ISSUES OF PREPARING AND PERFORMING THE

SONATA FOR TWO PIANOS AND PERCUSSION BY BLA BARTK

Matthew Sieberg, Masters Candidate





Music Since 1900







UNIVERSITY OF SOUTH CAROLINA
2013

he work of Bla Bartk extended over five decades and we have been left
with many monumental works that are products of his mature style. In no
other piece does he lay out specific instruction for carrying-out the work as
in his Sonata for Two Pianos and Percussion. Bartk had every detail worked out and only a few
complications (those of virtuosity and focus that the piece demands) arose when preparing it with
his selected ensemble members he would tour with. Many elements of the piece are thought to
have been tailored for his wifes preference. It is well known that Bartk made many changes
over the years of the pieces composition, as well as in the years to follow; in my research I will
explore possible reasons for the much extended process. For what purpose did he write the
piece? How is his interest in the origin of folklore presented in the work? Were these goals
accomplished effectively? All of these answers will come to light in this paper. First, certain
historical circumstances need to be addressed, as well as political movements that surely
restricted or at least had strong influences on his output.
Looking back on his own career, Bartk may have considered the most important
elements of his lifelong devotion to music may not have lied in his mass of compositions but in
his work as an ethnomusicologist. His interest in musical traditions, especially those stemming
from Romanian heritage, led his studies in the direction of collecting and dissecting folk tunes.
Rather than studying solely the development of this style, he focused on understanding the
musical values of the different cultures. His interest lied completely in the awakening of popular
peasant songs. His greatest problem was figuring out where this music came from? Bartk felt
that there was something great to be learned from this genre and found it necessary to attempt to
form an anthology of this music. He began looking at collections by earlier musicologists and
aimed to improve or fill-in where needed. This desire for complete historical references
T
consumed most of his attention and, for a time, he
completely neglected his previous duties as a music
instructor, performer and composer. Bartk believed that
true folk music had to be the most instinctive melodies of
the common people because that was the only way to
find the purest forms. He often had trouble when approaching the peasant masses because of
their suspicion that their music was going to be exploited for cheap and humorous purposes.
Bartks nickname soon became The Music Taxman.
Bartk stressed the importance of collectors recording data only from the most isolated
communities. In those instances classical forms and rules are unknown because of the ignorance
of the population. As clarified in Halsey Stevens book, The Life and Music of Bla Bartk,
translating the
melodies to the
standard notation on
the field for later
reference proved to be
very challenging. The
newly invented
phonograph was an effective resource, but Bartk did not have the money or means to transport
all of the selections. Figure 1 shows how awkward it was to notate the melodies. Unpredictable
beat patterns and fermata, sliding through notes and envisioning any type of key/harmony would
be hard to apply.
Figure 1
Ultimately, his research led him to discovering reappearing rhythmic themes. These
themes are apparent in much of his music, especially in the piece at hand. The Sonata for Two
Pianos and Percussion exploits these pulsating and aggressive motives. In the first of the three
movements Bartk has us in compound meter entirely but with a varying amount of beats per
measure and rarely with any strong feeling of a beat (ONE-two-THREE-one-TWO-three-ect.). In
the third movement appears the written 5/8 meter that we come to expect from Bartks music
(ONE-two-ONE-two-three-ect.). His offset beat system and lack of time signature consistency is
a direct descendent of his findings in old folk music.[i] This allowed the singer of the folk tune a
certain amount of freedom to sustain notes by simply adding time to the end of measures and
phrases. However, Bartk doesnt let himself get away with adding notes willy-nilly. His beats
are extended at times and bleed over into the next measure to be accounted for in the few
measures that follow. When we think strictly in rhythmic terms, percussion instruments
accomplish our every need when considering those that do not deal with set pitch. His reason for
writing a sonata for an ensemble comprised of pianists and percussionists may have been to state
the possibilities in rhythmic writing and, perhaps when we consider that the piano is a percussion
instrument, that the notion is echoed by the whole ensemble. There are many more musical
aspects to note in the Sonata but bear in mind this problem of Bartks piece for pianos and
percussion just being a lineup of percussionists. This will be our focus later in this paper.
The first 9 measures of the piece are shown in Figure 2. Already we see the influences of
his ethnomusicology research. No clear time signature can be heard, inconsistent beats per
measure and taking a lot of time in spots are obvious characteristics of folklore influences. To
further develop this introduction Bartk uses a wide range of dynamic markings beginning with
