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Listening Guide: Bartók’s Concerto for Orchestra Part 1
Listening Guide: Bartók’s Concerto for Orchestra Part 1
Listening Guide: Bartók’s Concerto for Orchestra Part 1
BSO [1]
Béla Bartók was born in Nagyszentmiklós, Transylvania (then part of Hungary but now absorbed into Romania), on March 25, 1881, and died in New York on September 26, 1945. The Concerto for Orchestra was commissioned in the spring of 1943 by Serge Koussevitzky through the Koussevitzky Music Foundation in memory of his wife Natalie Koussevitzky, who had died in 1942
Koussevitzky led the Boston Symphony Orchestra in the first performances on December 1 and 2, 1944, repeating the work in Boston on the 29th and 30th and then giving the first New York performances on January 10 and 13, 1945, at Carnegie Hall. At some point Bartók revised the ending, extending the original by some fifteen measures to create the version that is typically heard today.
So well loved is Bartók’s Concerto for Orchestra in all parts of the world that it is hard now to imagine the hostility that greeted his music in the period between the wars, and the horror his music inspired both in concert audiences and in critics who should have known better. Many of his works are severely uncompromising, it is true, and the staying power of modernism had not yet been accepted
Concerto for Orchestra, Béla Bartók [2]
Orchestration: 3 flutes (3rd = piccolo), 3 oboes (3rd = English horn), 3 clarinets (3rd = bass clarinet), 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum [without snares], tam-tam, triangle), 2 harps, and strings. First Los Angeles Philharmonic performance: November 28, 1946, Alfred Wallenstein conducting
When these proved inconclusive, “the Harvard people persuaded me to go through another examination,” the composer wrote, “led by a doctor highly appreciated by them and at their expense. This had a certain result as an X-ray showed some trouble in the lungs which they believed to be [tuberculosis] and greeted with great joy: ‘at last we have the real cause!’ (I was less joyful at hearing this news.)”
They sent me to their doctors who again took me to a hospital. The new X-rays, however, showed a lesser degree of lung trouble..
Concerto for Orchestra (Bartók) [3]
116, BB 123, is a five-movement orchestral work composed by Béla Bartók in 1943. It is one of his best-known, most popular, and most accessible works.[1]
It was premiered on December 1, 1944, in Symphony Hall, Boston, by the Boston Symphony Orchestra conducted by Serge Koussevitzky. It was a great success and has been regularly performed since.[1]
This is in contrast to the conventional concerto form, which features a solo instrument with orchestral accompaniment. Bartók said that he called the piece a concerto rather than a symphony because of the way each section of instruments is treated in a soloistic and virtuosic way.[2]
What Is A Concerto In Music? A Complete Guide [4]
The concerto is probably the most recognizable form of classical music. Incredibly complex structures together with technically difficult instruments allowed famous composers to produce the wonderful works of art that we get to enjoy to this day.
By the late Baroque period, the development of the concerto was in full swing, delighting the audiences with a combination of instruments and voices that had not been heard before.. Bach, Mozart, and Haydn are but a few of the composers who led the evolution of the concerto which continues into the current era, and in this post, we’ll be exploring what is a concerto and look at its history with examples.
In a way similar to sonatas and symphonies, the concerto is constructed of several movements that are tonally and thematically integrated.. The composition follows a contrasting cycle of movements that convey the audience through a host of emotions and feelings which eventually resolve themselves in the final movement.
