“Out of Doors (Bartók)”的意思、由来-开放百科全书

Out of Doors is a set of five piano solo pieces, Sz.. 81, BB 89, written by Béla Bartók in 1926. Out of Doors (Hungarian: {{lang|hu|Szabadban}}, German: {{lang|de|Im Freien}}, French: {{lang|fr|En Plein Air}}) is among the very few instrumental compositions by Bartók with programmatic titles.

Pieces

Out of Doors contains the following five pieces with approximate duration based on metronome markings:

Period and circumstances of composition

After World War I (1914–1918), Bartók was largely prevented from continuing his folk music field research outside Hungary.^[1] This increased the development of his own personal style, marked by a sublimation of folk music into art music. Bartók composed Out of Doors in the 'piano year' of 1926,^[2] together with his Piano Sonata, his First Piano Concerto, and Nine Little Pieces. This particularly fruitful year followed a period of little compositional activity. The main trigger to start composing again was Bartók's attendance on 15 March 1926 of a performance of Stravinsky's Concerto for Piano and Wind Instruments (and Le Rossignol and Petrushka) in Budapest with the composer as pianist.^[3] This piece and Bartók's compositions of 1926 are marked by the treatment of the piano as a percussion instrument. Bartók wrote in early 1927:

Another influence on the style of his piano compositions of 1926 was his study and editing of French and Italian (pre)-Baroque keyboard music in the early 1920s.^[5]

He wrote the work for his new wife, the pianist Ditta Pásztory-Bartók, whom he had married in 1923 shortly after divorcing his first wife, and who had given him his second son in 1924.

Interrelation of the five pieces

Although the set is often referred to as a suite, Bartók did not usually play the set in its entirety. He premièred the first, fourth, and fifth pieces on the Hungarian radio on 8 December 1926, and played the fourth piece separately on numerous occasions. He referred to the set in a letter to his publisher as "five fairly difficult piano pieces",^[6] i.e., not as a suite. An arch form in the set has been proposed, with successive tonal centers of E-G-A-G-E,^[7] but different tonal centers have also been suggested, e.g., D-G-D-G-F.^[8] Nissman shows how individual pieces' motives and endings lead logically into the following piece within the set.^[9] Originally, Out of Doors was published in two volumes: one contained the first three pieces and the other the last two.

The compositional process sheds some light on the interrelation of the five pieces. Bartók's first sketches show pieces 1 and 2 as finally published. The third piece was added later, based on unused material for the third movement of the Piano Sonata. Notably, the two final pieces, 4 and 5, form one continuous piece, numbered "3" in the sketches.^[10] Bartók applied this juxtaposition of "The Night's Music" in a slow tempo with a presto section in a single piece/movement also in the second (middle) movement of his Second Piano Concerto.^[11]

Discussion of individual pieces

"With Drums and Pipes"

This is the only piece in the set which can be traced to a specific folk song, Gólya, gólya, gilice (see illustration). Bartók called his piece in Hungarian Síppal, dobbal,..., literally translated With a whistle, with a drum, ..., which for Hungarians is up to this day an obvious quote from this folk song. The main motive of Bartók's piece is found in bars 9 and 10. This motive is taken from bars 5 and 6 of the folk song. The only change Bartók made was to accommodate the syncopation. The song text in literal translation:

Károly Viski quotes this song in reference to the shamanistic origin of the text:

The quotation from the folk song that Bartók used contains only the trichord on the second degree of the tonal center in the song: E, F{{music|sharp}}, and G. In Bartók's piece, this motive makes the tonal center (seem) E. Yet, just like the folk song, the piece comes home to the first degree: the tonal center D appears later in the piece at the end of the legato B section (measure 64) and the repeat of the A section.^[13]

The piece is in ternary form with a coda. The opening, closing, and coda sections consist of imitations of drums and lower wind instruments—"pipes". A less percussive, legato treatment of the piano is called for in the middle section in the middle and higher register, imitating gentler wind instruments.^[14] Bartók made a sketch of an orchestration for this piece in 1931, using for the opening section timpani and gran cassa ('drums') and (double)-bassoons and trombones ('pipes').^[15]

"Musettes"

The title refers to the musette, a type of small bagpipe. Bartók's was inspired by Couperin, who wrote keyboard pieces imitating this instrument.^[5] The piece consists mostly of imitating the sound effects of a poorly tuned pair of musettes. There is little melody. With drums and pipes and Tambourine of Bartók's Nine little pieces similarly consist of sound imitations of folk instruments.^[16]

A noteworthy instruction reads Due o tre volte ad libitum (play optionally two or three times), giving the performer a degree of freedom rare in classical music scores, and underlining the improvisatory and spontaneous nature of folk bagpipe music. The Sostenuto pedal of the grand piano is necessary for a right rendering of the final four bars.

