1ShouldersofGiants

StandingontheShouldersofGiantsTheInfluenceofBach,BeethovenandDebussyonBélaBartók’s

CompositionalTechniques

DennisBelisle

UniversityOfTennessee,Knoxville

21January2019

AuthorNote

ThiscomprehensiveexamwaspreparedusingChicagoformatandinfulfillmentofthepromptprovidedbyDr.DavidBrunell.

2ShouldersofGiants

BélaBartókwasaHungarianpianist,teacherandcollectorofEasternEuropeanand

MiddleEasternfolkmusicaswellasbeingconsideredoneofthegreatestcomposersofthe20th

century.WithBartók,aswithvirtuallyeverycomposer,alineageofinfluencecanbetracedof

predecessorsthatinspired,provokedandpropelledthecomposer.Whilethismightbe

consideredacontinuationoftradition,Bartóktransformedtheseinfluencesintosomething

uniquelypersonal.1Groutwrites,“Bartók’sidealwastoexpress,intwentieth-centuryterms’

Bach’stextureofcontrapuntalfullness,Beethoven’sartofthematicdevelopment,and

Debussy’sdiscoveryofthesonorous(asdistinctfromthefunctional)valueofchords.”2When

speakingtoSergeMoreux,Bartokstates,“AgainandagainIaskmyself:Canonemakea

synthesisofthesethree(thatisBach,Beethoven,andDebussy)andmakeitalivingoneforthe

moderns?”3Throughresearchandscholarship,Iintendtomaketheargumentthatindeed,

BartókwasinfluencedbyBach,Beethoven,andDebussyinhiscompositionalprocess

expandingoneachofthesecomposers’particularcompositionaltechniques.

AlmosteverycomposerofthenineteenthcenturyregardedBeethovenasaleaderin

thecompositionofromanticmusic,buthisinfluencehadsufferedinthetwentiethcenturydue

totheextremereactionagainstthemusicoftheromanticera.InanessayauthoredbyBartók,

hestates,“Atthebeginningofthetwentiethcenturytherewasaturningpointinthehistoryof

modernmusic.TheexcessesoftheRomanticistsbegantobeunbearableformany.Therewere

composerswhofelt…thisroaddoesnotleadusanywhere;thereisnoothersolutionbuta

1BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,199.2DonaldJayGroutandClaudeV.Palisca,AHistoryofWesternMusic.3dEd./withClaudeV.Palisca..ed.NewYork:Norton,1980.6873ToddCrow.BartókStudies.DetroitReprintsinMusic.Detroit,Mich:InformationCoordinators,1976.93

3ShouldersofGiants

completebreakwiththenineteenthcentury.”4However,Bartókowedandadmittedadirect

allegiancetoBeethoven.Bartok,speakinginhisownwords,presentedhisgeneralfeelings

towardsBeethovensaying“Inmyyouth,myidealofbeautywasnotsomuchtheartofBachor

ofMozartasthatofBeethoven.”5

AnimportantmethodofBeethoven’scompositionaltechniqueishisexpansiveand

imaginativetreatmentofshort,elementalmotivicideas.OnBartok’schoiceofthematic

material,Stevensremarksthat“Bartok’sthemesare…chosenfortheirmotivicrichnessandthe

possibilitiesoffragmentationandrecombination…themethodsareclearlyBeethovenian.”6At

theopeningofthefirstmovementofBeethoven’sStringQuartet,op.132,thecomposerutilizes

ashort,four-notethemeconsistingoftwosetsofminor2ndswithinacontourofadiminished

7th{fig.1}.Withinthesetwointervalsliethethematic,transitional,anddevelopmentaspects

oftheentiremovement{fig.2a–2c}.7InBartok’sstringquartets,thereliessimilarmotivic

material.IntheopeningofhisStringQuartetNo.4,Bartókusesafour-noteopeningconsisting

