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Contrasts and Common Concerns in The Concerto 19001945
Contrasts and Common Concerns in The Concerto 19001945
concerto 1900–1945
DAVID E. SCHNEIDER
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140 David E. Schneider
For the most part the history of the concerto from 1900 to 1945
exemplifies the general musical trends in this period. Concertos written
between 1900 and the First World War tend to be grand and effusive –
characteristics that bind them to the end of a ‘long nineteenth century’.
Concertos of the 1920s and early 1930s tend to rebel against the expansive
style of the pre-war period. As a group they are shorter, more economic-
ally scored, more rhythmically charged, and more edgily dissonant than
earlier works; they frequently recall pre-nineteenth-century musical styles
and/or popular music of the day. Concertos from the mid-1930s through
to 1945 frequently combine characteristics of the two previous periods.
They are typically longer, more lyrical and more fully scored than works
of the 1920s, but are more dissonant and less lengthy than those written
before the First World War.
Since this characterization of music-historical periods is easily sum-
marized and detailed accounts of individual concertos are widely avail-
able in liner notes and other general guides, I neither follow a strict
chronology nor analyse entire works here. Instead, I focus on how com-
posers of concertos worked with elements specific to the genre, such as the
relationship of the soloist and orchestra, opening and closing strategies,
characteristics of the solo instruments, and relationships between indivi-
dual concertos. The resulting juxtaposition of works of contrasting styles
and periods illuminates ways in which the genre often united composers
in spite of differing musical aesthetics.
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Contrasts and common concerns in the concerto 1900–1945 141
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142 David E. Schneider
basses to the high E of the solo violin and then into the vapour above. The
transformation from worldly, human struggle to divine peace is a com-
mon nineteenth-century trope, but one rarely found in concertos until
the twentieth century. It requires a sacrifice – the abandonment of the
soloist’s virtuosity – that flew in the face of nineteenth-century conven-
tions of the genre.
Like many concertos with brilliant openings, Dohnányi’s E minor
Concerto has a major flaw: it does not end after the prize-winning first
movement. In the slow movement and finale, with which Dohnányi
seems to have felt obliged to fulfil the formal conventions of the genre,
he creates an admirable sense of organic unity through thematic trans-
formation, but nothing in the last two movements matches the imagina-
tive coda of the first movement. Transposed to the appropriate key,
the last pages of Dohnányi’s concerto could serve as a close for many a
nineteenth-century concerto.
Ferruccio Busoni (1866–1924), who like Dohnányi was one of the
truly great pianists of his era, identified precisely the problem to which
Dohnányi succumbed:
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Contrasts and common concerns in the concerto 1900–1945 143
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144 David E. Schneider
message: even before Europe witnessed the ravages of the Great War, the
idea that symphonic grandeur could be synthesized with works of solo
virtuosity was under siege.
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Contrasts and common concerns in the concerto 1900–1945 145
to the last bars of Berg’s Concerto. A string instrument can not only
sustain a line in a high tessitura, soft dynamic and slow tempo, it can do so
without losing what Joseph Kerman has dubbed virtù – a term useful for
describing impressive soloistic qualities that do not rely on the fireworks
commonly equated with virtuosity.11 In sum, Berg stays the distance and
ends his work slowly and softly both because to do otherwise would ruin
the programme and because in a violin concerto, as opposed to a piano
concerto, such an ending exploits the soloist’s virtù.
Berg’s keen awareness of the dramatic potential of the innate qualities
of the violin also contributes to the effectiveness of the solo entrance in
the second bar of the work, a fragile arpeggio across the open strings of the
instrument (G–D–A–E). The gesture, as Kerman has observed, is
‘a virtually all-encompassing birth metaphor – the birth of natural acous-
tics, birth of the violin, birth of the twelve-tone row, birth of Manon
Gropius, birth of Woman’.12 In the last two bars of the work, as the solo
violin hovers high in the heavens on its final note, the fifths return like a
distant memory (Berg writes, ‘wie aus der Ferne’ [‘as if from far away’])
on the muted open strings of the orchestral violins. The superimposition
of images sums up the arc of the whole work at the same time as
illustrating the text of the chorale: ‘I travel to my heavenly home. . . . My
great misery remains down below. It is enough.’
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146 David E. Schneider
write a piece on the death of their King and to broadcast it over their entire
network. I now want to specialize in corpses.’13
Trauermusik is a miniature four-movement viola concerto, but the
lack of generic designation in its title is telling. Works for solo instrument
and orchestra that go by other names usually have a smaller range
of expression than concertos proper. Trauermusik is no exception.
