Скачать с ютуб Béla Bartók - BB 124, Sz.117 Solo Violin Sonata (original version) (1944) (Score, Analysis) в хорошем качестве

Béla Bartók - BB 124, Sz.117 Solo Violin Sonata (original version) (1944) (Score, Analysis)

BB 124, Sz.117 Szonáta szólóhegedűre/Solo Violin Sonata (1944) Béla Bartók (born Bartók Béla Viktor János) (1881-1945) is one of the most important composers of the earlier half of the 20th century. His works can be divided roughly into four periods, each with unique colors. The first period is reminiscent of Strauss and Wagner, in a late romantic idiom. The second period utilizes folk music and modern harmonies reminiscent of Schoenberg and Debussy. The third is characterized by mathematical elements and conquest for unique harmony. The last period is characterized by the simplification of textures. His best-known works include the second violin concerto, six string quartets, second piano concerto, concerto for orchestra, and music for strings, percussion, and celesta. I have uploaded the Menuhin edition of the solo violin sonata (the composer's ossia version), which eliminated the quarter tones. As the ossia was by the composer himself, whether to play the quarter tone or not is totally a preferential question now. However, for a comparison purpose, I am also uploading the version with the quarter tones, so that you can choose which one you like better. For me, I like quarter tones better, since I think it adds to the ambiguous tone of the final movement, like a bug fluttering. (0:00) Mov.1 Tempo di Ciaccona - T1. Titled "In Chaconne tempo", it is actually a sonata. This theme is chaconne/sarabande style. (1:11) Transition, filled with 6ths. (2:15) T2. Folk-flavored, with the 4th interval. (4:20) Dev. T1, Var.1 (4:58) T1, with unusual intervals (5:13) T1 (5:22) T1, with counterpoint and modern harmonies. While filled with dissonances, there is still something distinctly folksy about it. (5:48) T1, now with open strings. (6:25) A transition similar to the transition of the exposition. (6:49) Recap, T1. (8:02) Transition, with repeated notes reminiscent of the episode at 5:48. (9:12) T2 (10:10) Coda. Based on T1. Concludes the movement quietly. (11:36) Mov.2 Fuga, Risoluto, non troppo vivo - A 4 voice fugue, with free structure. (12:25) Episode 1, with inversions and alternations. (13:04) Ep.2, with arpeggios. (13:26) Ep.3, theme in various registers. (13:49) Ep.4 (14:17) Theme, alternating with pizzicato, low register notes, etc. (15:26) Transition, with whole-tone scale (15:45) Theme, extremely pained. (16:02) Quasi-coda. Last statement of the theme. (16:32) Mov.3 Melodia, Adagio - ABA form. According to the composer, it is possible to use mute in all parts, or just the later part. A section features dark, yet lyrical melody. (20:07) B. The middle section features wide intervals and tremolos that give "night music" mood. (22:15) A (24:52) Mov.4 Presto - This movement is a cross between perpetuum mobile and rondo. The first melody (A) is insect-like, ambiguous. (25:49) B. First folk element. Very broad, in sharp contrast to A. (27:18) A. in 5ths (28:02) C. Second folk element. Lyrical. (28:55) B (29:15) A (29:25) B (30:16) C, which leads to a rather triumphant conclusion in G major. Source: English/Hungarian Wikipedia, prefaces from 1994 B & H Urtext Edition, , original research Recording by Isabelle Faust This video is for a non-commercial purpose (I do not get any profit from this video), and I do not own the score or the music. If there is an advertisement, it is not by me; it is by Youtube. If you are the rightful owner and want this video removed, please contact me, and I will promptly remove it.