The Second Movement

The Second Movement

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The Second Movement

The Second Movement, Giuoco Delle Coppie, is a chain of five dances,
with each new tune presented by pairs of instruments. The movement is
in ternary form (ABA) and is very rhythmic, and there is also a lot of
parallel movement throughout the movement.

The first tune is introduced in bar 9 with the Bassoons in parallel
6ths. In this tune, the phrases end with trills, a typical Baroque
influence.

The second tune comes in in bar 25 with the Oboes a third apart, a
typical Baroque device. This tune is very staccato. In bar 35 there
is a descending staccato sequence in the Oboe part.

Tune three is brought in in bar 45 in the Clarinets. The Clarinets
are playing in parallel 7ths.

In bar 60 the flutes bring in the forth theme a fifth apart. In bar
62 there is an octatonic scale, consisting of alternating tones and
semitones.

Bar 90 sees the introduction of the fifth and final tune. This tune
is played by the Trumpets who are muted and are playing a second
apart. In bar 116 the trumpets have the side drum rhythm from the
opening of the movement. It is a recurring tattoo, very much like a
Baroque Ritornello. The III Trumpet plays a held muted note to end
Section A.

Section B begins at bar 123 with a homophonic Brass Chorale. At the
end of a phrase in a Chorale, there is usually meant to be a pause,
and to achieve that effect in this, Bartok uses tied minims instead.

There is a short question and answer figure starting at bad 158 in the
woodwind, acting as a bridge passage back into the A Section again at
165.

The Bassoons start Section A again with the first tune played a third
apart in I and II Bassoon, and a staccato contrary motion counter
melody in III Bassoon.

The second tune starts in bar 181 in the Oboes, playing a third

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apart. This time, the tune is accompanied by the Clarinets who are
playing an inversion of this theme (another Baroque influence). In
bar 189 is the staccato descending sequence in the Clarinets and Oboes
with the Clarinets playing an inverted form of the Oboe part.

The third tune comes in in bar 198 with the Clarinets playing a
seventh apart. The Flutes accompany the Clarinet tune, also a seventh
apart. The Clarinets and Flutes give an unusual four part harmony,
with the Bassoons playing parallel octaves underneath.

At bar 212 the forth tune is brought in by the Flutes playing a fifth
apart, using the second phrase of the previous forth tune beginning in
bar 60. The Oboe and Bassoon accompany this tune.

Tune five is brought in by the muted Trumpets playing a second apart
in bar 228. This tune is now expanded from the previous tune five of
bar 90.

The Coda starts at bar 252. Each of the pairs of instruments come in
and play their interval, then all the intervals are repeated and held
on to create a collage of intervals. I and III Horn are muted in this
section.
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