oftwosetsofminor2ndintervalswithinacontourofadiminished7th{fig.3}.Bartokusesthis

samedoubleminor2ndmotifinthefirst2barsofstringquartetno.3{fig.4}.Throughoutthe

ThirdQuartet,Bartókpullsdevelopmentmaterialfromtheseintervallicelements.8

ThestructuraldesignsofBeethoven’slatestringquartetsstemfromthedevelopmentof

smallmotivicideas.Throughmelodiccontour,rhythmand/orintervallicrelationships,

4BélaBartók,'TheInfluenceofPeasantMusiconModemMusic',Essays,ed.Suchoff,3405HalseyStevens,TheLifeandMusicofBélaBartók(London:OxfordUniversityPress,1967rev.ed.)231-326Stevens,1967,2617FrankSpinosa,BeethovenAndBartok:AComparativeStudyOfMotivicTechniquesInTheLaterBeethovenQuartetsAndTheSixStringQuartetsOfBelaBartok(Illinois:UniversityofIllinoisatUrbana-Champaign,ProQuestDissertationsPublishing,1969),30-318Spinosa,1969,120-121

4ShouldersofGiants

Beethovenusesthesesmallmotivicideasresultinginalineofmotivic-thematicgenerationin

whichthereiscontinuousphrasedevelopmentthroughoutthemovementsandeventheentire

quartetattimes.StevensremarksonBartok’smotivicdesignstating,“Characteristicthroughout

[theBartóksixquartets]isthemotivicwork—theconstructionofentiremovementsorofentire

worksfromminutemusicalfragments,constantlyvaried,extended,transformed…[Bartók’s]

motives,frequentlyoftwoorthreenotesonly,areincontinuousstateofregeneration.They

groworganically;theyproliferate;theevolutionaryprocessiskinetic.”9Thesmallmotiveused

inthedevelopmentofandconstructionofentiremovementsorwholeworkswascommonto

bothcomposers.

TheuseofmotivicfragmentsasostinatofiguresisanotherexampleofBeethoven’s

influenceonBartók.InBeethoven’sStringQuartetinFminor,op.95,thefirstfivenotesofthe

openingbarinmov.I{fig.5}reoccurfrequentlyasanostinatointheViolinII,ViolaandCello

partsthroughoutthemovement{fig.6a&b}.Thesametechniqueisfoundintheop.132of

Beethovenusingtheminor2ndmotivefoundinfigure1frommov.5asanostinatolaterinthe

movement{fig.7}.10ThissametypeofmotivicusecanbefoundinBartok’sFourthString

Quartetwhenthematerialfoundinthecellopartinm.7ofmov.I{fig.8}canbefoundinthe

innervoicesplayedinm.59asanostinato{fig.9}.TheFifthStringQuartetofBartókprovides

anotherexampleofthiswiththeopeningstatementofahalf-stepintervallicrelationshipin

mov.IVwhichisexpandedintoanostinatofigureforthecelloandviola{fig.10a&b}.11

9HalseyStevens,TheLifeandMusicofBélaBartók(London:OxfordUniversityPress,1967rev.ed.)17310FrankSpinosa,BeethovenAndBartok:AComparativeStudyOfMotivicTechniquesInTheLaterBeethovenQuartetsAndTheSixStringQuartetsOfBelaBartok(Illinois:UniversityofIllinoisatUrbana-Champaign,ProQuestDissertationsPublishing,1969),19311Spinosa,1969,194

5ShouldersofGiants

Thereiscompellingevidenceasidefromthatofthematicdevelopmentwhichsuggests

Beethoven’sinfluenceonBartók.Bartók’sThirdPianoConcertodrawsmanysimilaritiesto

Beethoven’sStringQuartetinAminor,op.132.InthesecondmovementoftheThirdPiano

Concerto,BartókmaterialisverysimilartoBeethoven’sOp.132MotoAdagiomovement{fig.

11a&b}.12Bóniswritesaboutthisrelationshipstating,“Bartókadoptsnotonlythemotivebut,

also,themethodofconstruction,contrastingchorale-likehomophonicpartswithimitative

ones.”13AnotherexampleofBeethoven’sinfluencecanbeseenintheopeningofBartok’sSixth

StringQuartet.ThesimilaritiesarestrikingwhencomparedtotheopeningofBeethoven’s

StringQuartet,Op.133.BothpiecesstartonG,lastfortenmeasureswithafermataseparating

thefirsttenmeasuresfromthenextentrance.Thisisfollowedbytwostatementsofthesubject

butarediminutionsofthesubjectasitappearsatthebeginning{fig.12a&b}.14

SeveralpiecesofevidencesuggestBartókwasinfluencedbytheworkofBeethoven.

