Music for Strings, Percussion and Celesta

Music for Strings, Percussion and Celesta, Sz. 106, BB 114 is one of the best-known compositions by the Hungarian composer Béla Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated September 7, 1936.

The work was premiered in Basel, Switzerland on January 21, 1937 by the chamber orchestra conducted by Sacher, and it was published the same year by Universal Edition.

Analysis
As its title indicates, the piece is written for string instruments (violins, violas, cellos, double basses, and harp), percussion instruments (xylophone, snare drum, cymbals, tam-tam, bass drum, and timpani) and celesta. The ensemble also includes a piano, which may be classified as either a percussion or string instrument (the celesta player also plays piano during 4-hand passages). Bartók divides the strings into two groups which he directs should be placed antiphonally on opposite sides of the stage, and he makes use of antiphonal effects particularly in the second and fourth movements.

The piece is in four movements, the first and third slow, the second and fourth quick. All movements are written without key signature:

The first movement is a slow fugue with a constantly changing time signature. The movement is based around the note A, on which the movement begins and ends. It begins on muted strings, and as more voices enter, the texture thickens and the music becomes louder until the climax on E, a tritone away from A. Mutes are then removed, and the music becomes gradually quieter over gentle celesta arpeggios. The movement ends with the second phrase of the fugue subject played softly over its inversion. Material from the first movement can be seen as serving as the basis for the later movements, and the fugue subject recurs in different guises at points throughout the piece.

The second movement is quick, with a theme in  time which is transformed into  time towards the end. It is marked with a loud syncopated piano and percussion accents in a whirling dance, evolving in an extended pizzicato section, with a piano concerto-like conclusion.

The third movement is slow, an example of what is often called Bartók's "night music". It features timpani glissandi, which was an unusual technique at the time of the work's composition, as well as a prominent part for the xylophone. It is also commonly thought that the rhythm of the xylophone solo that opens the third movement is based on the Fibonacci sequence as this "written-out accelerando/ritardando" uses the rhythm 1:1:2:3:5:8:5:3:2:1:1.

The last movement, which begins with notes on the timpani and strummed pizzicato chords on the strings, has the character of a lively folk dance.

Popular culture
The popularity of the Music for Strings, Percussion and Celesta is demonstrated by the use of themes from this work in films and popular music. The second movement of this work accompanies "Craig's Dance of Despair and Disillusionment" from the film Being John Malkovich. The Adagio movement was used as the theme music for The Vampira Show (1954–1955). The movement was also featured in the Encyclopaedia Britannica film The Solar System (1977) and the Stanley Kubrick film The Shining (1980). Jerry Goldsmith would write in the style of this piece for the 1962 film Freud: The Secret Passion. It also was the soundtrack for the 1978 Australian film Money Movers. Also the work is sampled by Anthony "Ant" Davis from the underground hip hop group Atmosphere, from Minneapolis, on the song "Aspiring Sociopath" of their album Lucy Ford.

The architect Steven Holl used the overlapping strettos that occur in this piece as a parallel on which the form of the Stretto House (1989) in Dallas, Texas was made.

The novel City of Night (1962) by John Rechy makes reference to Music for Strings Percussion and Celesta (p. 145, passim), a work which haunts the main character. The piece is also mentioned in the novel The Collector (1963) by John Fowles, where one of the main characters, Miranda Grey, calls it "The loveliest."

Much of the music from this collection, along with The Miraculous Mandarin, can be heard as underscore for two Doctor Who stories: 1967's "The Enemy of the World" and 1968's "The Web of Fear".

Discography
The first recording of the work was made in 1949 by the Los Angeles Chamber Symphony under Harold Byrns, 

Other recordings include:
 Herbert von Karajan and the Philharmonia Orchestra (1949 - the second recording of the work)
 Ferenc Fricsay and the RIAS Symphony Orchestra (1954)
 Sir Adrian Boult and the Philharmonic Promenade Orchestra (~1955)
 Fritz Reiner and the Chicago Symphony Orchestra (1958)
 Leopold Stokowski and the Leopold Stokowski Orchestra (1959)
 Leonard Bernstein and the New York Philharmonic (1961)
 Antal Doráti and the London Symphony Orchestra
 Yevgeny Mravinsky and the Leningrad Philharmonic Orchestra (1965 & 1967 {live})
 Pierre Boulez and the BBC Symphony Orchestra (1967)
 Neville Marriner and the Academy of St Martin in the Fields (1970)
 Herbert von Karajan and the Berlin Philharmonic Orchestra (1973)
 Mariss Jansons and the Oslo Philharmonic Orchestra
 Eugene Ormandy and the Philadelphia Orchestra (1979)
 Moshe Atzmon and the Tokyo Metropolitan Symphony Orchestra (1981)
 Charles Dutoit and the Montreal Symphony Orchestra (1987)
 Iván Fischer and the Budapest Festival Orchestra (1987)
 Pierre Boulez and the Chicago Symphony Orchestra (1994)
 Esa-Pekka Salonen and the Los Angeles Philharmonic (1996)
 Jukka-Pekka Saraste and the Toronto Symphony Orchestra (1997)

References

External links
 Chapter 7 of Larry Solomon's Symmetry as a Compositional Determinant (an analysis of some formal aspects of the piece)

Category:Compositions by Béla Bartók
Category:1936 compositions
Category:Compositions for string orchestra
Category:Percussion music
Category:Music commissioned by Paul Sacher