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Bartok - Sonata for violin solo

Bartok - Sonata for solo violin. You can download the PDF sheet music Bartok - Sonata for solo violin on this page. The Sonata for Solo Violin (1944) was the only solo violin work by Bartok written for a non-Hungarian artist, and one who had never been his sonata partner. His relationship with Yehudi Menuhin was very different from the ones he had enjoyed with Zoltan Szekely and Joseph Szigeti. Bartok was so impressed by Menuhin's artistry that he decided to comply with the violinist's request for a new work. The Sonata show many signs of Baroque inspiration, especially in the first and second movements, it is also one of the most significant compositions for unaccompanied violin since Bach's three Sonatas and three Partitas.

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Instrument part: 18 pages. 5011 K



Bartok - Sonata for solo violin - Instrument part - first page
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Some of that inspiration may have come via Bartok's friend Zoltan Kodaly, who had composed his Sonata for Solo Cello Op. 8. The openings of the Bartok and Kodaly Sonatas are surprisingly similar in their rhythmic shape, their chordal texture and their combination of Baroque features with pentatonic Hungarianisms. Bach's D minor Chaconne is not far from the surface of Bartok's first movement marked Tempo di ciaccona. Yet the movement turns out to be in sonata form, with a second subject that is entirely Bartokian and has little to do with the Baroque. The development section is based mostly on the first theme; the recapitulation brings back both themes.
In the second-movement the Baroque techniques merge completely with impulses of different origins, including folk music. the Fuga remains true to its label, albeit in a forceful and abrasive manner. Peace is restored in the Melodia, a wonderful example of extended, unsupported melody, having a more animated central section with double-stopping. The continuous flow of semi-quavers in the final Presto is a touch of the cap to Bach, but the two "Hungarian" episodes are Bartok's alone.

The Sonata for violin solo was written in the same period as complex works like the Third Piano Concerto (1945) and the Concerto for Orchestra. In the solo violin sonata, Bartok did not simply limit himself to this fragile instrument and its four strings, for in the chosen idiom he also seems to have followed a path of austerity. There is a concentration on melody, without complex rhythms, only the musical essentials, and with them he looks back to models from the past, as the titles of the first two movements go to illustrate: Tempo di ciaccona and Fuga.

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