Throughmotivicdevelopmentandsimilaritiesincomposition,aswellasfromBartók’sown

words,apictureispaintedofacomposerwhoadmiredhispredecessorandusedhis

compositionaloutputtoforgeameaningfulpathtowardfindinghisownvoice.ClaudeDebussy

wasalaterinfluenceonBartók.OfDebussy,Bartokstates,“Debussy’sgreatservicetomusic

wastoreawakenamongallmusiciansanawarenessofharmonyanditspossibilities.Inthathe

wasjustasimportantasBeethovenwhorevealedtousthemeaningofprogressiveform,and

asBachwhoshowedusthetranscendentsignificanceofcounterpoint.”15

12MarkA.Radice,“Bartok’sParodiesofBeethoven:TheRelationshipBetweenOpp.131,132and133andBartok’sSixthStringQuartetandThirdPianoConcerto,”MusicReview42(1981):255.13FerencBónis,"QuotationsinBartók'sMusic.AContributiontoBartók'sPsychologyof Composition,"StudiaMusicologicaAcademiaeScientiarumHungaricae5,no.1/4(1963):369.14Radice,1981,256.15SergeMoreux,BélaBartók.Paris:Richard-Masse,1955.

6ShouldersofGiants

Debussy’smusicwasbroughttotheattentionofBartókattheinstigationofZoltán

Kodályin1907.BothBartókandDebussywerefascinatedbymusicoutsidetheimmediate

Europeanheritage:folkmusic,plainchant,themusicoftheRenaissancemastersandJavanese

music.16ThereismixedscholarshipontheimpactthatDebussyhadonBartók’swriting.Cross

believesthatalthoughtherearemanypointsofcontactbetweenthemusicallanguagesofboth

composersincludingpentatonicism,modalityandoccasionalwhole-tonepassages,“Bartók

usedthesedevicesinanentirelypersonalmannerandarenotatallinfusedwithDebussy’s

styleasonewouldexpectiftheyhadbeenprimarilytheoutcomeofastudyofhismusic.”17

NissmanbelievesthattheFourDirges,op.9AbyBartók“arepureDebussy,reflectingthe

Frenchcomposer’suniqueapproachtocolorandhisindividualconceptoftimeandspace.”18

Nissman’sscholarshiponthesetwocomposersiswhereanattempttomakesomeconnections

betweenthesetwocomposerswillstart.

Indeed,whenlistenedtosidebyside,theFourDirgis(Quartrenénies),op.9AofBartók

resemblesthemoodandastheticofDebussy’sClairdelune{fig.13}.Nissmanstates,“fromthe

firstchordsoftheopeningdirge,evokingmemoriesofClairdelune,Debussy’spresenceis

overwhelming…thereisnodoubtthattheimpressionist’scanvaswasthemodelforthese

soundscapesandinspiredthepianisticcolorandpedaleffectsbytheperformer.”19Thispiece

revealssignificantconnectionswithDebussy’swork,bothwiththeuseofaFrenchtitleand

16AnthonyCross,"PortraitofDebussy.2:DebussyandBartók,"TheMusicalTimes108,no.1488(1967):126-127.doi:10.2307/953925.17Cross,1967,12718BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,200.19Nissman,2002,206

7ShouldersofGiants

withtheprominentuseofpentatonicformations.20InseveralpiecesfromMikrokosmos,the

influenceofDebussyispresentasseeninDividedArpeggios(143)whichshowsDebussy’scolor

andpedalingtechniquefromhisTwelveEtudesof1915aswellasMinorSeconds,Major

Sevenths(144)whichemploysparallelchordsreminiscentofDebussy’s‘Pagodes’ofEstampes.

