Bartók owed and admitted a direct allegiance to Beethoven, especially in the area of progressive form as a technique of composition. The second movement of Beethoven's G Major Piano Concerto is a model for the second movements of Bartók's Second and Third Piano Concertos in two main ways: (1) the principle of opposition between two rivals rather than integration of two partners is seen in sections of dialogue alternating between solo instrument and orchestra accentuated by differences in texture, thematic material, and the treatment of thematic material; and (2) piano and orchestra seem to follow completely logical development independent of each other, but the separate thematic complexes have the same basic roots. Mention is made of the relation between the third movement of Beethoven's Quartet in A Minor, Op. 132, and Bartók's Third Piano Concerto, suggested to be a last tribute to his three great masters: Beethoven in forms and methods of construction, Debussy in the impressionism of the night music, and Bach in the polyphonic episodes of the finale.

Works: Bartók: Piano Concerto No. 2, Piano Concerto No. 3; Franck: Symphonic Variations (320), Quintet in F Minor for Piano and Strings (320).

Index Classifications: 1900s

Contributed by: Jean Pang