord of Piano Concerto No 1 The chord develops further with the addition of C in the second bar resulting in the pentatonic which is followed with G leaving a major scale short of D Bartok continues to add D to complete the Mixolydian scale followed by G natural to suggest the Dorian mode Finally in bar six Bartok displays the Lydian mode through G and A citation needed This complex melodic pattern is an example of what Bartok called polymodal chromaticism the rapid succession of many modes through chromatic alteration to produce a chromatic texture 4 Adagio religioso Edit The second movement based in C major seems to mirror the style of a Beethoven chorale The string introduction followed by the chorale on piano is a clear allusion to the third movement of Beethoven s String Quartet in A minor 12 13 Bartok includes a harmony related to the Tristan chord a set of intervals from Richard Wagner s Tristan und Isolde referred to as the characteristically sad and yearning harmony of Romanticism 4 The final resolution of the Tristan chord comes as a C based pentatonic mode and as Bartok was known to consider pentatonicism a chief characteristic of ancient Hungarian folksong this can be considered a musical symbol of his Hungarian homeland The middle section is in Bartok s Night music style It contains imitations of natural sounds of insect and bird calls 12 Allegro vivace Edit The third and final movement demonstrates a joie de vivre and apparent optimism often found in Bartok s final movements though with considerably stronger folk inspiration with its apparent Hungarian folk melody and its rondo like returning theme It has been said that this movement captures the infectious ebullient spirit of the folk song 14 There is also a central fugato section in almost Baroque style References Edit Morgan Robert P Twentieth Century Music W W Norton amp Company Inc New York pp 179 186 1991 Antokoletz Elliott The Music of Bela Bartok A Study of Tonality and Progression in Twentieth Century Music Univ of California Press Berkeley 1984 Kovacs Sandor Final Concertos in The Bartok Companion edited by Malcolm Gillies Portland Oregon Amadeus Press 1993 pp 538 553 a b c Gillies Malcolm Final Chamber Works in The Bartok Companion edited by Malcolm Gillies Portland Oregon Amadeus Press 1993 pp 331 345 a b Kasparov Andrey Third Piano Concerto in the Revised 1994 Edition Newly Discovered Corrections by the Composer Hungarian Music Quarterly 11 Nos 3 4 2000 2 11 a b Bartok Peter August 2008 Bela Bartok s works corrected editions Bartokrecords com Retrieved 2013 05 21 Somfai Laszlo Bela Bartok Composition Concepts and Autograph Sources Berkeley University of California Press 1996 Columbus Indiana Philharmonic 2011 09 17 Columbus Indiana Philharmonic Columbus Indiana Philharmonic History Thecip org Archived from the original on 2014 02 22 Retrieved 2013 05 21 Sluder Claude K Revised Bartok composition highlights Pro Musica concert The Republic 16 February 1994 Boosey amp Hawkes Bela Bartok Piano Concerto 3 1994 Boosey com Retrieved 2013 05 21 Boosey amp Hawkes Bela Bartok Piano Concerto 3 Boosey com Retrieved 2013 05 21 a b Kovacs Janos Concerto for Piano and Orchestra No 3 Booklet note for Hungaroton HCD 31888 91 2000 Whittall Arnold The Concerto in Modern Times Central Europe in the Twentieth Century in A Guide to the Concerto edited by Layton Robert Oxford University Press p 284 1996 Nissman Barbara Bartok and the Piano A Performer s View The Scarecrow Press Inc Lanham pp 274 283 2002 Recordings EditRadio Symphonie Orchester Berlin under conductor Ferenc Fricsay Soloist Geza Anda 1959 1960 recorded in the Jesus Christ Church in Berlin New Philharmonia Orchestra under conductor Sir Malcolm Sargent Soloist John Ogdon recorded prior to 1968 in Europe Angel EMI Budapest Festival Orchestra under conductor Ivan Fischer Soloist Andras Schiff in April 1996 recorded in Budapest in the Italian Cultural Institute Sound engineer was Eberhard Sengpiel London Symphony Orchestra under conductor Pierre Boulez Soloist Helene Grimaud 2004 Frank Zappa recorded part of the concerto in 1988 on his last tour and it is included in his album Make a Jazz Noise Here alongside an extract from Stravinsky s Histoire du Soldat Jeno Jando Andras Ligeti Budapest Symphony Orchestra 1994 Media Edit nbsp Piano Concerto No 3 source source source Very first bars of the third piano concerto from Bela Bartok Problems playing this file See media help External links EditPiano Concerto No 3 Scores at the International Music Score Library Project Portal nbsp Classical Music Retrieved from https en wikipedia org w index php title Piano Concerto No 3 Bartok amp oldid 1155947186, wikipedia, wiki, book, books, library,

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