InBartók’sOutofDoorsforpiano,theimpressionistfourthpiece,MusiqueNocturnes,

incorporatesseveralstylisticfeaturesofDebussy’sPreludesforpiano{fig.14a&b}.21Bartók’s

stylisticcompositionalqualitiesshiftedaftertheintroductionofDebussy’smusicin1907.

WhetherthisshiftwasspecificallyDebussydrivenorwhetheritwasthefactthatboth

composershappentocrosspathsmusicallywiththeirinterestinHungarianpeasantmusic,itis

clearthatBartókappreciatedDebussy’simportanceincompositionandthatBartók’sown

compositionsreflectedthatappreciation.

TheinfluenceofDebussyandBeethovenhadatangibleeffectonBartókduringdifferent

stagesofhiscompositionaloutput.Nissmanstates,“WhereasLisztgaveBartókthenecessary

toolswithwhichtocrafthistrade,Bach,Beethoven,andDebussyprovidedhimwiththe

musicalmodels.”22InregardtotheinfluenceofJ.S.BachonBartók,thereislessscholarshipon

theinfluenceofBachonBartók’scompositionalstylethanthatofBeethovenandDebussy.

Bartók,whohadspokenaboutBachinaninterviewfrom1925,expressesthatthemusicofJ.S.

Bachwastobecomeamoreandmorefavoredpointofreferencethatgraduallyemergedfor

Bartók.Referringtohischosen[influence]modelinhiscommentsbyletteronPercyGrainger's

20ElliotAntokoletz,TheMusicofBélaBartók:AstudyofTonalityandProgressioninTwentieth-CenturyMusic,Berkeley,California:UniversityofCaliforniaPress,1984,321BenjaminSuchoff,BélaBartók:LifeandWork,Lanham,Md.:ScarecrowPress,2001,10622BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,200.

8ShouldersofGiants

article"MelodyversusRhythm"publishedintheMusicalNews,Bartókwrites,

“[...]Ifeelanequaljustificationforbothkinds[RhythmandMelody]andIconsiderthe

mostperfectmusicalworkthatinwhichbothkindsareblended.Andthiswork,insofar

asmyknowledgeandconsciousnessgoes,isthatofJ.S.Bach.”

ThisstatementunmistakablyshowswhatgreatimportanceBartokassignedtotheproblem

itselfofauniversalmusicallanguagethathe,bythen,seemstohaveexclusivelyacknowledged

inJ.S.Bach'smusic.23WithBartok’scontributiontopianopedagogywithhiseditionofBach’s

Well-TemperedClavier,insofarasBartók’sknowledgeandunderstandingofBach’s

compositionaloutput,hewascertainlywellversedinthemusicofJ.S.Bach.

ThefirstexampleofBach’sinfluenceonBartók’scompositionaltechniquecanbeseen

inthecomposers’two-partcanonwriting.InBach’schoraleprelude,WirChristenleut,the

effectofthetwo-partcanonisthatofahazyandindefinitetonality.Incontext,thecanonat

theopeningofBartók’sFirstQuartetseemslikethatofBach{fig.15a&b}.24Next,theopening

barsofBartók’sCantataProfanafordoublemixedchorus,tenorandbaritonesoloists,and

orchestra,writtenin1930,wereinspiredbythebeginningportionofBach’sSt.Matthew

Passion{fig.16a&b}.25Bartókwasrecognizedasamasteroftheartofformalconstructionand

amasteroftheartofcounterpoint.26J.S.Bachwasthesuprememasterofcounterpointand

waswidelyrespectedinthefieldoftheformalconstructionofform.Certainly,withthisin

mind,Bach’sinfluenceonBartókwasimportanttothecomposer.