pianissimo and then subito fortes throughout the first movement. The introduction has no
Figure 2, Sonata for two pianos and percussion mm. 1-8
relationship with any material presented later in the piece; it seems as if the first 130 measures
could be completely removed from the rest. This separation is not only acceptable but necessary
in the breakdown process demanded when learning the piece. It is, by far, the slowest portion of
the entire piece. The tension that is created by the repeated motive is also unparalleled.
Bartks endless interest in classic works, such as those by J.S. Bach, Ludwig v.
Beethoven and Claude Debussy becomes evident in his own compositions structures. For
Figure 3, entrances beginning at mm. 332
instance, once past the introduction to the opening of the first
movement the format is clearly in sonata form. Themes are
introduced and manipulated in the exposition and
development. Of course the music within the development
section doesnt center on harmonic progression like
we find in Beethoven but rather thematic
alterations that pave way into Milton Babbits
techniques by using the short atonal melodies in way of
inversion and retrograde. For instance, the opening passage is
in the Piano I part and repeats three times before continuing to
develop while Piano II enters with that same theme but
transposed down by a whole step. By delaying
entrances to produce a canon-like texture and
transposing the theme to just about every key we are reminded of the
techniques of Bach. When the main theme finally enters,
we are moved from a dark and slow to a lively and anxious
character. The recapitulation of the first movement mimics
that theme two hundred bars later in what seems to be reminiscent of a canon. When the score is
dissected closer it is easy to observe how Bartk followed the exact guidelines of a fugue by
having voices entering by fifths. Figure 3 thoroughly illustrates the order and pitch in which the
instruments enter beginning with Piano II left hand then right hand, the side drum without snare
then contributes a rhythmic imitation of the motive, Piano I left hand then right, snare drum,
Xylophone and then timpani. The first movements thickened texture then comes to a thrilling
halt.
The second movement was probably the movement of this piece that was the most ahead
of its time. The dissonances at the start of this movement are so great that the character almost
comes across as humorous. The
slow and clumsy chords
gradually lead the piece in a
new direction: ethereal. A mess
of glissandos, some written out
chromatically and others denoted by slashes strewn from the bottom to the top of the staff, in
both pianos begin to create an atmospheric quality that seems to emulate the style of Debussy
(Figure 4). Overall, this movement is a very spiritual experience. Unlike the first movement,
Bartk encourages the performers to take many liberties with tempos and phrases in this one, so
though it may be the least intimidating of the three movements it certainly has the most variety
from performance to performance. There is a tempo change every other bar and rubatos and
ritardandos appear throughout.
Much to the listeners surprise, the third movement of the Sonata
begins in the key of C major. This movement is very grounded when we think
in terms of harmonic and structural development. The responsibilities of the
C triad tremolo is thrown back and forth between the pianos and persists well
into the movement (Figure 5 shows the measure that is repeated throughout
the majority of the movement). Underneath the tremolos is a duet between the precussionists on
the Xylophone and Timpani. These two instruments are favored throughout the work but its
Figure 5, mm. 59
Figure 4, beginning
pianos patterns
most obvious in the final movement. In Bartks instructions he lists nine different percussion
instruments that the two percussionists are responsible for. He notes that the person manning the
timpani will not contribute to the Xylophone part and vice versa to the Xylophonist. The
remaining instruments are alternated between the percussionists when appropriate.
In regard to Bartks constant musical references to Bach, he could be considered the
collective composer of the twentieth century in that he uses a culmination of style and techniques
by past composers. I do not doubt that those composers achieved the highest level of their
systems but Bartk is owed credit for combining the methods. The appropriate placement of tone
and rhythmic patterns give us even more insight to his aim for perfection. But to say that the
main importance of Bartks work was that his output was a culmination of all that has been
offered in previous years is arbitrary. In a way, when we consider that a composer can only work
with the past that is applicable to them. Bach couldnt compose music as dramatic as Beethoven
because he didnt have the instruments to compliment it. Beethoven couldnt incorporate non-
functional harmonies in his music because dissonances needed another century to evolve. The
eccentricities that develop through time only benefit the composers who identify their collective
potential after-the-fact.
This business of the golden mean (also referred to as the golden section and golden
ratio) and its significance is a peculiar thing. The appeal of this idea makes perfect sense but is
given too much merit. The thought that something should diminish in excitement faster than it
