{"id":22102,"date":"2024-11-20T09:42:44","date_gmt":"2024-11-20T08:42:44","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=22102"},"modified":"2024-11-21T08:01:58","modified_gmt":"2024-11-21T07:01:58","slug":"the-fascinating-stefi-chord-in-bartoks-music","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/the-fascinating-stefi-chord-in-bartoks-music\/","title":{"rendered":"The Fascinating \u201cStefi Chord\u201d in Bart\u00f3k\u2019s Music"},"content":{"rendered":"

The Fascinating \u201cStefi Chord\u201d in Bart\u00f3k\u2019s Music<\/h1>\n
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Bart\u00f3k, Deux portraits n \u00ba 2 and<\/em>\u00a0Stefi Geyer. Wikimedia<\/span><\/a><\/figcaption><\/figure>\n

 <\/p>\n

License Creative Commons <\/a><\/p>\n

\"\"<\/strong><\/p>\n

 <\/p>\n

Marta Vela<\/strong><\/a><\/p>\n

 <\/p>\n

Stefi Geyer<\/strong><\/a><\/span> (1888\u20131956) was a remarkably talented Hungarian violinist who caught B\u00e9la Bart\u00f3k<\/strong><\/a><\/span>\u2019s attention while she was studying violin at the Budapest Academy of Music, where Bart\u00f3k had been teaching since 1907.<\/p>\n

During the summer of that year, the nineteen-year-old violinist and the twenty-six-year-old composer developed a close relationship, both personally and creatively, which they nurtured through an intense correspondence. Inspired by Geyer\u2019s captivating persona, Bart\u00f3k began composing a violin concerto dedicated to her. In September 1907, he disclosed the existence of a recurring motif, which he referred to as \u201cyour Leitmotif.\u201d This motif consisted of an ascending major chord capped with a dissonant major seventh interval\u2014essentially the superposition of two perfect fifths. From an acoustic perspective, this harmony became a defining signature of Bart\u00f3k\u2019s style<\/strong>, as noted by scholars such as Ern\u0151 Lendvai.<\/strong><\/p>\n

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Bart\u00f3k, Violin Concerto No.<\/em> 1
https:\/\/www.youtube.com\/watch?v=CLDn-F2Q4Gs&t=15s<\/a><\/span><\/figcaption><\/figure>\n

 <\/p>\n

However, following such a revelation, Bart\u00f3k took to lecturing his beloved on the moral decline of the middle classes and bluntly expressed his atheism to Geyer, who was deeply committed to her Catholic faith, and often admonished her for what he saw as her reluctance to engage with the literature he prescribed to \u201crefine\u201d her intellectual development. By February 1908, Bart\u00f3k had completed the concerto, knowing that Geyer was distancing herself from him. Their relationship cooled further as she finished her studies in Budapest<\/strong> and eventually settled in Vienna, where she married a lawyer.<\/p>\n

Yet, the \u201cStefi Leitmotif<\/strong>\u201d left an indelible mark on Bart\u00f3k\u2019s later music.<\/p>\n

It resurfaced in his early folkloric works, such as the collection Bagatelles<\/em>, Op. 6 (1908), where it appeared in the volume\u2019s closing section, despite Bart\u00f3k\u2019s abrupt marriage to M\u00e1rta Ziegler, another of his students, that same year.<\/p>\n

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Bart\u00f3k, Bagatelles <\/em> Op. 6, XIV
https:\/\/www.youtube.com\/watch?v=FPO6xJR6Jew&list=PLBS4VpTglwoARUmN2JTt_iadLpgPu2qCp&index=14<\/span><\/a><\/figcaption><\/figure>\n

 <\/p>\n

The motif also dominated Deux portraits<\/em>, Op. 5 [Two Portraits (of Stefi)<\/em>] (1907\u20131911), an orchestral work led by a solo violin. Here, Bart\u00f3k juxtaposed two images of his muse: an idealised representation in the first section and a distorted reflection in the second\u2014perhaps echoing Berlioz\u2019s portrayal of his beloved in the finale of the Symphonie fantastique<\/em> (1830).<\/p>\n

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Bart\u00f3k, Deux portraits n \u00ba 1<\/em>
https:\/\/www.youtube.com\/watch?v=OGHNi0BDeVc<\/a><\/span><\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

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Bart\u00f3k, Deux portraits n \u00ba 2<\/em>
https:\/\/youtu.be\/OGHNi0BDeVc?t=607<\/a><\/span><\/figcaption><\/figure>\n

 <\/p>\n

Bart\u00f3k\u2019s most sophisticated use of the \u201cStefi Leitmotif\u201d appeared in his monumental opera Bluebeard\u2019s Castle<\/em> (1911). In this work, the motif, orchestrated with harp and clarinet, became the theme for the sensual Judith, again distinguished by its characteristic major seventh interval.<\/p>\n

<\/div>\n
\"\"
Bart\u00f3k, Bluebeard\u2019s Castle<\/em>
https:\/\/www.youtube.com\/watch?v=9OBv52AzTGs<\/a><\/span><\/p>\n

<\/figcaption><\/figure>\n

The opera, however, would not be premiered until 1918, at the end of the First World War. By this time, Stefi Geyer\u2019s husband in Vienna had succumbed to the so-called Spanish influenza of 1919. She remarried in 1920, this time to a musician based in Zurich. Despite their earlier estrangement, Bart\u00f3k and Geyer eventually renewed contact on amicable terms. During Bart\u00f3k\u2019s later years, Geyer facilitated his resettlement in the United States, where she had toured extensively during the interwar period.<\/p>\n

Geyer preserved Bart\u00f3k\u2019s violin concerto manuscript until her death. Only after both Bart\u00f3k\u2019s passing in New York in 1945 and Geyer\u2019s in Zurich in 1955 was the work finally performed. Its premiere took place in 1958 in Switzerland, supported by the patron Paul Sacher<\/strong>, a close friend of the violinist, with Hansheinz Schneeberger<\/strong> as the soloist. Isaac Stern<\/strong> later performed the concerto at Carnegie Hall in 1961.<\/p>\n

Structured in two movements rather than the conventional three, the first movement offers an intimate portrayal of Stefi, while the second presents a contrasting, more playful character, reflecting the material explored in Deux portraits<\/em>.<\/p>\n

\n

Source:\u00a0educational EVIDENCE<\/strong><\/p>\n

Rights:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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