23LászlóVikárius,"BélaBartók's"CantataProfana"(1930):AReadingoftheSources."StudiaMusicologicaAcademiaeScientiarumHungaricae35,no.1/3(1993):30124BernardRands,“TheUseofCanoninBart6k'sQuartets,"TheMusicReview18(1957):185.25BenjaminSuchoff,"BélaBartók:TheMasterMusician,"MusicEducatorsJournal68,no.2(1981):37.26RobinHawthorne,“TheFugalTechniqueofBélaBartók,”TheMusicReview10(1949):277

9ShouldersofGiants

CounterpointmadeitsemphaticappearanceinBartók’scompositionaloutputasa

reactiontotheneoclassicaltendencyin1926.27InBartók’sNineLittlePianoPieces,BookIis

comprisedofaseriesoffourcontrapuntalexercisesálaBach,titledtheFourDialogues.These

Dialogues,specificallythefirstcanon{fig.17},canbecomparedtoBach’stwo-andthree-part

inventions.InBartók’smonumentalpianoworkMikrokosmos,thereexistsoneclearpieceof

evidencesuggestingBach’sinfluenceonBartók.Asthetitleimplies,HommageáJ.S.Bach,no.

79,adherestomanyattributesofthemusicofJ.S.Bach,composedinaclearcontrapuntalstyle

andreminiscentofthelittlepreludesofBach.Finally,SeibersuggeststhatBartók’sincreased

interestinBach,whichbeganinthe1920’s,culminatedinhisSonataforSoloViolinwhich

showsclearevidenceofBach’sinfluenceonthecomposer.Hestates,“indeeditisdifficultto

imagineanyonewritingaSoloViolinSonatatodaywithoutbeingconsciousofthegreat

exampleofBach.”28Bartok'swholecareerisalongingforcounterpoint...hisstudyofBach

helpedhimalthoughitcouldnotmakeupforthelackofaregular,carefullygradedtrainingin

counterpoint.29

WithBach,DebussyandBeethoven,Bartókfoundmastersofparticularcompositional

techniqueswhichheexploitedinhisownwaytocreateacanvasallhisown,transforminghis

influencesintosomethinguniquelypersonal.Whetherthecounterpointtechniqueshewasso

admiredforcamestrictlyfromBach,thethematicdevelopmenttechniquesstrictlyfrom

Beethovenortheuseofpentatonic,modalandwhole-toneformationsfoundinhismusic

27LászlóVikárius,"Bartók'sLateAdventureswith‘Kontrapunkt’,"StudiaMusicologicaAcademiaeScientiarumHungaricae47,no.3/4(2006):400.28MátyásSeiber,"BélaBartók'sChamberMusic."Tempo,no.13(1949):30.29LászlóVikárius,"Bartók'sLateAdventureswith‘Kontrapunkt’,"StudiaMusicologicaAcademiaeScientiarumHungaricae47,no.3/4(2006):410.

10ShouldersofGiants

strictlyfromDebussyisintheeyeofthebeholder.Throughscholarshipinthisessay,a

convincingargumenthasbeenmadetosuggestthatallthreeofthesecomposershadsome

influenceonBartók.FromBartókhimself

“Imuststatethatallmymusicisdeterminedbyinstinctandsensibility;nooneneedask

mewhyIwrotethisorthatordidsomethinginthisratherthaninthatway.Icouldnot

giveanyexplanationotherthanIfeltthisway,orIwroteitdownthisway…thisattitude

doesnotmeanthatIcomposedwithoutsetplansandwithoutsufficientcontrol.The

planswereconcernedwiththespiritofthenewwork…allmoreorlessinstinctively

felt.”30

Themetaphorofdwarfs‘standingontheshouldersofgiants’expressesthetruemeaningof

whatitistobeacomposer…discoveringtruthbybuildingonpreviousdiscoveries.BélaBartók

foundthattruthandnowhisshouldersaretheshouldersofagiant.

30BarbaraNissman,BartókandthePiano:APerformer'sView.Lanham,Md.:Oxford:Scarecrow,2002,1.

11ShouldersofGiants

FIGURES–MusicExamples

dim7th m2nd m2nd

Fig.1–BeethovenStringQuartet,Op.q32,mov.I,mm.1-4.

dim.7th dim.7th

Fig.2a–BeethovenStringQuartet,Op.132,mov.I,mm.9-10.{violinItrebleclef}

Dim.7th

Fig.2b–BeethovenStringQuartet,Op.132,mov.I,mm.247-250.{StandardStringquartetclefs}

12ShouldersofGiants

dim.7th dim.7th dim.7th

Fig.2c–BeethovenStringQuartet,Op.132,mov.IV,mm.40-44.{trebleclef}

m.2nd m.2nd dim.7th

Fig.3–BartokStringQuartetNo.4,mov.I,mm.1-2.

