Béla Bartók - String Quartet No. 1
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- Опубликовано: 26 июл 2024
- - Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945)
- Performers: Hungarian String Quartet
- Year of recording: 1961
String Quartet No. 1 in A minor, Sz. 40, BB 52 (Op. 7), written in 1908.
00:00 - I. Lento
10:48 - II. Allegretto {Poco a poco accelerando all'allegretto} - Introduzione
20:41 - III. Allegro vivace
In a letter to violinist Stefi Geyer, Bartók described the opening movement of this quartet as his "funeral dirge." The quartet's first four notes -- a descending major sixth and a minor sixth interval played imitatively by the first and second violins -- are nearly identical to the opening motif of the second, giocoso, movement of the Violin Concerto No. 1 (1908), Bartók's musical portrait of Geyer, with whom he was unrequitedly in love. Bartók dealt with the rejection of his love in a series of autobiographical works, of which this quartet is the culmination. Kodály called this quartet a "return to life," and its three accelerating movements (Lento, Allegretto, and Allegro vivace) plainly trace a course from the Liebestod-like anguish of the convoluted first movement to the heady, forceful finale.
- The Lento is marked by a hyper-chromatic Romantic mood characteristic of many works written around the turn of the century. Sadness and despair are the prevailing sentiments in this work, with wistful nostalgia expressed in passing episodes of Impressionistic delicacy that are quickly subsumed by the darker mood. After the first theme is explored, (the counterpoint is reminiscent of Beethoven's late string quartets), a funereal element is introduced with forceful, bell-like fifths on the cello, over which sounds a sobbing second theme, on viola and second violin harmonized in thirds, while the first violin muses detachedly in the upper register. The mood and style are reminiscent of the first violin concerto's opening movement. A hesitant bridge passage accelerates gradually to...
- the next movement, which presents a delicate and witty theme, a stepwise motif that is subjected to a series of explorations in various settings suggestive of variation technique. The mood is ambiguous, despite light-hearted interplay among the instruments; when a distinct mood finally manifests itself toward the end of the movement, it is one of anger, driven by an insistent pulsing ostinato on a single note that begins as an ominous pizzicato on the cello and grows to fist-shaking open fifths arco. The mood is not resolved by movement's end. Another bridge passage leads to...
- the finale, an accelerating Allegro vivace that is the longest of the three movements. In the first movement, there was only a brief suggestion of Hungarian folk music in the cello's soulful melody during the Impressionistic episode; here the character of folk music is more pronounced. Its use here, though not as organic as in later works, nevertheless seems central to the young composer's "return to life" after a period of despair. The main theme, which has a "scolding" quality (and is intervallically related to the descending sixths of the first movement), is developed through a series of episodes, one of which parodies European café music, after which it is treated, fugato-style, in a grotesque, scherzando section. The coda is fast and propulsive, the final, emphatic chords of open fifths barely able to block its momentum. 
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Bartok's contrapuntal writing never ceases to blow me away. A master at his craft.
Love Bartok's wonderful, complex, post-tonal, dissonant language !!!! Tension remains present even in the slower sections; textures vary greatly and include an awesome, contrapuntal, fugue-like procedure.
Good stuff. Listening to Bartoks string quartets for 30 years. They still sound fresh and reward the listener with new perspectives and insights upon numerous repeated listenings.
Bartok, thanks for your beautifull music from another dimension
The first is the sexiest string quartet movement i can think of
Oct. 2017: Who knew I would live so long, or care! But my Uncle David played for many years in the Houston Symphony. I lived in Houston in 1965 (hated it). But when Dave gave me a gift certificate at Foley's Dept. Store, what I purchased was a Columbia Box of the Six Quartets. Haven't listened to these discs for quite a while! It comes back. It IS a bit of heaven!
For me too 60 years has sped by and I'm again listening to Bartok. It sounds even more modern today than then, and will probably keep getting younger, unlike us.
By the way, I hated Houston too, used to live in Galveston which was much nicer though no paradise.
Bartok is always fresh and surprising without resorting to any tonal sweet stuff. Music was both a language and a literary plot for him.
I hated Houston, too, in the early 90's. I loved Austin and San An-tone (as they pronounced it).