Concerto for Orchestra (Bartók) [5]
116, BB 123, is a five-movement orchestral work composed by Béla Bartók in 1943. It is one of his best-known, most popular, and most accessible works.[1]
It was premiered on December 1, 1944, in Symphony Hall, Boston, by the Boston Symphony Orchestra conducted by Serge Koussevitzky. It was a great success and has been regularly performed since.[1]
This is in contrast to the conventional concerto form, which features a solo instrument with orchestral accompaniment. Bartók said that he called the piece a concerto rather than a symphony because of the way each section of instruments is treated in a soloistic and virtuosic way.[2]
Bartók Concerto for Orchestra [6]
One of the seminal figures of twentieth-century music, Béla Bartók was born in Nagyszentmiklós, Hungary (now Sînnicolau Mare, Rumania) on March 25, 1881 and died in New York City on September 26, 1945). In addition to his brilliant career as a composer, Bartók also was an important ethnomusicologist and pianist
His Concerto for Orchestra was written in 1944 for the Koussevitzky Music Foundation in memory of Mrs. Its first performance took place on December 1, 1944 in New York’s Carnegie Hall with the Boston Symphony Orchestra under the direction of Sergey Koussevitzky
The Winston-Salem Symphony‘s most recent performances of the Concerto for Orchestra were in February 2009.. The early months of 1943 found Bartók in poor health
Bartók Concerto for Orchestra [7]
A colourful showpiece, and probably the most popular of Bartók’s orchestral works, the Concerto for Orchestra was composed in the USA, where Bartók and his wife had moved in 1940 to escape fascism and war in their native Hungary. At this time, Bartok’s career, health and finances were in decline
While in hospital with suspected tuberculosis in May 1943, Bartók was visited by the conductor and patron Serge Koussevitzky, who offered him $1,000 for a new orchestral piece. Bartók wrote most of the work over two months while staying at a ‘cure cottage’ near Lake Saranac in upstate New York, shielded from the hubbub of New York City.
While the concerto model had existed for at least two centuries, the idea of a concerto for orchestra (as opposed to a solo instrument, or a small core of instruments, plus orchestra) was quite new. The aim was ‘to treat the single instruments or instrumental groups in a concertant or soloistic manner’
Concerto for Orchestra [8]
On two highly praised discs, Susanna Mälkki and her players in the Helsinki Philharmonic Orchestra have released recordings of Béla Bartók’s three scores for the stage – The Miraculous Mandarin, The Wooden Prince and Bluebeard’s Castle, all written before 1918. The team now takes on two of his late orchestral masterpieces
One immediately striking feature is the unusual instrumentation: two string orchestras seated on opposite sides of the stage, with percussion and keyboard instruments in the middle and towards the back.. In 1940, during the Second World War, Bartók emigrated to the U.S.A., where he initially found it difficult to compose
In it he worked with contrasts between different sections of the orchestra, and the soloistic treatment of these groupings was his reason for calling the work a concerto rather than a symphony.
Concerto for Orchestra, Sz.116 (Bartók, Béla) [9]
Since this work was first published after 1927 with the prescribed copyright notice, it is unlikely that this work is public domain in the USA. However, it is in the public domain in Canada (where IMSLP is hosted), the EU, and in those countries where the copyright term is life+70 years or less.
*#494888 – 36.86MB – 39:59 – -) ( – N/N/N – MP3 – Rgagnaux. *#725589 – 14.19MB – 10:29 – -) ( – V/67/V – 243×⇩ – MP3 – Lucas-coelho
*#725592 – 6.13MB – 4:38 – -) ( – V/67/V – 73×⇩ – MP3 – Lucas-coelho. *#415518 – 33.88MB – 7:08 – -) ( – V/66/V – 1180×⇩ – FLAC – Rgagnaux
Concerto for Orchestra, Béla Bartók [10]
Orchestration: 3 flutes (3rd = piccolo), 3 oboes (3rd = English horn), 3 clarinets (3rd = bass clarinet), 3 bassoons (3rd = contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum [without snares], tam-tam, triangle), 2 harps, and strings. First Los Angeles Philharmonic performance: November 28, 1946, Alfred Wallenstein conducting
When these proved inconclusive, “the Harvard people persuaded me to go through another examination,” the composer wrote, “led by a doctor highly appreciated by them and at their expense. This had a certain result as an X-ray showed some trouble in the lungs which they believed to be [tuberculosis] and greeted with great joy: ‘at last we have the real cause!’ (I was less joyful at hearing this news.)”
They sent me to their doctors who again took me to a hospital. The new X-rays, however, showed a lesser degree of lung trouble..
