Bridging the Gap with a 16 year old
Mozart's Divertimento in D major, K. 136 (K.125a) is the first of a group of works collectively known as the "Salzburg" symphonies. These works stands apart from Mozart's remaining symphonies, in that they are set for strings alone, rather than for the otherwise customary mixed instrumentation including winds. A further point which separates these compositions from Mozart's others in the symphonic genre, is that they are comprised of just three, rather than four individual movements, each lacking the usual Minuet. And lastly, the compact three-movement form further distinguishes the "Salzburg" symphonies from Mozart's true Divertimentos and Serenades, which were mulit-movement creations on a large scale, regularly spanning six movements and sometimes even more.

In keeping with Classical conventions, works such as these for string orchestra could also be played by the four voices of the string quartet when the occasion demanded. Indeeed, a likely explanation for the origin of these so-called "Quartet Divertimentos" is to be found in the facts of Mozart's life at the time of composition, early in 1772. Mozart was then just 16 years of age, and already held the post of Court Concertmaster to Hieronymus Coloredo, Prince Archbishop of Salzburg. This period fell between Mozart's second and third visits to Italy, where he may well have found the impulse to compose works in the style of the three-movement Sinfonias and Concerti Grossi which had been popular since the times of Corelli. This, however, is still a matter of considerable conjecture, and besides, had these been pieces to be played exclusively by solo instrumentalists, Mozart surely would have considered them as true string quartets.

Mozart's Divertimento (125a) seems indeed to closely mirror the style of the Italian concertos for strings, which he must certainly have encountered during his several visits to Italy. The work consists of a lively opening Allegro, in simple sonata form; a charming central Andante; and a brilliant concluding Presto. It is interesting to compare this work with its close companion in B flat, K. 137, which follows a slightly different general scheme, in which the main Allegro is placed second, and follows (unusually) a first movement headed "Andante." The brilliant inventiveness and virtuosity of the D major Divertimento is, to echo the words of Alfred Einstein (writing about another closely related work, Mozart's perennial Eine kleine nachtmusik, the Serenade in G, K. 525) "a masterpiece of masterpieces, on the smallest possible scale." ~ All Music Guide

On Bartok
My comments are in italics!!

The Rumanian Folk Dances are works based on folksongs and dances collected by Bartók from peasants and Gypsies during his pioneering ethno-musicological field trips through Hungary in 1910-14. Both works (this includes his Sonatina) were first arranged for solo piano, though Bartók would have originally heard these tunes played on fiddle, shepherd’s flute, or bagpipe. In these, as well as his other folksong arrangements, Bartók provides simple yet imaginative settings for the folk tune, like a master picture framer crafts a matte and frame to compliment, yet not compete with, the painting or drawing it surrounds. Even in the simplest setting, Bartók often varies a voice in the accompaniment, slightly changing the "color" of the chord, avoiding verbatim repetition of a phrase. All of this happens in the briefest of time spans. Between these two pieces (Bartók scrupulously notates the duration of each movement, down to the second, in the score). He never inflates folk material. Paradoxically, this is also what makes these settings "art music." Dance music, given its function, must be repeated. A dance, where people are movin’ to the groove, cannot last for 25 seconds. In their brevity, they share a quest for concision sought by such other "avant-garde" composers such as Schönberg and Webern to name the most obvious.

The Rumanian Folk Dances presents each of the seven dances (the sixth movement is actually comprised of two distinct folk tunes) without any reprise of material. The Sonatina, though partitioned into three movements, is actually comprised of five folk tunes. The first movement uses two dances, the first of which is repeated to give an A-B-A form. The Finale is also comprised of two dances. After they are heard, Bartók combines fragments of both to form a coda. The composer here manipulates the folk material for use in "art music" forms; thus the justification for the title "Sonatina" (little sonata).

Though both works started out as piano solos, they also appeared in arrangements for violin and piano as well as orchestral transcriptions by the composer. For its orchestral arrangement. The "Rumanian" music he collected was from Rumanian inhabitants of Transylvania. In 1920, the Treaty of Trianon ceded Transylvania to Rumania. This resulted in strained relations between Hungary and Rumania, and prevented Bartók from continuing to collect folk music in the region.

The first dance, which translates into English as "dance with a staff" or stick (what the dancer is doing with the stick is anyone’s guess) is from the Maros-Torda region. Bartók reported that it was played to him by two Rumanian Gypsy violinists from Màramaros. The Bràul is a dance that involves the use of a waistband or sash.

The lovely third dance, in which the violin imitates the sound of a rustic flute, while the piano acts as a drone, translates roughly into "the Stomper." Both of these dances are from Torontàl. Another lovely melody is presented in The Dance of the Buscum People from Torda-Aranyos. Next we have a Rumanian "Polka" from Bihar. Finally, the last movement is made up of two fast dances; Manuntelul for couples, from Behar and Torda-Aranyos.


1999-2000 Season, Program IV, Sunday April 9, 2000
editted by yours truly.

I hope that after reading this, you guys will be able to spend the weekend building a relationship with the piece. I just wanted to thank everyone for working so hard for strings camp, and to tell you guys not to give up! No matter what happens at SYF, I'm proud to say that I'm part of the group we all comprise- the NJ string orchestra.




<3,
nush.