Divertimento for String Orchestra Sz. It was composed in and dedicated to the Basel Chamber Orchestra. Allegro non troppo: Typically 8 minutes long, the opening movement is presented as a waltz with specific gypsy influences evident melodically, through the use of various modes and non-traditional scales, and rhythmically, through the use of irregularly placed accents and extended syncopated rhythms. Metrically, the movement is set in shifting, regular compound meters that at times evoke both a clear or equally murky beat placement.
|Published (Last):||15 November 2009|
|PDF File Size:||15.64 Mb|
|ePub File Size:||14.94 Mb|
|Price:||Free* [*Free Regsitration Required]|
Divertimento[ edit ] The term " Divertimento " Italian for "diversion" denotes a work primarily designed for the entertainment of both the listeners and the performers. The divertimento was popularized in the Classical period by Haydn , Boccherini , and Mozart.
This is a neo-classical work constructed around modal tonalities, but it cannot simply be defined as a modernist work or a strictly neoclassical work. One of the most evident neoclassical characteristics is the treatment of texture. This is reminiscent of the Baroque genre of the Concerto Grosso , where a small group of soloists, the concertino , was contrasted and accompanied by the tutti orchestra, or the ripieno. While baroque tonality comes within reach, the work is for the most part tonally modernistic.
Dynamically, the work features sharp contrasts. The work also utilizes the fugal elements of imitation, fugato , and contains a three voice fugue. Unlike the majority of orchestral scores, the minimum number of players in each string section is specified: 6 1st Violins, 6 2nd Violins, 4 Violas, 4 Violoncellos, 2 Double Basses. Metrically, the movement is set in shifting, regular compound meters that at times evoke both a clear or equally murky beat placement.
There is a clear contrast of textures between a small group of soloists and the tutti orchestra, reminiscent of the Baroque concerto grosso. The melodic material presented by the group of soloists is commonly imitative fugato. The movement is presented in ternary form, another neoclassical influence.
Harmonically and melodically, it is less traditional and less oriented to the neoclassical style than the previous movement, at times, stretching tonality to the brink of atonality. This technique creates a dissonant, foreboding sound that is furthered by sharp dynamic contrasts. The texture is once again varied by contrasts of soloists with the full orchestra, although to a lesser extent than in the previous movement.
Harmonically, this movement is more clearly modal and less dissonant than the previous movement. This movement is full of imitation both as single solo voices and as a full ensemble.
Variation of texture is again achieved by the contrast of solo voices and full orchestra. Within the movement is a full three-voice fugue that culminates in a recitative-like solo cadenza for violin.
This solo evokes a gypsy quality through its rhythmic, harmonic and stylistic inflections. For here I am, as you know, entirely the guest of the Sachers; they see to everything — from a distance.
In a word, I am living alone — in a ethnographic object: a genuine peasant cottage. The furnishings are not in character, but so much better, because they are the last word in comfort. They even had a piano brought from Berne for me… Luckily the work went well, and I finished it in just 15 days a piece of about 25 minutes , I just finished it yesterday… The newspapers are full of military articles, they have taken defense measures on the more important passes etc.
I am also worried about whether I shall be able to get home from here if this or that happens. The first 24 measures contain two highly coordinated allargandi, which serve to exaggerate the slightly off-kilter rhythm and sense of melodic propulsion. Nearly all the solo portions of the first movement are marked piano or mezzo-piano, and are often inserted between forte statements by the tutti strings.
These shifts serve to heighten the lively, spontaneous character of the movement. The second movement includes 14 different metronome markings in only 74 bars of music, with measures 50—54 each having their own metronome marking.
Divertimento for String Orchestra (Bartók)
Samujin The melodic material presented by the group of soloists is commonly imitative fugato. Orchestra Study Score Study Score. This section is empty. Listening CD, 1 disc. Essential Keyboard Repertoire, Volume 5.
Bartók - Divertimento for String Orchestra SZ.113
Faushakar This page was last edited on 19 Octoberat Here is an abundance of unabashed good humor, given emphasis by the cross-rhythms and the brilliance of the string scoring. The work is scored for full orchestral strings. Together with the last of his six string quartets written at about divertimenti same time but introduced later, in New Yorkit brought to an end a remarkably rich period which also saw the creation of the Contrasts for violin, clarinet and piano, and the Second Violin Concerto both composed in Gift Shop Shop Now. Polyphonic writing is a feature of its first section, whose character is predominantly ruminative; the music divertkmento becomes more animated, with piercing little jabs and a pronouncedly Hungarian flavor. Listening CD, divertimenho disc. Program Information Past Commissions Apply. Views Read Edit View history.
Béla Bartók: Divertimento BB 118