Concerto for Orchestra, Sz. 116, … [11]
In 1943, after a year of precipitously declining health, Bartók was diagnosed with leukemia. He had been in the United States for nearly three years, a period in which he had to endure financial hardship, artistic isolation and separation from the source of his inspiration, Hungary, and its wealth of folk music
It seemed as if his life had come to a standstill when he received a commission for a large orchestral work from Serge Koussevitzky, music director of the Boston Symphony Orchestra. The funds for the commission came, unbeknownst to Bartók, from his close friends and fellow Hungarian émigrés Joseph Szigeti and Fritz Reiner
The work was first heard in 1944, and though Bartók was unable to attend the Boston premiere, he did hear a subsequent performance in New York City.. Like the fourth and fifth string quartets (1928 and 1934), the Concerto for Orchestra is in five movements, arranged in what is called an “arch” form, in which the first and fifth movements are related, as are the second and fourth, with the third movement functioning as the keystone of the arch
Bartok: Concerto for Orchestra [12]
The musical term “concerto” derives in part from the classical Latin verb concertare meaning to contend, to skirmish, to debate, or to dispute, combined with the Italian language meaning to arrange, to agree, or to get together. Both etymologies are evidenced when applied to music
During the Baroque period, Italians took the lead in concerto development, especially popular and thriving in the Venetian school. Giovanni Gabrieli, in his Sacrae Symphoniae Iand Canzoni e Sonata, was one of the pioneers in extending the idea to include not only voices but also instruments
It was not until the late seventeenth century and eighteenth century that the term concerto specified a specific genre.. As centuries passed, a concerto became especially noted for displaying virtuosic abilities of a soloist
Concerto for Orchestra (1962–3) (Chapter 12) [13]
– 1 Symphonic Movement (1930–1) and the Symphony in B-flat (1933–4). – 6 Suite in D (for the Birthday of Prince Charles) (1948)
– 11 Praeludium for Brass, Bells and Percussion (1962). Published online by Cambridge University Press: 05 March 2014
– 6 Suite in D (for the Birthday of Prince Charles) (1948). – 7 Fantasia Concertante on a Theme of Corelli (1953)
The 20 greatest concertos in classical music [14]
28 July 2023, 11:18 | Updated: 3 August 2023, 17:46. The concerto is the consummate musical form for instrumental virtuosity – but which ones are the best of the best?
They are a wonderful vehicle for expressive, acrobatic playing from the soloist, who must simultaneously collaborate and compete with a full orchestra behind them. It’s a constant dialogue, but also a chance for the soloist to really indulge and dazzle the audience with their virtuosity.
From Mozart to Marsalis (but not necessarily in that order), we explore some of the greatest concertos ever written.. When you’re tired of playing on your own, it’s time to get a friend round
BSO [15]
Béla Bartók was born in Nagyszentmiklós, Transylvania (then part of Hungary but now absorbed into Romania), on March 25, 1881, and died in New York on September 26, 1945. The Concerto for Orchestra was commissioned in the spring of 1943 by Serge Koussevitzky through the Koussevitzky Music Foundation in memory of his wife Natalie Koussevitzky, who had died in 1942
Koussevitzky led the Boston Symphony Orchestra in the first performances on December 1 and 2, 1944, repeating the work in Boston on the 29th and 30th and then giving the first New York performances on January 10 and 13, 1945, at Carnegie Hall. At some point Bartók revised the ending, extending the original by some fifteen measures to create the version that is typically heard today.
So well loved is Bartók’s Concerto for Orchestra in all parts of the world that it is hard now to imagine the hostility that greeted his music in the period between the wars, and the horror his music inspired both in concert audiences and in critics who should have known better. Many of his works are severely uncompromising, it is true, and the staying power of modernism had not yet been accepted
Playing in Pairs: Bartók’s Concerto for Orchestra [16]
Béla Bartók’s Concerto for Orchestra challenges the educated listener on several fronts, starting with the title itself. A concerto is a work for soloist and orchestra (or, perhaps, soloist versus orchestra!)
Bartók, in titling the work, looked at how the instruments were treated within the orchestra. Each section trades off becoming “the soloist” – with writing that makes the section show off as both a soloist and as a virtuosic player.
The Concerto for Orchestra was one of Bartók’s last works before his death of leukemia in September 1945.. The first movement is severe, the third movement Elegy is a song of death, and it is only the second movement that shows a lively sensibility
Review: Something for everyone at HSO’s excellent ‘Four Seasons’ concert – Hartford Courant [17]
The Hartford Symphony Orchestra’s “Four Seasons” Masterworks concert presents music by Clarice Assad, Alberto Ginastera and Antonio Vivaldi to highlight soloists and small groups of performers within the ensemble. When listening to the full orchestra throughout their season, it can be easy to focus on the wonderful overall effect rather than each individual’s skill and artistry
The work uses the string instruments of the orchestra only and emphasizes the lower voices of the cello and bass. Typically in Baroque music like that of Bach, the melody was given to the higher instruments — but Assad specifically wanted to showcase the often under-used lower instruments
Overall, the orchestra performed the suite well despite some distraction from ushers seating an unusually high number latecomers throughout the middle movements. While there were some minor coordination issues and a slight fuzziness of articulation in a few spots, the performers played with energy and commitment, giving an effective rendition of the familiar and unfamiliar material.
How do you REALLY get to Carnegie Hall? [18]
Shepherd School musicians prepare for East Coast tour. It’s an old joke: How do you get to Carnegie Hall? Practice, practice, practice.
To perform at Carnegie Hall – or any other music venue that has hosted some of the world’s finest composers, conductors and musicians – practice is certainly a must. But for the world-class musicians of the Shepherd School Symphony Orchestra – who are more than 1,000 miles away from their upcoming performances at Baltimore’s Meyerhoff Symphony Hall (Feb
“It’s like putting a puzzle together,” said Susanna Panzini, director of performance arrangements for the New York-based tour management company Concept Tours. The company is working with Shepherd School staff members to provide logistical planning, including hotel selection and booking, flight reservations, instrument rentals and food catering and delivery
Best Concertos: Top 10 Greatest [19]
Discover our selection of the best concertos including masterpieces by Bach, Beethoven, Mozart and Rachmaninov.. Concertos come in all shapes and sizes, for all instruments great and small, but which are the very best? We’ve discussed and debated and compiled our list of the greatest concertos
The violin is getting more than its fair share in this selection, but I don’t think any list of the best concertos could be complete without Sibelius. The composer had longed to be a virtuoso violinist himself, but never quite made it
The last movement was once described (by Donald Tovey) as “a polonaise for polar bears,” and the whole piece seems to glisten with the ice of Sibelius’s native Finland, but the concerto’s overwhelming personality, its unique soundworld, and its all-out challenges for the soloist make it one of the finest of the lot.. A glory from first note to last: the ideal blend of soloist with the orchestra and against it; an emotional roller-coaster; inspired themes woven into a magnificent musical argument; and, somehow, the ability to take your heart and run away with it
Sources
- https://www.bso.org/works/concerto-for-orchestra#:~:text=The%20score%20of%20the%20Concerto,drum%2C%20bass%20drum%2C%20cymbals%2C
- https://www.laphil.com/musicdb/pieces/1348/concerto-for-orchestra#:~:text=The%20Concerto%20for%20Orchestra%20follows,surrounded%20by%20two%20larger%20movements.
- https://en.wikipedia.org/wiki/Concerto_for_Orchestra_(Bart%C3%B3k)#:~:text=8%20External%20links-,Composition,because%20of%20World%20War%20II.
- https://hellomusictheory.com/learn/concerto/#:~:text=harmony%2C%20and%20structure.-,Characteristics%20of%20a%20Concerto,orchestra%20or%20concert%20band%20playing.
- https://en.wikipedia.org/wiki/Concerto_for_Orchestra_(Bart%C3%B3k)
- https://www.wssymphony.org/program-notes/bartok-concerto-for-orchestra/
- https://lso.shorthandstories.com/bartok-concerto-for-orchestra/index.html
- https://bis.se/conductors/malkki-susanna/bartok-concerto-for-orchestra
- https://imslp.org/wiki/Concerto_for_Orchestra%2C_Sz.116_(Bart%C3%B3k%2C_B%C3%A9la)
- https://www.laphil.com/musicdb/pieces/1348/concerto-for-orchestra
- https://www.allmusic.com/composition/concerto-for-orchestra-sz-116-bb-123-mc0002357446
- https://www.indianapolissymphony.org/backstage/program-notes/bartok-concerto-for-orchestra/
- https://www.cambridge.org/core/books/orchestral-music-of-michael-tippett/concerto-for-orchestra-19623/A5D9E72FBAD03D77D063342E56BC35D6
- https://www.classicfm.com/discover-music/best-concertos-all-time/
- https://www.bso.org/works/concerto-for-orchestra
- https://interlude.hk/playing-pairs-bartoks-concerto-orchestra/
- https://www.courant.com/2020/01/18/review-something-for-everyone-at-hsos-excellent-four-seasons-concert/
- https://news2.rice.edu/2014/01/29/how-do-you-really-get-to-carnegie-hall/
- https://www.udiscovermusic.com/classical-features/best-concertos/
