Run Time: Approx. 25 minutes

Compared with Barber, Bartók takes a more common approach to Neoclassicism (or perhaps, more accurately, Neobaroque-ism) by looking to earlier practices for form, instrumentation, and style, while overlaying this historical scaffolding with distinctly twentieth-century harmonic and rhythmic language. As with much of his music, the piece is heavily informed by the folk traditions of his native Hungary, featuring scales that may sound slightly exotic to Western-oriented ears, and shifting, uneven meters characteristic of Eastern European folk music.

In addition to the practical, financial ingenuity that helped spur Neoclassicism, there’s an inherent nostalgia in looking to the past that seems almost inevitable for composers living through two historic wars. As Thomas May observed, these lighthearted works may have been “a kind of backward glance to music’s acknowledged role as a source of civilized social entertainment, not always meant to bear the burden of intensely personal confessionalism.”

Borrowed from Bach

Form: This work is written as a typical Baroque concerto grosso. Unlike the modern concerto, which features a single soloist backed by the orchestra, the concerto grosso highlights a group of soloists that weave in and out of the ensemble texture. The hallmark of this form is the dialogue between instruments acting in a solo capacity and the full ensemble. You’ll hear each unique voice come out of the texture at various points, and then fold back into a supporting role.

Rhythm: Listen to the accompanying figure in the opening of the first movement. That chugging rhythmic impetus, like a motor that propels the piece forward, is a frequently-used device in Baroque music and Bartók employs it throughout the Divertimento to provide the lightness we associate with Baroque music. However, the constantly shifting meters are typical Bartók, and play a big role in giving the piece both its modern and folk-inspired sound.

Dialogue: The instruments frequently pass melodic material among one another, each playing a small part of the larger phrase. The melodies coalesce from short motives circulated among the instruments, creating intricate interlocking textures and evoking the feeling of an ensemble cast of equally weighted characters.

Dance: Like Bach, Bartók concludes his work with an up-tempo movement clearly reflecting popular dance forms. While Bach looked to the courtly dances of his day, Bartók shares the Hungarian folk dances of his youth in his whirling, celebratory conclusion.