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Bartok's concerto for orchestra analysis fourth movement Intermezzo interrotto CRITERION ONE Bartoks concerto for orchestra

is in a variation of arch rondo form C Interruption B B

A Section Bars A 1-42

A B 43-60 C-interruption 61-118 B 119-126 A 127-151

Rondo form is very common in classical music and is usually found in its simplest form of ABACA as is found in Blue Rondo a la Turk on the Dave Brubeck Time out album Arch rondo form is normally ABCBA but in Bartoks concerto for orchestras Intermezzo interrotto the secondary A and B sections are slightly different from their parent sections Also in arch rondo form there isnt usually an interruption section between C and secondary B section Each section has its own theme with slight variations in the B and A sections on their original themes Section As theme is played by the Oboe in bars 4 through to 12

This melody is light and flowing with rapidly changing key signatures and is meant to be representative of the carefree life of a small town in hungry The four note motif at the beginning of the piece almost immediately sets the tonal center of BA#-E-F# Sections Bs theme is played by the violas from bars 43 through to 50

The Violas legato theme is very flowing and relaxed with the harps plucking notes in the background to get a very relaxed nice feeling going

Section Cs theme is played by the Clarinet from bars 79 through to 84

Section Bs theme

Section As theme Tonality Literal repetition Imitation Thematic Development Transposition Duration Beat Meter Rhythm Dynamics Tone colour Articulation

CRITERON TWO The role of instruments Instrument Melody

Oboe Whenever the Oboe makes an appearance as it does with the section A theme it is usually very happy bouncy and light usually accompanied by a drone from the violins or French horn In section B the oboe disappears only to make a light happy return in the A section and then fades away and comes back with a vibrato dramatic return in the interruption section The oboes also feature at 112 when they join the rest of the instruments with a chaotic chromatic fall Before a final flourish at the 144 and a triplet finish at the end

Violin The violins have the main melody for the first three bars at the beginning before fading into a nice mellow drone under all the other instruments that are little solos everywhere thus creating a nice soothing feeling of peace The Violins only really come into their own in the B section and even then its a very low melody that they have so they sound similar to previously as before fading back into obscurity a short while A At 75 their drone stops and is replaced by a staccato repetitive rhythm that creates rhythmic instability that resounds through the rest of the piece They pick up the melody again at 118 before dieing out yet again at 127 taking up once again their erratic pizzicato rhythms and joining the rest of the orchestra at the end for the triplet The violin changes depending which section its in A majority of the time the violins drones long notes with the violas and other instruments

Duration (beat/meter/rhythm)

The beat of the oboe stays somewhat consistent throughout the entire piece changing only at the interruption after section C

Dynamics Articulation

CRITERION THREE Analyzing recorded versions Version Las Angeles Melody The Las Angeles version has the melody brought out fighting for dominance among the other instruments solo or no giving it an uncommon growl that makes it stand out from the orchestra Duration The Las Angeles version is somewhat faster then the Chicago traveling at a cracking pace and feels like its pulling you along for the ride The Las Angeles orchestra while paying some heed to Dynamics seems to try to stick to one Dynamic level fortissimo The Las Angeles orchestra seems to create their tone colour through playing very strongly and with feeling The Las Angeles orchestra seem to have harder sharper articulations then the Chicago version

Chicago When the soloists appear in the Chicago version the orchestra draws back and lets them have the dominance of the piece, the Chicago piece does seem be more sensitive to the character of the melody and what Bartok is trying to achieve through this piece The Chicago is a bit slower then the Las Angeles traveling at a more leisurely pace The Chicago orchestra seems to stick somewhat more rigidly to the exact Dynamic marking on the score then the Las Angeles orchestra The Chicago orchestra seems to be more in touch with Bartoks intention for this piece and it shows through the music they produce The Chicago orchestra has softer articulations that harden when told to by the music such as in the interuption

Dynamics

Tone Colour

Articulation

CRITERON FOUR

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