While the first movement of Berg’s Violin Concerto conjures images
of birth, dance and folk song, Hindemith begins straightaway with
death in the form of a funeral march. A memory of life peeks through
only in the third movement (Lebhaft), which he ends with a life-sapping
ritardando. Like Berg, Hindemith uses a chorale, ‘Vor deinen Thron tret’
ich hiermit’ (‘I step before your throne’), likely chosen both for its
appropriate reference to a throne and its practical brevity, as the basis
for the last movement.14 The treatment is simple but effective. On the
final note of each of the chorale’s four phrases, except the last, the
orchestral strings sustain a chord while the solo viola rises and falls in a
gesture of imploration, each iteration successively more impassioned and
wider in range. Given the circumstance, there was no possibility for
bravura, but the metre-breaking fermatas and rhythmic freedom of the
soloist hold the faint and, for a concerto, crucial aroma of cadenza. The
final phrase for orchestral strings alone, now in complete rhythmic uni-
son for the first time in the chorale, suggests a united community con-
tinuing without its leader. Because the dark, often strained tone of the
viola is well suited to mourning, and because the last movement is concise
and clear, Trauermusik is a rare example of ‘music for use’ that packs an
emotional punch.
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Contrasts and common concerns in the concerto 1900–1945 147
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148 David E. Schneider
Example 8.1 Prokofiev, Violin Concerto No. 1 in D, Op. 19, 1st movement: development of first
theme in orchestra before figure 17
Example 8.2 Prokofiev, Violin Concerto No. 1 in D, Op. 19, 1st movement and Walton, Viola
Concerto, 1st movement: comparison of primary themes
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Contrasts and common concerns in the concerto 1900–1945 149
Example 8.3 Prokofiev, Violin Concerto No. 1 in D, Op. 19, 1st movement,
figure 4, and Walton, Viola Concerto, 1st movement, figure 3
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150 David E. Schneider
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Contrasts and common concerns in the concerto 1900–1945 151
model to create an original work that has come to be the most popular
viola concerto.
The influence of Prokofiev’s First Violin Concerto extended even
beyond Walton’s Viola Concerto, which was soon taken up by Lionel
Tertis (1876–1975) and William Primrose (1904–82). In 1945 Primrose
asked Béla Bartók (1881–1945) to write a concerto for him, but Bartók
was reluctant to do so because of his lack of familiarity with the viola as a
solo instrument. Only after hearing Primrose in a broadcast of Walton’s
concerto did Bartók decide to undertake the commission.23 Because
concertos by Walton, Britten and even Bartók (albeit indirectly) all owe
a debt to Prokofiev’s First Violin Concerto, it must be considered the
seminal string concerto of its day.
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152 David E. Schneider
Now I know quite exactly what the new direction is. Imagine . . . music in
which there is no emotion, in which you can find no part that will bring tears
to your eyes. You know, bare rhythm, bare timbre. The whole thing shakes
one to the bone. Stravinsky is a fantastic genius, and we very much enjoyed
the evening.27
Bartók’s next works marked a change in his style towards leaner and more
contrapuntal textures. His First Piano Concerto is a direct result of the
Stravinskyan challenge.
