The oldest of the three composers on this CD,
Béla Bartók (1881-1945) was also the most revolutionary. One of the dominant
musical geniuses of the 20th century, a master of stage, symphonic, chamber,
and solo genres, Bartók was also a pioneer in the realm of ethnomusicology -
the study of regional folk music. This he explored in his native Hungary and
surrounding nations with the help of his friend and fellow-composer Zoltán
Kodály, and the new technology of recording. Both Szymanoski and Martinů were
influenced by folk music; Bartók transformed it into an essential element of
his style. The motives and rhythms of indigenous Eastern European songs and
dances would emerge in stage works, string quartets, and his powerful Concerto
for Orchestra.
Another profound
influence on the young Bartók was his love for the talented violinist Steffi
Geyer, who is remembered in a long-suppressed concerto, now known as his Violin
Concerto No. 1, and in the Two Portraits composed in 1907-08 and 1911,
respectively. (The first movement of the concerto is identical to the first
movement of Two Portraits.) The portraits are a reflection of their
broken love affair. In the first part, titled "Idealistic," the solo violin
opens with a lyrical theme in the instrument's low to-medium register, with a
progression based on the notes D-F#-A-C#, a modified and dissonantly-inclined
scale pattern. The theme turns sinuous and chromatic as the unobtrusive
orchestral accompaniment gradually gains attention by intertwining with the
soloist. The violin dominates, however, by playing with ever-increasing
intensity, then retreats into meditation. The opening theme returns in the
violin part, and leads to a big climax in partnership with the orchestra.
Supported by a harp, the violin soars into a final statement of the love song.
In the second Portrait,
the solo violin is silent. The orchestra takes up the original four-note theme
and mocks it. This movement is labeled "Distorted," and that is exactly what
Bartók does: he distorts the lyrical atmosphere of the opening into a strident,
dissonant dance dominated by hammering percussion, blaring brass, and
scrambling woodwinds. The pace is headlong. The love song of the fi rst
movement has disintegrated into bitterness.
Andrea Lamoreaux
is music director of WFMT-FM, Chicago's classical-music station.
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.
Classical Music | Orchestral Music
Béla Bartók
Two Portraits, Op. 5, No. 2 "Distorted" Presto Play
Recorded on 07/01/2005, uploaded on 03/23/2009
Musician's or Publisher's Notes
The oldest of the three composers on this CD, Béla Bartók (1881-1945) was also the most revolutionary. One of the dominant musical geniuses of the 20th century, a master of stage, symphonic, chamber, and solo genres, Bartók was also a pioneer in the realm of ethnomusicology - the study of regional folk music. This he explored in his native Hungary and surrounding nations with the help of his friend and fellow-composer Zoltán Kodály, and the new technology of recording. Both Szymanoski and Martinů were influenced by folk music; Bartók transformed it into an essential element of his style. The motives and rhythms of indigenous Eastern European songs and dances would emerge in stage works, string quartets, and his powerful Concerto for Orchestra.
Another profound influence on the young Bartók was his love for the talented violinist Steffi Geyer, who is remembered in a long-suppressed concerto, now known as his Violin Concerto No. 1, and in the Two Portraits composed in 1907-08 and 1911, respectively. (The first movement of the concerto is identical to the first movement of Two Portraits.) The portraits are a reflection of their broken love affair. In the first part, titled "Idealistic," the solo violin opens with a lyrical theme in the instrument's low to-medium register, with a progression based on the notes D-F#-A-C#, a modified and dissonantly-inclined scale pattern. The theme turns sinuous and chromatic as the unobtrusive orchestral accompaniment gradually gains attention by intertwining with the soloist. The violin dominates, however, by playing with ever-increasing intensity, then retreats into meditation. The opening theme returns in the violin part, and leads to a big climax in partnership with the orchestra. Supported by a harp, the violin soars into a final statement of the love song.
In the second Portrait, the solo violin is silent. The orchestra takes up the original four-note theme and mocks it. This movement is labeled "Distorted," and that is exactly what Bartók does: he distorts the lyrical atmosphere of the opening into a strident, dissonant dance dominated by hammering percussion, blaring brass, and scrambling woodwinds. The pace is headlong. The love song of the fi rst movement has disintegrated into bitterness.
Andrea Lamoreaux is music director of WFMT-FM, Chicago's classical-music station.
More music by Béla Bartók
Music for Strings, Percussion and Celesta
Second Rhapsody for violin and piano
String Quartet No. 1, Sz. 40
First Rhapsody: Prima parte, “Lassu”
Six Romanian Popular Songs
Two Portraits, Op. 5, No. 1 "Idealistic" Andante sostenuto
Rhapsody No. 1
Romanian Folk Dances
Improvisations on Hungarian Peasant Songs, Op. 20
Suite Paysanne Hongroise
Performances by same musician(s)
Violin Concerto No. 2, H. 293
Violin Concerto No. 1, Op. 35
Two Portraits, Op. 5, No. 1 "Idealistic" Andante sostenuto
Fantasie in C Major for Violin and Piano, Op. 131
Sonata No. 1 for Violin and Piano in A minor, Op. 105
Chaconne in g minor for Solo Violin, Op. 117, No. 4
Classical Music for the Internet Era™
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.