Kedves magyar zene - nagyon szeretem Bartok Bélát. Üdvözlet Dániából
00:06 : Partie A motif de Stefi (deux premières du violon 1 suivies des deux premières notes du violon 2 fa lab do mi)
01:08 : Motif de Stefi
03:55 : Motif de Stefi
04:34 : Motif de Stefi
05:19 : Partie B
06:42 : Passage "ravélien"
07:57 : Partie A
10:48 : Deuxième mouvement - Forme sonate
11:39 : Exposition - Premier groupe thématique
12:38 : Exposition - Deuxième groupe thématique
13:14 : Passage en gamme par ton
13:41 : Développement
16:58 : Réexposition
17:42 : Deuxième groupe thématique (uniquement le passage en gamme par ton)
18:24 : Coda
19:05 : Introduzione
20:43 : Troisième mouvement - Forme sonate - Exposition - Premier groupe thématique
21:32 : en diminution, présenté de manière contrapuntique
22:01 : Exposition - Second groupe thématique
22:45 : Exposition - Second groupe thématique - Adagio, thème populaire
24:13 : Développement (basé sur le premier thème)
24:33 : à l'unisson
24:47 : déformé
25:08 : passage fugué
27:07 : Réexposition - Premier groupe thématique
28:04 : Réexposition - Second groupe thématique
28:48 : Réexposition - Second groupe thématique - Adagio thème populaire
30:19 : Coda
olla-vogala for president
Someone said my work sounds like Bartok's early works, and after hearing this I am very flattered
you go guy.
Play music like you are singing it, Play music like you are dancing. Play like you are traveling around the world and play like you are telling a story.
What sublime music, I got carried away in to another dimension, carrying on where Beethoven left off in op. 131, when all of a sudden I heard: "The new Hyundai is finally for sale! Supplies limited - hurry to your nearst dealer and try it!..." Wonderful!. If you're going to put ads on your music you must have a really low regard for Bartok. Or at least time them appropriately.
There's only one remedy. Pony up for the premium subscription. Sorry.
Skip to the end of the video first and then replay. The adds should disappear.
@@zenner41 Just get Adblock
I'm kinda weird in that regard in that I'm amused by the juxtaposition of the serious with the superficial and commercial. I'm considering writing a chamber work with abrupt "ads" interspersed to disrupt the most tender and serious moments. Messing with the listeners expectations, setting them up for disappointment and unresolved tension.
This is how RUclips is monetizing the experience. More and more commercials and interruptions. Makin' money, honey!
I sort of hear war(s) coming closer. Tense, anxious, stressful impression. But exquisite.
28:47 holy moly
No one does tension and suspense in music quite like Bartok. The more I listen to his music the more impressed I am.
Once again, thanks for posting and thanks especially for the notes. Besides finding the content of your notes so enlightening, I also think they are a model of clarity in style.
As much as I love Schoenberg's early work, I never really appreciated his 12-tone approach; it always sounded too artificial. Bartok manages to achieve near-atonality without the forced mechanism.
I must be blessed to really really like both fellas. I had forgotten how delicate and spiritual this composition is.
you should check out webern. i think his stuff is a lot less artificial. nice thing is that the music will never change... but you might haha!
cats Feed dogs And ggg gg gggggg gggggg ffggggggf ggggggffff FF FF ffggg FF FF FF FF Ftt
agree ,he does indeed.
7:38 that moment is perfect
Back in my “yoof”, in the local libraries audio section, I decided I should expand my cultural horizons…
I took out a vinyl copy of Bartok’s string quartets..
On listening I was astonished..
I still am..
Vinyl would have sounded awesome
I love Nr. 1. One of my favorite quartets. Love that mysterious spooky opening. The other quartets I'm ambivalent about overall.
very special toanlity.
I love the increasing dramatics of Cello solo at about 19:25
Exquisite part....
Incredible!
What a time 1909 was. Schoenberg's Op. 11 for piano was exploding the post-Brahmsian aesthetic and paving the way for the Second Viennese School. Richard Strauss' Elektra was pushing up to the brink of modernist expression. And Bartok was writing string quartets as if he was a visitor from 2509.
"Like" on 7 December 2017. Going through all six quartets today, as I am laid up in bed with a really nasty cold.
How relatable. Not in bed myself though.
Very suspenseful
His "Concerto for Orchestra" is full of references to this work, especially the last movement.
gracias
Listen to “The Battle of Chamdo” by Gorguts and other tracks by them after and watch your musical appreciation skyrocket
4:35 theses two chords are the more powerful ones I have ever heard
The first movement sounds so similar to Beethoven's fourteenth quartet...
Yea and for some reason, I feel like if Beethoven lived longer, this is what his music would have sounded like perhaps :)
@@RGJWerke I agree. His late quartets sound very modern. If i didn’t know the grosse fuge i would have said it was Shostakovich of prokofiev because that’s pretty much what it sounds like to me.
