Jacques Rouvier, Bartók, Romanian Dances 1 & 2

Sequence published on 2/12/21

Composer : Bela Bartok

Year of composition : 1910

Artistic period : 20th century

Academy : Academy Feb. 7 - Feb. 14, 2021

Master(s) : Jacques Rouvier

Student : Tabea Streicher

Date of recording : 10/22/21

Instrument(s) played :

Piano

"Never forget the pulse even if it's flexible." Jacques Rouvier

About the Piano class of Jacques Rouvier on the Danses roumaines n°1 et 2

Master class Piano, Jacques Rouvier | Bartók, Danses roum.

The master is delighted with the interpretation of these pieces by Bártok, for which he makes a
few very precise observations related to the tempo, fingering, the direction of some phrases, the
tempo and rhythmic quality of phrases in particular, and also the pianist's body disposition: “When you have to play this you should move with your body to the right. If you
are here, you are not in front and the accident comes more often. Move with your body (…) It's a
small detail, but we feel the arm and the fingers".

What we learn in this Piano Master class

- To never forget the pulse even if it's flexible.
- Killing the endings must not be done

About Béla Bartók's work

Béla Bartók, Romanian Dances 1 and 2, op.8A This is a piano work written by Béla Bartók, based on Romanian folk music. Written in 1910, they date from the beginning of his interest in folk music — his first work showing strong folk influence, the String Quartet No. 1, is from just two years before. However, the Dances show that he has already seamlessly incorporated folk idioms into his musical language.

The first dance (Allegro vivace) is rhapsodic in form, though with a recurrent main theme. This theme, which provides the melodic, textural, and rhythmic foundations of the work is first heard pianissimo in the depths of the keyboard. The middle section, Lento, presents an evocative modal melody against various tremolo harmonies in the bass. This section fades away, and, after a long and increasingly frenzied crescendo, the main theme returns in triumphant fortissimo octaves. Unusually for Bartók, major and minor chords are used extensively in this piece. The second dance (Poco allegro) begins with a brief introductory passage, which sets the mood of the piece — a strange mix of humor and severity. The main theme, based loosely on a Romanian jeering song, is presented three times in succession. After a violent transition, the material from the opening returns, though somewhat warped. The main theme returns, yet more frantic; after another brief interlude, it returns, this time marked Più mosso, febrile (“more motion, feverishly”). The remainder of the piece is a mishmash of cheerful motifs showing Balinese influence, sudden contrasts which range from amusing to disconcerting, and majestic passages in double octaves. Although the form of this dance defies classification, it is nonetheless remarkably directed, unified, and satisfying.