[From: Lendvai, Ernš. "Duality and Synthesis in the Music of BŽla Bart—k." In Module, Proportion, Symmetry, Rhythm. Vision and Value series. Gyorgy Kepes, ed. New York: George Braziller, 1966.]
First, "Inferno" movement - Third, "Paradiso" movement
chromaticism - diatony
golden-section system - acoustic system
closed world - open world
circular pattern of melody - straight pattern of melody
presence of central tone - presence of fundamental tone
rhythm with strong ending - rhythm with weak ending
uneven meter - even meter
asymmetries - periodicity
F sharp minor beginning - C major end
demoniac world - serene world, festive and playful
instinctive existence - intellectual existence
organic - logic
love-hatred - perfect understanding-irony
tension - freedom from tension
emotional nature - sensuous nature
inspiration - thought
experience - knowledge, solution
feminine symbols - masculine symbols
dependency on fate - law, order, form
permanent change - validity at all times
augmentation-diminution - stabilized forms
occurrence - existence
process in time - extension over space
origin-development-conclusion - division
finite: circular motion - infinite
geometric nature - mathematical nature
(key figure to golden - (key figures to overtone
section: irrational figure) - system: integrals)
It is interesting to note that Bartók presumably intended--as supported by the date of its composition, 1937--the Sonata for Two Pianos and Percussion as the crowning of the Microcosmos (1926-37): the "Macrocosmos."
[Lendvai, Ernõ. "Duality and Synthesis in the Music of Béla Bartók." In Module, Proportion, Symmetry, Rhythm. Vision and Value series. Gyorgy Kepes, ed. New York: George Braziller, 1966.]
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