has built up holds obvious benefits. Composers didnt use the golden mean to simply apply
Figure 6
mathematics and sophistication to their music; rather they understood how attention spans
worked. If the climax comes too early, the focus of the audience dissolves before the end of the
piece. If the climax comes at the very end of the piece then the endorphins that have been
building up to that point are wasted instead of being
exploited by further material, bettering the experience.
The concept that an event or thing should use more
space growing than it does fading away is universal to
many aspects. Consider the neck of a pop bottle; the majority of the item is contained from the
bottom and up while nearing the very top the circumference gradually shrinks. The string
instruments of our orchestra heed to the golden mean too. The body is 61.8% of the bottom part
of the instrument, if you times that measurement by .618 you will discover the remaining
distance of the instruments length. My apartment building abides by this rule; the roof begins its
slope to the
houses 25ft
peak at 15.5ft.
Is the
construction
crew to be
showered with
praise for their cleverness? Bartk made it publicly known that he was using this system in many
of his pieces but there is no brilliance in this aspect. The idea that B relates to A as C does to B is
utterly coincidental. The purpose of this ratio has to do only with the practicality of its use in an
efficient manner. Sympathy should be expressed for those who have wasted their time dedicating
Figure 7
lectures and websites to the appearance of this ratio in everyday life (i.e.
www.goldennumber.net). The Sonata for Two Pianos and Percussion is a brilliant piece because
of its contents captivating momentum and thrilling virtuosity, not because of a feeling that there
is a perfect amount of time from the beginning to the climax and then to the end of the first and
last movements.
The type of ensemble that Bartk has chosen to write this piece for also raises question as
to what effect he was striving for. My first question in point is why two pianos? Perhaps it is
the elitist mentality that we pianists are
plagued with. A sonata for (one) piano and
percussion seems much more appealing as a
performer. Im reminded of the Stravinsky score; Petrushka. First composed for orchestra, then
piano four hands and then, impossibly, piano solo. Could Bartks Sonata still hold its integrity
if there were to be just one beefed-up piano part and the addition of percussion instruments and
players? Not to say that there is an overpopulation of percussionist with nothing to do but stand
around the horseshoe of a piano and feed a guys ego for twenty minutes but it does make me
wonder what the ramifications were for the two pianos. It could have been a plug for his wife,
who hadnt touch a piano outside of her own country.
Bartk was known for holding his wife in very high
regard and sang her praises at every chance, all the
while dismissing percussionists because of their
supposed inadequate preparation.[ii] He may have
wanted a more humbling approach that would tone
down the power-hungry pianists who feel that once
theyve played a piano score, like Petrushka, that theyre entitled to a status of intellectual
greatness. Nonetheless, as plausible as a piano reduction may be, Bartk chose two separate
pianos. The timbre of percussion instruments is endless. The pianos tones are consistent and
limited. Within all of his compositions Bartk, like few others, acknowledged the pianos
potential for new sounds. A large portion of his solo piano music is already in the percussive
realm. Is the Sonata for Two Pianos and Percussion the brainchild of piano innovation? As
bombastic as we know Bartks piano music can be, that character is not present in the piano
parts of this sonata rather, they prance along complimented by drums and cymbals. His solo
piano repertoire already contains a lot of percussive elements such as low trills, piercing sfz, and
very complicated rhythms. Bartk created a hierarchy of instrument exploitation through this
piece.
In conclusion, performances of this piece are few and far between; successful
performances are even farther between. All of the players must have a thorough understanding of
Bartks intentions in order to execute this work properly. The first movement alone presents a
large scope of technical difficulty and analytical innovation but together with the second
movement they set up the energy and excitement of the last movement making the work a well-
rounded experience. The canonic elements counterpoint, fugal material and use of pentatonic
harmonies are what make this piece so appealing but the items of discussion dont stop there.
The peculiar ensemble chosen, the significance of the Fibonacci sequence and the constant
references to his predecessors, as discussed, can be argued as displays of genius or as clever
plugs the composer thought to grace us with.





Sources:
[i] Suchoff, Benjamin. Bla Bartk Essays, edited
[ii] Schneider, David. Bartk and His World, compiled essays
Stevens, Halsey. The life and music of Bla Bartk
Chalmers, Kenneth. Bla Bartk
www.goldennumber.net
Notes for Performing the Sonata for Two Pianos and Percussion by Bartk
Score images provided by Boosey & Hawks Music Publishers
Audio references of the 2008 CBS Masterworks recording featuring Solti, Perahia,
Glennie and Corkhill