Fig.4–BartokStringQuartetNo.3,mov.1,mm.1-2TheintervalbetweenthetwonotesinthecelloandtheintervalbetweentheviolaandtheviolinIIconsistoftwominor2nd

13ShouldersofGiants

Fig.5–BeethovenStringQuartet,Op.95,mov.I,m.1.

Fig.6a–Exampleoffig.5asanostinatofigureplayedbytheviolainop.95,mov.I.{altoclef}

Fig.6b–Exampleoffig.5asaquasi-ostinatofigureplayedbytheviolinIIandViolainop.95,mov.I.{treble&altoclef}

Fig.7–BeethovenStringQuartet,op.132,mov.V–anexampleoftheviolinIIusingthematerialfromfig.1asanostinato.Usingtheintervalofam2nd.{trebleclef}

Fig.8–BartokFourthStringQuartet,mov.I.Thecellopartinm.7.{bassclef}

14ShouldersofGiants

Fig.9–BartokFourthStringQuartet,mov.I.Materialfromfigure8beingusedasanostinatofigure.{violinI&IItrebleclef}

Fig.10a–BartokFifthStringQuartet,mov.IV,m.1-2.{violinItrebleclef}

Fig.10b–BartokFifthStringQuartet,mov.IV,mm.64-66–anostinatofigureexpandedoutofthematerialinfigure10a.

15ShouldersofGiants

Fig.11a–BeethovenStringquartet,Op.132,MoltoAdagio.

Fig.11b–BartokThirdPianoConcerto,adagioreligioso

16ShouldersofGiants

Fig.12a–BeethovenStringQuartet,Op.133,Firstseveralbarsofmov.1.

Fig.12b–BartokSixthStringQuartet,Firstseveralbarsofmov.1.

17ShouldersofGiants

Fig.13a–Bartok’sFourDirges,op.9A,No.1.Theopeningfewmeasures.

Fig.13b–Debussy’sClairdelune.Theopeningfewmeasures.

18ShouldersofGiants

Fig.14a–ExcerptfromBartok’sMusiqueNocturnesfromOutofDoors.

Fig.14b–ExcerptfromDebussy’sPianoPreludes,X.

19ShouldersofGiants

Fig.15a–J.S.Bach.OpeningofChoralePrelude‘WirChristenleut’.

Fig.15b–BélaBartók.OpeningofFirstStringQuartet.

Fig.16a–J.S.Bach.OpeningmeasuresofSt.MatthewPassion.

20ShouldersofGiants

Fig.16b–BélaBartók.OpeningmeasuresofCantataProfana.

Fig.17–Measures1-5ofBartók’sFourDialogues,no.1fromNineLittlePianoPieces

21ShouldersofGiants

Fig.18–OpeningofBartok’sMikrokosmos,no.79.

22ShouldersofGiants

BIBLIOGRAPHY

Antokoletz,Elliott.TheMusicofBélaBartók:AStudyofTonalityandProgressionin Twentieth-centuryMusic.Berkeley,California:UniversityofCaliforniaPress,1984.

Bartók,Béla,andSuchoff,Benjamin.BélaBartókEssays.NewYorkBartókArchiveStudiesin Musicology;No.8.NewYork:St.Martin'sPress,1976

Bónis,F."QuotationsinBartók'sMusic.AContributiontoBartók'sPsychologyof Composition." StudiaMusicologicaAcademiaeScientiarumHungaricae5,no.1/4(1963):355-82. doi:10.2307/901555.

Cross,Anthony."PortraitofDebussy.2:DebussyandBartók."TheMusicalTimes108,no.1488 (1967):125-31.doi:10.2307/953925.

Crow,Todd.BartókStudies.DetroitReprintsinMusic.Detroit,Mich:InformationCoordinators, 1976.

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