"The Night's Music"

This piece was immediately well received in Hungary, unlike many of Bartók's other compositions.^[17] Stevens already focuses attention to the quality and importance of this work in his early biography.^[18] It is "the locus classicus of a uniquely Bartókian contribution to the language of musical modernism".^[19]

The form is described variously in the literature, e.g., a loose rondo, ABACABA^[20] or as ternary, with the middle as 'developmental' section.^[21]

Notable overlap occurs in bars 61–66, where the chorale (B) and peasant flute (C) materials sound together. This is far from a traditional duet, because the characters, tempos and tonal centers of the two parts vary widely, as often in Bartók's night music.^[24]

The random scoring of nature's sounds in the A-material makes memorisation extremely difficult. But memorisation turns out to be not necessary as witnessed by the anecdote of Mária Comensoli, a piano student of Bartók. She was astonished when she first played The Night's Music by heart (as required at Bartók's lessons) and Bartók remarked

The many precise dynamic and stress signs witness how Bartók aimed for very specific performance and sound effects.^[26] Three footnotes in the score deal with the exact execution of arpeggios and grace note figurations. The fourth footnote instructs the pianist to play the cluster chord E, F, F{{music|sharp}}, G, G{{music|sharp}}, A, B{{music|flat}}, C{{music|flat}} with the palm of the hand.

"The Chase"

This piece consists of five melodic episodes. They are prefaced and separated (except for the fourth and fifth episode) by 'ritornello' type sections of repeated cluster chords in a clashing rhythm (duplets in {{music|time|6|8}} measure).

The piece is related to the pantomime The Miraculous Mandarin, in character to the chase scene and harmonically to the important two building blocks which are presented directly at the start of the pantomime:^[27]

The left hand plays an ostinato arpeggiated quintuplet chord of F, G{{music|sharp}}, B, C{{music|sharp}}, E, of which the E is on the beat ({{music|time|6|8}} measure). This figure consists of the ‘pantomime’ chord of F, B, E, to which the fourth of G{{music|#}}, C{{music|#}}, is added. This ostinato changes at every new episode:

This piece is technically difficult: "From the standpoint of technique and endurance, especially for the left hand, this [piece] could easily be the most demanding in Bartók's entire output.^[29]

Editions of score and recordings

Score

The Boosey & Hawkes printing is a facsimile of the original edition from Universal Edition. There is a new edition from Boosey & Hawkes by Peter Bartók and Nelson Dellamaggiore.

Notable recordings

Notes

1. ^Somfai, 1996, 18.
2. ^Somfai 1993, 173.
3. ^Gillies 2006, 317–318 and see also Schneider 1995, 183–187.
4. ^Bartók 1927/1976: 288. Bartók's answer to a questionnaire prepared by the Musikblätter des Anbruch.
5. ^¹Somfai, 1993, 179, 186–187; Nissman, 145; Yeomans, 105–6.
6. ^Somfai, 1993, 174.
7. ^Nissman 2002, 146; Somfai 1993, 178.
8. ^Yeomans 1988, 106–107.
9. ^Nissman 2002, 155.
10. ^Somfai 1998, 178.
11. ^Danchenka, 22.
12. ^Viski, 1932, 16. (quoted in the presentation On the Shaman’s Trail – Béla Bartók’s Szabadban by Dr. Damjana Bratuz during the Ninth international congress on Musical Signification, 19–23 September 2006)
13. ^Somfai, 1993, 178.
14. ^Yeomans, 106.
15. ^Somfai 1998, 91.
16. ^Yeomans, 110.
17. ^Schneider 2006, 81–86.
18. ^Stevens 1953, 135–37.
19. ^Schneider 2006, 81.
20. ^Yeomans 1988, 107.
21. ^Nissman 2003, 162.
22. ^Schneider, 84–87; Somfai, 1993, 180.
23. ^Schneider 2006, 84.
24. ^Schneider, 116.
25. ^Bónis 1995, 148, quoted in translation by Vera Lampert in Bayley 2001, 240.
26. ^Nissman, 159–163.
27. ^Stevens, 1953; Somfai, 1993, 182.
28. ^Bartók 1976, 338.
29. ^Yeomans 1988, 108.