Contrasts (Bartók)

Structure#

The work is in three movements: The movements contrast in tempo. The first movement contains a cadenza for clarinet and the last one for violin. The piece features examples of alternate or dual-thirds (C and C in an A triad): : This mixed thirds structure may be thought of as bitonal in that the major and minor third of a triad are used. This structure may be extended through considering each third of the original triad as also being a possible third in a triad a half step in either direction. Thus C/D is a major third in an A major triad and the minor third of a B major triad: : Szigeti recalled that Bartók had told him that the start of Contrasts had partial inspiration from the “Blues” second movement of Maurice Ravel’s Sonata for Violin and Piano. F. Bónis has further noted the parallel between a short passage in the same Ravel movement and a passage in the first movement of Contrasts.

I. Verbunkos#

“Verbunkos” features polymodality or what Kárpáti terms alternative structures. For example, the framing motif of the first movement features, in relation to the root, A, the minor and major third and the perfect and diminished fifth: : E is revealed as both an alternative fifth of an A chord and the alternative third of a C chord by the canon at the third at the beginning of the development, bar 58: : Between the six notes of both triads are seven thirds. Verbunkos was a stately and stylized Hungarian Recruiting Dance “measured in rhythm and rich in melodic embellishments characterized by the theme”: :

II. Pihenő#

This movement has been described as volcanic rather than relaxing, despite its title, “relaxation” or “rest”.

III. Sebes#

The violinist must retune (scordatura) two strings for the last movement, lowering the E and raising the G a semitone each. and is similar in spirit to the Finale of the first Violin Sonata: :

Reception#

The work is said by Kárpáti

Sources#

• Bradshaw, Susan (2001). “Piano music: recital repertoire and chamber music”, Cambridge Companion to Bartók, p. 116. Amanda Bayley, ed. .
• Centenrio Belae Bartók Sacrum#.
• E. R. (1943) .“Review: Contrasts, for Violin, Clarinet and Piano by Béla Bartók”, Music & Letters, Vol. 24, No. 1. (January 1943), p. 61.
• Seiber, Mátyás (1949). “Béla Bartók’s Chamber Music”, Tempo, New Ser., No. 13, Bartók Number. (Autumn, 1949), pp. 19–31.

Further reading#

• “Program Notes: Better Unwritten than Unread”, Music Educators Journal, Vol. 54, No. 7. (Mar. 1968), pp. 96–97. Features a listening score for Contrasts.
• Kárpáti, János. Bartók’s Chamber Music. Stuyvesant, NY: Pendragon Press (1976).

External links#

• ET’s Clarinet Studio: Contrasts by Bela Bartok by Eric Tishkoff
• Sierra Chamber Society Program Notes: Contrasts by Joseph Way
• Aurelius Ensemble – Bartók: Contrasts
• Notes to Naxos recording, 8.550749