Béla Bartók: Hungarian Pictures

The section explores the composition Hungarian Pictures by Béla Bartók.

Key Points About Bartók:

• Béla Bartók (1881–1945) was a Hungarian composer and ethnomusicologist. His works often integrate the folk music of Hungary and Eastern Europe, which he meticulously collected and transcribed during his career.
• He is considered one of the most influential composers of the early 20th century, known for his innovative use of folk elements, as well as his pioneering techniques in rhythm and harmony.

Hungarian Pictures

• Hungarian Pictures was originally composed for piano between 1908 and 1911 and later orchestrated by Bartók in 1931. The first performance of the orchestral version took place in 1932.
• The suite is programmatic, meaning each movement tells a specific story or evokes a certain mood, inspired by Hungarian folk music.
• Bartók’s interest in folk music is evident throughout the work, especially in his frequent use of modes (rather than traditional scales), and the inclusion of actual folk melodies and rhythms.

Movement 1: Este A Svékelyeknél – An Evening in the Village

• This movement has a structure consisting of two main sections, A and B, with each section repeated and slightly varied. The structure can be described as A-B-A1-B1-A2, creating an arch form, a common technique used by Bartók.
  • A sections: Lento (slow and expressive) with Rubato (a flexible tempo).
  • B sections: Allegretto (moderately fast).
  • The tonality of this movement is elusive due to Bartók’s avoidance of traditional cadences and harmonic progressions. This creates a sense of ambiguity, which reflects the "evening" mood described in the title.
  • The movement is primarily in 4/4 time, though it briefly shifts to 3/4 and 2/4 near the end, which adds to the uncertain, fluctuating feeling of the evening.

Tempo and Tonality

Movement 2: Medvetánc – Bear Dance

• The title refers to the "Bear Dance", a traditional Eastern European folk performance where a bear, often chained, would be trained to dance to the accompaniment of a song or drum. The practice is now illegal in Europe, but it was a popular folk tradition in Bartók's time.
• Bartók describes the movement as "the impression of a bear dancing to the song of his leader and growling to the accompaniment of a drum."
  • This movement also has two main sections that follow a strophic (repeated) form with symmetry.
  • The sections are distinguished by a pedal note, which serves as a defining characteristic to help identify the different sections.

Form and Structure

Movement 4: Kicsit Ázottan – Slightly Tipsy

• This movement follows a ternary form (ABA), where the A section is developed when it returns.
• The title, “Slightly Tipsy,” suggests a playful, lighthearted character, evoking a sense of unease or swaying associated with being a little drunk.
• The movement is characterised by irregular rhythms and a light, dancing quality that captures the feeling of being tipsy.

Movement 5: ‘Ürögi Kanásztánc – Swineherd’s Dance

• This movement has a multi-sectional structure, with more sections than the other movements in Hungarian Pictures.
• It is based on a folk tune that Bartók collected during his ethnomusicological work in Tolna County in 1907. Bartók transcribed and adapted this tune, preserving its authenticity while incorporating it into his classical style.
• The movement has a fast, rhythmic character, reflecting the energetic dance of a swineherd, and features folk-style repetitive rhythms and intervals typical of Hungarian folk music.

Overall Features of Hungarian Pictures

• Bartók's Hungarian Pictures demonstrates his deep connection to Hungarian folk music, using modes, irregular rhythms, and melodic fragments taken from folk tunes.
• The orchestration is vivid and colourful, with Bartók using the full range of orchestral textures to evoke the sounds of Hungarian folk instruments and styles.
• The suite captures a variety of moods, from the reflective and mysterious "An Evening in the Village" to the playful and rhythmic "Swineherd’s Dance."
• The work showcases Bartók’s characteristic use of chromaticism, dissonance, and polyrhythms, pushing the boundaries of classical music while maintaining a deep connection to folk traditions.

Summary

Hungarian Pictures is a beautiful example of Bartók's unique style, blending folk music influences with modernist techniques. Each movement reflects the composer’s love for Hungarian culture and his ability to transform folk material into rich and complex orchestral textures. The programmatic nature of the suite allows the listener to imagine the scenes depicted, from the quiet atmosphere of a village evening to the lively rhythms of a bear dance and the energetic swineherd’s dance.