@@RGJWerke I believe that if Mozart had lived longer, he would also have come up with this style, even earlier. Too bad he was gone at 35
beautiful stuff
agreed.
Thank you for your description. One correction--the opening movement's imitative cell is not two consecutive minor sixths, but a major sixth followed by a minor sixth.
Thanks, I've edited the description!
excellent point yea
I'm in love with no. 1, (and all the others!)... I know my harmony/theory... Somehow he keeps it tonal and human as opposed to the "2nd Viennese School" guys- (although IMO Berg had something gorgeous going on in that realm too!). But anyway, I wish I could steal Bartok's stuff/style! I haven't been able to yet. It just doesn't seem to line up (harmonically) as vertically as the beautiful music that came before it. Yet it still does.. (?) Hopefully I'll figure it out before I die :) Til then I'll just listen and enjoy.
Exquisite
What was Bela up to? Some serious musical exploration here...
At 24:46 it sounds just like "Venetian Snares - Hajnal", I wonder if he took the sample from this Bartok string quartet. ruclips.net/video/FbJ63spk48s/видео.html
Nice catch, according to Whosampled this seems to be the case, for the whole album (Rossz Csillag Alatt Született). Just amazing
He absolutely did, even Wikipedia states this.
What a way to discover an outstanding Hungarian composer: through breakcore music of a guy responsible for such titles as "Shitfuckers".
Omg you're right 😳
hajnal venetian snares ♥?
👏🏼👏🏼👏🏼
The first movement sounds so much like Psychos "Finale" !!!
Wow! It really does, and now I can't unhear it. All this is missing is that booming F-Eb-D motive at the end...
22:43😭
The beginning of the 1st. sounds like a very post romantic piece, an extension to the dissolution of tonality, and almost an anticipation to twelve tone music. Of course, I am not an expert not a music theorist.
@Dave Smith And like Robert Gerhard too!!
@Maximiliano Soto I agree with you, Camilo. It seems to anticipate the coming 12-tone experiment that would break-apart the molecular structure itself. (If i remember correctly, Bartok significantly before Schoenberg). I think the accomplishment with this Bartok piece it that he keeps a smooth flow of an idea while walking on the very edge of ones own being.
Yah, es good.
24:46
Beautiful, sounds like early Schoenberg (a style which Schoenberg himself should’ve stuck too…)
6:41 from Shostakovich into Holst lol
no credit to poor Ravel ? lol
Me recuerda mucho a Shostakovich
Shostakovich was 2 years old when this was written so if there's any influence, it's the other way around.
Who's the publisher of the score?
Boosey & Hawkes, but it's available free here: imslp.org/wiki/String_Quartet_No.1%2C_Sz.40_(Bartók%2C_Béla)
Can you please write the source of the description you wrote below the video?
Thanks
+Francesca Pusceddu allmusic.com But it's not verbatim, I usually change some parts in the description.
olla-vogala thank you for the reply
I think you should cite your source even if you don't quote it exactly. Anyway, I love your channel.
きれいなフーガで始まるんですね。
バルトークの弦楽四重奏はほかの彼の作品と全然違うのは何でなんでしょうか？？？
C'est probablement parce qu'il est parti chercher don inspiration dans la musique traditionnel des oasis en Algérie.
19:06 自分用
24:10
reminds me of wagner
siegfried idyll?
20:42
the third movement is quite good but Bartok's slow movements arent really my thing...
Fine, then go listen to Cheap Trick or Barry Manilow.
13:04 13:41 23:47
16:12
It's like a cross between the Friday 13th score and silent movie music.
AD-AM NEE-LY's BASS LESSOOOOOOOOONS
ctm me dio miedo :o la wea brigida jaja
OMG! it feels like watching horror movie.
Why bother responding to something that you can't possibly understand?
Horror? What? This music is far from ''horror'' to me
Hajnal yo
Bartok copying Beethoven with the 1st movement.
That was Mozart. Please
No, definitely Haydn!
He always did this disappointing, overwritten codas...
This is boring
Thirty-plus minutes and not a single notable or memorable tune in the whole damned thing.
But hey, it's serious art, so that makes it OK.
Thats because your memory is piss poor
That's a very convoluted way of saying "i don't get this music, but i have to say something"
Unironically yes. Having memorable tunes is not a necessary condition of something's being great art. Regardless, the first subject of the finale is a bit of an ear worm for me.
If you want a memorable tune, try listening to the beginning of the allegro vivace, but accounting for your 19th century ears, listen to 24:47, a “parody” of the original subject in a mock-European-café style. What an elaborate troll.
20:42
12:03