The influence of Stravinsky’s Piano Concerto on Bartók’s First Piano
Concerto can be felt in the driving quaver pulse that dominates the two
outer movements, in the emphasis on wind instruments (strings are
completely omitted in the second movement), in jazzy episodes in the
development section of the first movement (figures 26–31), and, most
important, in the percussive use of the piano. The spirit of The Rite of
Spring comes through in the violent brutality of much of the work and in
details such as the bassoon theme in the introduction (figure 2) and
ostinati in the second and third movements.28
Stravinsky’s Piano Concerto is emphatically anti-symphonic and anti-
Teutonic: the largo introduction to the first movement is equal parts
Handelian overture in the French manner and funeral march à la
Chopin arranged for military band.29 In a move similar to the solo
entrance in Dohnányi’s Variations on a Nursery Song, Stravinsky’s
entrance of the piano (Allegro) rejects the (mock) seriousness of the
introduction. In contrast, Bartók begins his First Piano Concerto with a
creation metaphor that makes his work (like Berg’s Violin Concerto) an
heir to the Germanic symphonic tradition. Dual pedal-points drummed
out first in the lowest octave of the piano and the timpani gradually build
in intensity until the piano erupts in the violent, repeated As that launch
the first theme of the Allegro. The contrast between the topics of
Stravinsky’s and Bartók’s introductions was intentional. While he quotes
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Contrasts and common concerns in the concerto 1900–1945 153
Example 8.5 Stravinsky, Concerto for Piano and Winds, 1st movement and Bartók, Piano
Concerto No. 1, 1st movement: comparison of the opening of the Allegro sections
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154 David E. Schneider
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Contrasts and common concerns in the concerto 1900–1945 155
A note on lyricism
As we have seen in the climax to the first movement of Bartók’s First
Piano Concerto, expressive, vocally inspired melodies are not entirely
absent from concertos in the 1920s and early 1930s. At this time, however,
composers tended to shy away from using lyrical themes to open con-
certos. Stravinsky writes achingly beautiful melodies in his Piano
Concerto and Violin Concerto in D (1931), but they are hidden in
internal slow movements. Likewise, the slow movement of Bartók’s
Second Piano Concerto contains some of Bartók’s most tender vocally
inspired music. Bartók uses two vocal models here: chorale in the muted
strings alternates with peasant lament in the piano. The two never over-
lap, suggesting that the group remains oblivious to the plight of the
individual. This is a rare approach to concerto discourse although there
is precedent for it in the slow movement of Beethoven’s Fourth Piano
Concerto. Therefore, unlike Stravinsky’s Baroque doubling of forces or
Busoni’s ‘co-operation of different means of producing sound’, the new-
ness of Bartók’s approach stems in part from intensifying the polarization
of soloist and orchestra characteristic of late eighteenth- and nineteenth-
century concertos.
George Gershwin’s Rhapsody in Blue (1924) and Concerto in F (1925)
are made almost exclusively of catchy tunes, but in Ravel’s Piano
Concerto (1931), a jazzy work that may be read as a corrective to
Gershwin, the composer tellingly begins with a frantic march accompa-
nied by the piano playing arpeggios in two keys simultaneously à la
Petrushka before giving way to a blues-inflected second theme.31 Unlike
Gershwin – and herein lies a distinction between popular music with
symphonic aspirations and modernist music with popular inflections –
Ravel allows himself the luxury of popular lyricism only after affirming
his modernist credentials. Gershwin and English composers notwith-
standing, the first well-known concerto to begin with a lyrical first
theme after the First World War was Prokofiev’s Violin Concerto No. 2
in G minor, Op. 63 (1935). By the end of the 1930s lyricism would come
to occupy a primary position in a number of important concertos. Once
again, when it came to concertos, Prokofiev was in the vanguard.
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156 David E. Schneider
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Contrasts and common concerns in the concerto 1900–1945 157
tonally unstable solo in the first movement so upsets the flute that it
nervously runs itself ragged. Only after the reassurance of a heroic tutti
does the flute seem to feel it is safe to return, which it does with the most
beautiful music of the movement: a tender, pastoral transformation of the
orchestra’s heroic theme, now securely grounded in E major.
When the trombone next appears near the end of the last movement of
the two-movement work, it again enters gauchely in a key (B flat minor)
that clashes with the prevailing tonality (G major). After four bars,
however, it turns to E major and in another two bars it suavely sings the
flute’s E major theme from the first movement in a supple tenor voice.
The flute, smitten, joins the trombone in E major with a gently caressing
countermelody unlike anything it has shared with the clarinet. Perhaps
proud of its conquest, the trombone lets loose with broad glissandi that
again elicit frightened outbursts from the flute. This time, however, the
outbursts seem staged – they are short-lived and the flute quickly regains
its composure. The E major coda that follows finds the flute in fine fettle.
Exhilarated, one assumes from its recent encounter, it dashes exuberantly
to a high E under which the trombone offers its final (post-coital?) guffaws.
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158 David E. Schneider
mentioned in this chapter that neither begins nor ends with the soloist.
Although the violin part is technically demanding, Sessions rarely sets it
off brilliantly, preferring to accompany with intricate contrapuntal lines
often given to instruments – alto flute, bass clarinet, basset horn – the
unusual timbre of which additionally draws one’s attention away from
the soloist. Sessions’s omission of violins from the orchestra is an attempt
to help the soloist stand out from the ensemble, but it is also
tacit recognition that as merely a first among equals, the solo violin in
many ways duplicates the traditional role of the violin section in sym-
phonic music.
