An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók. Page: 20
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The purpose and importance of the piece
I believe that the Sonata for Piano and Percussion piece provides a fascinating example
of the sonata genre in the twentieth century. Bart6k utilizes typically "Bart6kian" compositional
techniques and styles in three very different movements. The first movement introduces some
interesting usage of sonata form, to be explored in detail in the analysis of Chapter 3. The
second movement is a nocturnal song inspired by the sounds of nature. The Finale is a dance in
a sonata rondo form.
The Sonata for Two Pianos and Percussion is undoubtedly a monumental achievement
distinctive of Bart6k's mature period. It is also a symbolic product of the creative, pioneer
composer. Bart6k was constantly searching after new sounds and new instrument combinations.
Without a doubt he created something new in this piece. The choice of the instruments in this
piece is not accidental: probably the final goal is the balance between the "melodical"
percussions and the "rhythmic" pianos. Therefore, rhythm will be discussed thoroughly.
Interchanging the normal roles of the instruments is one opportunity to find new sounds.
Naturally, this interchange is supported by new ideas and inventions composed into the music.
The idea of combining percussion instruments and piano was born much earlier. 'For
some years now I have been planning to compose a work for piano and percussion. Slowly,
however, I have become convinced that one piano does not sufficiently balance the frequently
very sharp sounds of the percussion. That is why I changed my mind and included two pianos
instead of only one in contrast to the percussions.' wrote Bart6k in an article, which appeared
before the premiere in the Basler National Zeitung. 42 Among all instruments, the percussion is
the one which primarily conveys rhythm and forces color into the background. Beginning in the
first two decades of the 20th century, Bart6k was stimulated by his experience with Arab music.20
42Ibid., 191.
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Ujj-Hilliard, Emöke. An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók., dissertation, May 2004; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc4480/m1/36/: accessed April 25, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .