Magyar Zene, 2019 (57. évfolyam, 1-4. szám)

2019 / 2. szám - MŰHELYTANULMÁNYOK - WORK IN PROGRESS - Vászka Anikó: Bartók's Orchestration in his two stage works. The typology of The wooden prince's and The miraculous mandarin's instrumentation

VÁSZKA ANIKÓ: Bartók hangszerelése két színpadi művének tükrében j 233 a brácsa és a cselló pedálhangjai, a cseleszta futamai és a hárfa tört akkordjai fölött szól a hegedű-, a nagybőgő-, valamint a timpani-tremolo (194, 5. kotta a 234. olda­lon). A csodálatos mandarinban a timpani a Mandarin halálakor (110+2), illetve a da­rab végén szólal meg. A pantomim befejezése Bartók korábbi zenekari műveinek gyászindulóit és hasonló karakterű fináléit (a Kossuth szimfonikus költemény gyászin­dulóját, a Kékszakállú befejezését és a Négy zenekari darab „Marcia funebre” tételét) idézi, a basszustuba, a tamtam, a nagydob és a zongora közreműködésével még tragikusabb hatást keltve (6. kotta a 235. oldalon). ABSTRACT_____ __________ Anikó Vászka BARTÓK’S ORCHESTRATION IN HIS TWO STAGE WORKS The Typology of The Wooden Prince’s and The Miraculous Mandarin’s Instrumentation Béla Bartók’s one-act ballet The Wooden Prince (BB 74) and his one-act pantomime The Miraculous Mandarin (BB 82) are both composed for large orchestra. Although these theatrical pieces have been compared in many ways, their orchestration has not been discussed yet. Therefore this paper examines some of the selected aspects of these two works: such as the role and significance of the orchestra and instruments. The investigation has a double aim: first to try and find the connec­tion between the instruments and characters, and second, to attempt to analyse the ballet (1917) in parallel with the pantomime (1924) showing the similarities and differences, as well as giving an account of Bartók’s compositional style. While examining these compositions I discovered some similar characteristics e.g. the grotesque gestures of the wooden prince and the old rake - their rhythm and their instrumentation are comparable - and the significance of some instru­ments e.g. the clarinet during alluring scenes, or the trumpet during commands. Anikó Vászka (1985) graduated in 2011 with MA from the Musicology Department of the Gheorghe Dima Academy of Music in Cluj-Napoca (Kolozsvár), Romania. She attended doctoral studies in musi­cology at the Liszt Ferenc Academy of Music in Budapest (2013-2016). She is writing her dissertation on Béla Bartók’s instrumentation in his orchestral works.

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