Sessions’s penchant for pairing the soloist with different instruments
owes a debt to Stravinsky’s Violin Concerto (1931), which, like Sessions’s
Concerto, is in four movements without a cadenza.35 Stravinsky’s famous
remark, ‘I did not compose a cadenza . . . because the violin in combin-
ation was my real interest’, applies even better to Sessions.36 As Kerman
observes, the final chord of the third movement of Stravinsky’s Concerto,
in which the sound of the violin (flautando) merges completely with the
reduced orchestra, may be heard as emblematic of Stravinsky’s fusion of
solo and orchestra.37 Despite his suspicion of virtuosos, however,
Stravinsky was not against showmanship. Each movement of the concerto
begins with the soloist playing a bold triple-stop that Stravinsky dubbed
the ‘passport’ to the work, and concludes with the soloist playing right up
to the double bar. Even in the rare case in which the solo violin cannot be
distinguished from the ensemble sound, the visual aspect of its participa-
tion is central to the effectiveness of the work as a solo vehicle. In contrast,
Sessions ends his concerto with a sustained fortissimo chord in the flutes,
trumpets and trombones punctuated by a sforzando hit in the other
winds, timpani and bass. Sessions’s decision to have the soloist stand
idle for the final chord matters little for the sound of the work – the solo
violin would hardly be audible as part of either closing gesture – but it is
aggressively anti-dramatic.
Bartók’s Violin Concerto No. 2 (1938) exemplifies the reassertion of
Romantic lyricism and clear tonality in concertos that began in 1935 with
Prokofiev and includes violin concertos by Bloch (1938), Barber (1939),
Hindemith (1939) and Korngold (1945) – all works in three movements
(fast–slow–fast) that begin with lyrical first themes. (Even the melancholy
waltz with which Schoenberg begins his Piano Concerto, Op. 42 (1942),
may be heard as part of the lyrical trend.) Bartók’s warmly expressive
writing for the violin is a far cry from that in Sessions’s Violin Concerto,
but Bartók also gives a prominent role to an unusual ‘secondary soloist’ in
the first movement of the work. Here Bartók effectively pairs the solo
violin with the harp in all appearances of the primary theme. For much of
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Contrasts and common concerns in the concerto 1900–1945 159
the movement the steady strumming of the harp effectively grounds the
effusive melody, but when the violin returns to the third phrase of the
primary theme after the cadenza, Bartók pulls out all the Romantic stops
by allowing the harp to abandon its strumming and indulge in luxuriant
glissandi. Given the passionate drama of Bartók’s concerto, it is surprising
that he nearly repeated Sessions’s mistake of allowing the orchestra alone
to conclude the work. Unlike Sessions, however, Bartók had second
thoughts. After listening to the Brahms and Beethoven Violin
Concertos, he took the advice of violinist Zoltán Székely, and rewrote
the ending to include the solo violin.38
Gentle coda
Anthony Pople trenchantly observes that Bartók’s Concerto for Orchestra
(1943) is the clearest expression of the approach to the concerto as a
relationship between equals.39 It is also a return to the pre-World War I
idea that symphony and concerto could be combined. Like his Concerto for
Orchestra and Violin Concerto, Bartók’s Third Piano Concerto (1945)
reflects a trend in concerto composition. The Third Piano Concerto is
Bartók’s last completed work.40 It exemplifies, like works such as the Oboe
Concerto (1945) by Richard Strauss (1864–1949) and the First Violin
Concerto (1939) by Walter Piston (1894–1976), a trend towards what
may be called a ‘gentle neo-classicism’. These works are not laments, nor
do they embody profound struggle. They are works of modest proportions,
generally light orchestration, and, if one discounts the extraordinary breath
control needed to get through the opening bars of Strauss’s oboe part, a
modicum of virtuosity. Piston’s concerto has a slightly jazzy inflection;
Strauss’s concerto is shot through with Mozart; and Bartók’s abounds with
historical references. In the first movement of Bartók’s work, the opening
theme has the dotted rhythms of verbunkos, a type of Hungarian dance
music frequently used as a sign of national pride in Bartók’s youth. In the
second movement, Bartók quotes Beethoven’s ode of thanksgiving Heiliger
Dankgesang from the String Quartet Op. 130 in alternation with Bachian
chorale textures, which the piano later embellishes in the style of a two-part
invention. The spectre of Bach also surfaces in a fugal episode (bar 230) and
a minuet (bars 392 and 473) in the third movement. Bartók’s references,
like Strauss’s Mozartian cast and Piston’s clean lines, have no trace of
Stravinskyan irony.
With the deaths of Rachmaninov in 1943 and Bartók in 1945, the era
of composers who regularly premièred their own concertos was effectively
over. So too was the time when new concertos regularly achieved a
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