Béla Bartók. Music for Strings, Percussion & Celesta, Sz. , BB Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Premiered in , Music for Strings, Percussion and Celesta was an incredibly compelling step forward in transferring these forces into the. Alan Gilbert, Music Director. Music for Strings, Percussion, and Celesta, BB Béla Bartók. Insights Digital Extras. Curated by New York Philharmonic Staff.

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In the Piano Concerto No. In reflection of this, Music srtings Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments.

The work’s prosaic title was actually just a working title which was subsequently allowed to stand. The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note cell, each subsequent phrase growing in length and elaborating on its predecessor.

At this point, the two string orchestras play together. As the string voices accumulate, the fugue’s texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote.


The work subsequently grows from the motivic material explored in this first movement. In the percussion nartok, piano, xylophone, and harp take the lead while two side drums with and without snares provide emphatic punctuation.

Music for Strings, Percussion and Celesta – Wikipedia

The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work’s main theme with its chromatic elements. There are also some stringss touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized.

In the quick coda there is a brief, suspended moment “a tempo allargando” before the work tumbles to a conclusion in unabashed A major. AllMusic relies heavily on JavaScript. Please enable JavaScript sgrings your browser to use the tor fully.

Music for Strings, Percussion and Celesta, Béla Bartók | Articulate Silences

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Music for Strings, Percussion & Celesta, Sz. 106, BB 114

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Béla Bartók: Music for String Instruments, Percussion and Celesta

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