| 词条 | Concerto for Orchestra (Bartók) |
| 释义 |
| name = Concerto for Orchestra | composer = Béla Bartók | image = Bartók Béla 1927.jpg | caption = The composer in 1927 | catalogue = Sz. 116, BB 123 | composed = 1943 rev. 1945 |duration=About 38 minutes| movements = Five | scoring =Orchestra |premiere_date={{start date|1944|12|01|df=y}}|premiere_conductor=Serge Koussevitzky|premiere_location=Symphony Hall, Boston|premiere_performers=Boston Symphony Orchestra}} The Concerto for Orchestra, Sz. 116, BB 123, is a five-movement musical work for orchestra composed by Béla Bartók in 1943. It is one of his best-known, most popular and most accessible works.[1] The score is inscribed "15 August – 8 October 1943". 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] It is perhaps the best-known of a number of pieces that have the apparently contradictory title Concerto for Orchestra. 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] CompositionThe work was written in response to a commission from the Koussevitzky Foundation (run by the conductor Serge Koussevitzky) following Bartók's move to the United States from his native Hungary, which he had fled because of World War II. It has been speculated that Bartók's previous work, the String Quartet No. 6 (1939), could well have been his last were it not for this commission, which sparked a small number of other compositions, including his Sonata for Solo Violin and Piano Concerto No. 3.[1] Bartók revised the piece in February 1945, the biggest change coming in the last movement, where he wrote a longer ending. Both versions of the ending were published, and both versions are performed today.{{Citation needed|date=March 2012}} InstrumentationThe piece is scored for the following instrumentation.[3] {{col-begin}}{{col-4}}
3 flutes (one doubling piccolo) 3 oboes (one doubling cor anglais) 3 clarinets (one doubling bass clarinet) 3 bassoons (one doubling contrabassoon){{col-4}}
4 horns 3 trumpets 3 trombones 1 tuba{{col-4}}
Timpani Side drum Bass drum Cymbals Triangle Tam-tam 2 harps{{col-4}}
Violins I, II Violas Cellos Double basses{{col-end}} Musical analysisThe piece is in five movements: {{Ordered list|type=upper-roman|Introduzione. Andante non troppo – Allegro vivace |Presentando le coppie. Allegro scherzando |Elegia. Andante non troppo |Intermezzo interrotto. Allegretto |Finale. Presto }} Bartók makes extensive use of classical elements in the work;[1] for instance, the first and fifth movements are in sonata-allegro form. The work combines elements of Western art music and eastern European folk music, especially that of Hungary, and it departs from traditional tonality, often using non-traditional modes and artificial scales.[1] Bartók researched folk melodies, and their influence is felt throughout the work. For example, the second main theme of the first movement, as played by the first oboe, resembles a folk melody, with its narrow range and almost haphazard rhythm. The drone in the horns and strings also indicates folk influence (see example).[1] I. IntroduzioneThe first movement, Introduzione, is a slow introduction of Night music type that gives way to an allegro with numerous fugato passages. This movement is in sonata-allegro form.[2] II. Presentando le coppieThe second movement, called "Game of Pairs" (but see note below), is in five sections, each thematically distinct from each other, with a different pair of instruments playing together in each section.[2] In each passage, a different interval separates the pair—bassoons are a minor sixth apart, oboes are in minor thirds, clarinets in minor sevenths, flutes in fifths, and muted trumpets in major seconds.[3] The movement prominently features a side drum that taps out a rhythm at the beginning and end of the movement. While the printed score titles the second movement "Giuoco delle coppie" or "Game of the couples", Bartók's manuscript had no title at all for this movement at the time the engraving-copy blueprint was made for the publisher. At some later date, Bartók added the words "Presentando le coppie" or "Presentation of the couples" to the manuscript and the addition of this title was included in the list of corrections to be made to the score. However, in Bartók's file blueprint the final title is found, and because it is believed to have been the composer's later thought, it is retained in the revised edition of the score.