Zeke Lajos

(5 találat)
# Cím Abstract Folyóirat Oldalszám
Az Op.111 Ariettjtl a Zene fgjig : a bartki kozmikus kvintspirl beethoveni elkpe abs.
From the Arietta of the op. 111 to the Fugue of the Music
Bartk’s Cosmic Spiral of Fifths and its Beethovenian Prototype
Lajos Zeke

The majority of Bartk scholars perceives in the opening movement of the Music for strings, Percussion and Celesta an act of developing the inherent principles of Bachian counterpoint to their logical conclusion. Whereas one finds sporadic allusions to the fugue’s extreme motivic concentration as direct evidence of Beethoven’ s influence, the latter is more often seen in terms of a deeper spiritual kinship between the two composers which left its mark more at the level of musical dramaturgy than on the visible surface of the piece’s structure. However, it is likely that Bartk had no need to depend on Bach for guiding the implicit formative tendencies of this genuinely Beethovenian creative impulse to their full realization in the novel design of the Music’s fugue. A careful analysis of his last piano sonata movement (the Arietta of op. 111) suggests that it was Beethoven who initiated the symmetrical “double-arm” growth pattern of spiraling fifths as a quasi-consciously employed structural blueprint. The pattern is only quasi-conscious since Beethoven’s deliberate efforts were presumably limited to the domain of meter and phrase-structure which bears only a partial imprint of the full pattern. We cannot even be certain whether he realized that by grouping the beats and the bars along the “waxing and waning” (i.e., positive and negative) powers of three he, in effect, reproduced a double-path version of the chain of fifths in the realm of inaudible frequencies. That the same pattern simultaneously emerged at the level of audible frequencies in the Arietta and that the two spirals spontaneously joined arms at the threshold of hearing – these were almost certainly outcomes utterly unplanned by him. These fascinating phenomena must be manifestations of the autonomous subliminal dynamics of the formative forces which brought the piece into being. Similarly, it may well be the case that the Arietta’s extraordinary formal economy exerted its inspiration on Bartk more along the concealed pathways of intuition than through conscious observation. In the paper the question of demonstrable influence is not raised, the attention is focused on analizing the Beethoven piece and exhibiting its structural ties with the Bartk movement.
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