Tonality or Atonality in Bartók’s Sonata for Violin and Piano no. 2? From Folk Modalities to a Twelve-tone Language

External political circumstances as well as Bartók’s personal activities in the early 1920s were decisive in contributing to the expansion of the basic principles of his musical language. Bartók’s Second Sonata for Violin and Piano (1922) may be considered a focal point in his evolution toward ultramodernism. Concomitant with this tendency, both Sonatas for Violin and Piano of this period have become paradigmatic of the controversial notion set forth by certain scholars regarding the existence of an atonal Bartók idiom. Within the ultramodernist style of the Second Sonata, the essence of Eastern-European folk music is still very much in evidence. The intention of this article is to show how Bartók’s move toward synthesis of varied folk and art-music elements in this work produces a sense of an organic connection between atonality and tonality. The close connection between these two principles was suggested by Bartók in an essay of 1920. I intend to show how both contradictory principles are conjoined within a highly complex polymodal idiom based on the tendency toward equalization of the twelve tones. Within the stanzaic structure of the Romanian “long song,” stylistic elements of recitation, improvisation, and declamation are essential in the gradual unfolding between these two contrasting concepts of pitch organization. Despite tonal ambiguity on both local and large-scale levels, the sense of polymodal tonality is ultimately established as primary

Aesthetics · Ambiguity · Art · Art history · Linguistics · Literature · Musical · Piano · Piano sonata · Sonata cycle · Sonata form · Tonality · Violin · Diverse Musicological Studies · Music History and Culture · Musicology and Musical Analysis · Philosophy