[4] The original 1946 printed score also had an incorrect metronome marking for this movement. This was brought to light by Sir Georg Solti as he was preparing to record the piece: {{quote|When preparing ... for the recording I was determined that the tempi should be exactly as Bartók wrote and this led me to some extraordinary discoveries, chief of which was in the second movement.... The printed score gives crotchet equals 74, which is extremely slow, but I thought that I must follow what it says. When we rehearsed I could see that the musicians didn't like it at all and in the break the side drum player (who starts the movement with a solo) came to me and said "Maestro, my part is marked crotchet equals 94", which I thought must be a mistake, since none of the other parts have a tempo marking. The only way to check was to locate the manuscript and through the courtesy of the Library of Congress in Washington we obtained a copy of the relevant page, which not only clearly showed crotchet equals 94, but a tempo marking of "Allegro scherzando" (the printed score gives "Allegretto scherzando"). Furthermore Bartók headed it "Presentando le coppie" (Presentation of the couples), not "Giuoco delle coppie" (Game of the couples). I was most excited by this, because it becomes a quite different piece. The programme of the first performance in Boston clearly has the movement marked "Allegro scherzando" and the keeper of the Bartók archives was able to give us further conclusive evidence that the faster tempo must be correct. I have no doubt that thousands of performances, including my own up to now, have been given at the wrong speed![5]|sign=|source=}}III. ElegiaThe third movement, "Elegia", is another slow movement, typical of Bartók's so-called "Night music". The movement revolves around three themes which derive primarily from the first movement.[2] IV. Intermezzo interrottoThe fourth movement, "Intermezzo interrotto" (literally "interrupted intermezzo"), consists of a flowing melody with changing time signatures, intermixed with a theme that quotes the song "Da geh' ich zu Maxim" from Franz Lehár's operetta The Merry Widow,[6], which had recently also been referenced in the 'invasion' theme of Dmitri Shostakovich's Symphony No. 7 "Leningrad".[7][8][9] The question as to whether Bartók was parodying Lehár, Shostakovich (or both) has been hotly disputed, without any clinching evidence on either side. The theme is itself interrupted by glissandi on the trombones and woodwinds. {{listen || filename = Bartók - Concerto for Orchestra (clip).ogg | title = Timpani excerpt | description = Excerpt from the fourth movement. The timpanist plays a chromatic bass line, requiring using the pedal to change pitches. |}}In this movement, the timpani are featured when the second theme is introduced, requiring 10 different pitches of the timpani over the course of 20 seconds. The general structure is "ABA–interruption–BA."[2] V. FinaleThe fifth movement, marked presto, consists of a whirling perpetuum mobile main theme competing with fugato fireworks and folk melodies. This is also in sonata-allegro form.[2] RecordingsThe following are only a small selection of the numerous available recordings.
References1. ^1 2 3 4 5 {{cite book |last=Cooper |first=David |title=Bartók: Concerto for Orchestra|year=1996 |publisher=Cambridge University Press |location=Cambridge |isbn=978-0-521-48505-0 }} 2. ^1 2 3 4 5 Bartók, Béla. "Explanation to Concerto for Orchestra," for the Boston premiere at Symphony Hall.{{Full citation needed|date=June 2014}} 3. ^1 {{cite book|title=Concerto for Orchestra (Score)|last=Bartók|first=Béla|publisher=Boosey & Hawkes|year=2004|isbn=978-0-85162-189-0|location=New York}} 4. ^Peter Bartók, "Preface to the Revised Edition, 1993", in Béla Bartók, Concerto for Orchestra: Full Score, revised edition, [iii–v] (London, New York, Bonn, Sydney, Tokyo: Boosey & Hawkes, 1993). The citation is on p. iv. 5. ^Sir Georg Solti, Liner notes from London LP LDR 71036, Bartók Concerto for Orchestra and Dance Suite, Chicago Symphony Orchestra, recorded January 1980. 6. ^{{Cite web | url=http://www.bbc.co.uk/dna/mbradio3/html/NF2620064?thread=3048897 | title=BBC - Home}} 7. ^{{cite news |title=A Peacetime Hearing of the Shostakovich 'Leningrad,' Forged in War |first=Paul |last=Griffiths |authorlink=Paul Griffiths (writer) |url=https://www.nytimes.com/1999/02/22/arts/music-review-a-peacetime-hearing-of-the-shostakovich-leningrad-forged-in-war.html |newspaper=The New York Times |accessdate=30 March 2010 | date=February 22, 1999}} 8. ^{{cite web|first=Kristian|last=Hibberd|url=http://www.shostakovich.com/may2002.html|title=Saturday 18th May 2002|website=London Shostakovich Orchestra|archiveurl=https://web.archive.org/web/20110516112926/http://www.shostakovich.com/may2002.html|archivedate=16 May 2011}} 9. ^Mostel, Raphael. "The Merry Widow's Fling With Hitler", TabletMag.com, 30 December 2014, accessed 11 November 2016 10. ^Recorded on 14 February 1954 11. ^Recorded on 22 October 1955 12. ^Recorded on 11–12/15 November 1956 13. ^Recorded on 1 November 1958 14. ^Recorded in September 1962 15. ^Recorded on 15–16 January 1965 16. ^{{cite web |last=Clements |first=Andrew |title=Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta – review |work=The Guardian |date=May 8, 2012 |url=https://www.theguardian.com/music/2012/may/08/bartok-baltimore-alsop-cd-review |accessdate=May 20, 2015}} External links
5 : Modernist compositions|Music commissioned by Serge Koussevitzky or the Koussevitzky Music Foundation|Concertos by Béla Bartók|Concertos for orchestra|1943 compositions |
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