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The work is said by Kárpáti to have "technical bravura and at the same time...poetic versatility". In contrast, E.R., assumes that appreciation of the work suffers from its "lack of variety of mood" though "Bartók's genius consists in gifts of rhetoric so rich that he can spread this one mood, and
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Various
Hungarian and Romanian dance melodies are incorporated into the work. The first movement begins with a lively violin pizzicato, after which the clarinet introduces the main theme, which is then varied. This theme is an example of the Hungarian
198:", or recruiting dance. The genre of music was commonly played at military recruitings. The second movement is much more introspective and has a continuously shifting mood without a defined theme. The third is a frenzied dance that begins with a
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are used. This structure may be extended through considering each third of the original triad as also being a possible third in a triad a half step in either direction. Thus C
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spread it interestingly, over a score or more of large-scale works". He argues that the "contrasts" in the piece are "of speed rather than of mood."
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Verbunkos was a stately and stylized
Hungarian Recruiting Dance "measured in rhythm and rich in melodic embellishments characterized by the theme":
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251:. F. Bónis has further noted the parallel between a short passage in the same Ravel movement and a passage in the first movement of
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dance melodies and has three movements with a combined duration of 17–20 minutes. Bartók wrote the work in response to a letter from
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of the first movement features, in relation to the root, A, the minor and major third and the perfect and diminished fifth:
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This movement has been described as volcanic rather than relaxing, despite its title, "relaxation" or "rest".
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for clarinet and the last one for violin. The piece features examples of alternate or dual-thirds (C and C
268:"Verbunkos" features polymodality or what Kárpáti terms alternative structures. For example, the framing
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Bónis, F. (1963). "Quotations in Bartók's Music. A Contribution to Bartók's
Psychology of Composition".
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is revealed as both an alternative fifth of an A chord and the alternative third of a C chord by the
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E. R. (1943) ."Review: Contrasts, for Violin, Clarinet and Piano by Béla Bartók",
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Bradshaw, Susan (2001). "Piano music: recital repertoire and chamber music",
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681:"Inside Chamber Music with Bruce Adolphe: Bartók Contrasts Sz. 111, BB. 116"
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Seiber considers it "a less weighty, less important work in Bartók's whole
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was composed by Béla Bartók (pictured) under commission from Benny
Goodman
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in detail. Szigeti recalled that Bartók had told him that the start of
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is a major third in an A major triad and the minor third of a B
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had partial inspiration from the "Blues" second movement of
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Kárpáti, János (1981). "Alternative
Structures in Bartók's
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at the third at the beginning of the development, bar 58:
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Chamber Music
Society of Lincoln Center (21 March 2014).
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Between the six notes of both triads are seven thirds.
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Seiber, Mátyás (1949). "Béla Bartók's
Chamber Music",
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János Kárpáti has discussed the structural aspects of
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657:Sierra Chamber Society Program Notes: Contrasts
1045:Eight Improvisations on Hungarian Peasant Songs
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626:"Program Notes: Better Unwritten than Unread",
520:"Program Notes: Better Unwritten than Unread",
652:ET's Clarinet Studio: Contrasts by Bela Bartok
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641:Stuyvesant, NY: Pendragon Press (1976).
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669:Aurelius Ensemble – Bartók: Contrasts
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963:Sonata for Two Pianos and Percussion
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348:Contrasts - Sebes à 13 temps (0:46)
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674:Notes to Naxos recording, 8.550749
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572:, p. 116. Amanda Bayley, ed.
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1170:Three Rondos on Slovak Folk Tunes
912:Divertimento for String Orchestra
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113:. The first movement contains a
86:The work is in three movements:
1052:Fifteen Hungarian Peasant Songs
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602:Centenrio Belae Bartók Sacrum#.
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139:structure may be thought of as
16:1938 composition by Béla Bartók
1372:Compositions for clarinet trio
693:"Villa Musica Rheinland-Pfalz"
592:. T. 23 (Fasc. 1/4): 201–207.
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56:(1881–1945). It is based on
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950:44 Duos for Two Violins
827:The Miraculous Mandarin
639:Bartók's Chamber Music.
628:Music Educators Journal
522:Music Educators Journal
1304:Polymodal chromaticism
968:Sonata for Solo Violin
902:Concerto for Orchestra
876:Violin Concerto No. 2
871:Violin Concerto No. 1
546:(Fasc. 1/4): 355–382.
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1279:Hungarian folk music
1241:Homage to Paderewski
1125:Romanian Folk Dances
861:Piano Concerto No. 3
856:Piano Concerto No. 2
851:Piano Concerto No. 1
792:List of compositions
1177:Two Romanian Dances
1073:Fourteen Bagatelles
736:Boosey & Hawkes
661:13 May 2008 at the
607:Music & Letters
473:Kárpáti 1981, p.203
1289:Musical cryptogram
1216:Five Songs, Op. 15
918:Hungarian Pictures
809:Bluebeard's Castle
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93:(Recruiting Dance)
41:111, BB 116) is a
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834:The Wooden Prince
697:Kammermusikführer
511:Seiber 1949, p.29
499:Seiber 1949, p.28
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637:Kárpáti, János.
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1112:Rhapsody, Op. 1
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105:(Fast Dance)
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99:(Relaxation)
96:
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1299:Night music
1080:Mikrokosmos
1066:Four Dirges
907:Dance Suite
844:Concertante
781:Béla Bartók
741:4 September
722:4 September
702:4 September
683:. YouTube.
441:Seiber 1949
149:minor third
73:clarinetist
54:Béla Bartók
48:scored for
46:composition
1361:Categories
895:Orchestral
487:E.R. 1948.
459:Bónis 1963
424:References
382:scordatura
373:media help
200:scordatura
1251:Namesakes
957:Contrasts
632:Contrasts
586:Contrasts
418:Contrasts
404:Reception
322:2. Pihenő
259:Movements
253:Contrasts
241:Contrasts
237:Contrasts
196:verbunkos
91:Verbunkos
82:Structure
66:violinist
58:Hungarian
34:Contrasts
26:Contrasts
1336:Category
1317:Triptych
1138:Sonatina
685:Archived
659:Archived
330:3. Sebes
287:♭
211:♭
205:♯
170:♭
164:♭
158:♯
120:♯
62:Romanian
1272:Related
942:Chamber
925:Kossuth
819:Ballets
716:LA Phil
532:Sources
194:genre "
141:bitonal
115:cadenza
1012:Choral
598:902112
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560:901555
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208:-D-A-E
97:Pihenő
1346:Audio
1187:Songs
1030:Piano
1002:No. 6
997:No. 5
992:No. 4
987:No. 3
982:No. 2
977:No. 1
801:Opera
614:Tempo
594:JSTOR
556:JSTOR
414:œuvre
292:canon
270:motif
192:music
188:dance
153:triad
151:of a
145:major
135:This
111:tempo
103:Sebes
743:2024
724:2024
704:2024
574:ISBN
544:T. 5
190:and
147:and
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43:1938
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548:doi
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