Kodály's Sonata Opus 8: Transformation of Hungarian Lament

Author(s): Francesco Mastromatteo

Source: International Journal of Musicology , 2015, Vol. 1 (2015), pp. 101-136
Published by: Peter Lang AG

Stable URL: https://www.jstor.org/stable/43858070

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 Francesco Mastromatteo
(Conservatorio "Umberto Giordano" - Foggia (Italy))

Kodály's Sonata Opus 8:

Transformation of Hungarian Lament

Summary
Zoltán Kodály's Cello Sonata Op . 8 is one of the most intellectually complex
and artistically inspired masterpieces in the solo string literature . The Sonata ,
composed in 1915 and published in 1921, shows the Hungarian essence
of the composer's music . The work is based on a constant process of varia-
tion contained in folk stanzaic structures , which ultimately define a highly
articulate sonata form . Its harmonies, even with reminiscences of the tonal
system, are definitely non-functional. They move from pentatonic roots to
octatonicism and chromaticism to empower a strongly modal language . This
modal folk idiom punctuates the priority of the sharp rhythmic statements
as well as the melodic shape of each phrase. The vocal quality of the piece
and its alternation with dance-like elements imply the adoption, for the most
part, of parlando-rubato, and less prominently, of tempo giusto and variable
tempo giusto, the rhythmic classifications of Hungarian folk music used by
Bela Bartok and by Kodály himself in their revolutionary studies of the field.

Introduction

"What musical features are characteristic of Hungarian music? In general,

it is active rather than passive, an expression of will rather than emo-
tion. Aimless grieving and tears of merriment do not appear in our music.
Even the Székely laments radiate resolute energy. Hungarian folk music
has a form that is sharp, definite and varied. Its melody has buoyancy and
freedom of movement, and does not unfold timidly from a premeditated
harmonic basis. Its form is concise, proportionate, lucid and transparent.
The form is lucid, for we always know where we are."1

1 Ferenc Bonis, ed. The Selected Writings of Zoltán Kodály (London: Boosey and
Hawkes, 1974), 32.

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102 Francesco Mastromatteo

In this powerful statement, Zoltán Kodály p

description of the essential features that mak
of the most intellectually complex and artisticall
the solo string literature. The Sonata, compos
1921, shows the Hungarian essence of Kodaly'
on a constant process of variation contained i
which ultimately define a highly articulate so
even with reminiscences of the tonal system, are
They move from pentatonic roots to octaton
empower a strongly modal language. This mo
the priority of the sharp rhythmic statements a
of each phrase. The vocal quality of the piece
dance-like elements imply the adoption, for t
rubato, and less prominently, of tempo giusto
the rhythmic classifications of Hungarian folk m
and by Kodály himself in their revolutionary stu

Sonata Op. 8 and Hungarian Lament:

and Compositional Relevance
The general compositional traits described abov
novelty of the Sonata that lies in its main aest
folk lament. This genre was an overall power
mind, as the reference in the opening quotation
laments are chosen as exemplary of the essenc
of a highly individual national musical idiom,
energy. Laments are mourning songs for the dea
during official funerary ceremonies. Due to the
Hungarian people, such powerful manifestatio
intimate setting open only to family and friends
attend situations where laments cry out in Hung
casions when these are heard by outsiders attest
acteristics: the laments are performed by wom

2 Elliott Antokoletz, Twentieth Century Music (En

Inc. 1992), 110-115.

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 Kodály's Sonata Opus 8 103

improvisation, have a substantial length, emphasize des

in melody and repeated single notes in accelerando, and
musical prose, similar to a continuous recitative.3
Op. 8 stems from the expressive world of the lament
born in strict expressive connection with it. The reason
in the intrinsic compositional basis of the work. It is a pro
new language, rooted in a national idiom but opened t
bilities of universal dimension.4 This peculiar aesthetic info
and the entirety of Kodály's as well as Bartók's creative pat
personal need, but also an artistic reaction to a difficult po
time for Hungary during the Great War (1914-1918) a
after it. The Sonata, in fact, was written and published dur
Nevertheless, in contrast to Bartók, who directed his
ward the exploration of various national idioms and
greater level of conceptual abstraction in his creative t
remains purely Hungarian in his folk studies, in his te
compositional craftsmanship. His artistic achievements,
ue6, are rooted in Magyar spirit, in the language as well
poetry7, and are able to transform this Hungarian dime
of art of international significance. Kodály moves to abs
does, but never leaves the soil of Hungary.8 The Sonat

3 See Zoltán Kodály, Folk Music of Hungary (Budapest: Zene

1952), 85. Trans. Ronald Tempest and Cynthia Jolly (New Y
lishers, 1971).
4 The International reputation of Kodály started to build very early in his ca-
reer. His Hungarian idiom soon found a truly universal echo in audiences
and music lovers throughout the world. See Percy M. Young, Zoltán Kodály:
A Hungarian Musician (London: Ernest Benn Ltd, 1964) 58-59.
5 See Percy Young Zoltán Kodály, pp. 61-72.
6 The reviews of Kodály's works as early as 1920 were already praising him
as "a craftman of the highest rank." László Eósze, Zoltán Kodály. His Life and
His Works (London: Collet's Holdings, 1962), 19.
7 In Kodály's education, the study of German and Hungarian language and
literature were fundamental. See László Eósze Zoltán Kodály , p. 19.
8 Bartók had no doubts about the specificity of Kodály's language: "Kodály's
music is a profession of faith in the Hungarian Spirit. Objectively, this may
be explained by the fact that his work as a composer is exclusively rooted in

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104 Francesco Mastromatteo

the supreme proofs of this cultural shift for

curiosity and cultural awareness, with the dee
Hungarian prose, of folk poetry, of his nativ
understanding of Claude Debussy and all the e
the early twentieth century.9
In comparison with Bartók, Kodály sounds m
adoption of triads in a primarily diatonic lang
individual and progressive path. The Sonata O
viduality in the early stage of his art.10 The tran
ian lament into the western sonata form may
attempt to record artistically the improvisato
genre of his native country. On a deeper level, th
a clear aesthetic statement: from Hungary to
universal significance.
The Hungarian lament permeates the Op. 8
scending profile, improvisatory but formally de
ures of accelerating single pitch repetitions, f
recitative prose-like nature, and finally the un
single artistic conception of a thirty-minute wee
On a more abstract level, the influence of the
Hungarian Lament is present in the constant
of pitch collections, from diatonic modality
tures, to octatonic language and chromatic pas
of prominent glissandi as extreme contraction of
As Bartók first noticed, this Sonata is the a
"chamber music period". The work shows an

the soil of Hungarian folk music. But, subjectively

vering faith in the creative strength of his people
future." Laszló Eosze, Zoltán Kodály, 96.
9 Kodály introduced Bartók to the music of Debuss
composer had a deep influence on both Hungarian
letz, Twentieth Century Music , 111.
10 Proof of the importance of this new language
Bartók on the sonata: "No other composer has writ
lar to this kind of work." Eosze Zoltán Kodály , 1

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 Kodály's Sonata Opus 8 105

of the cello, the consequence of personal acquaintance11

laboration with Jenö Kerpely, cellist of the Waldbauer Q
ensemble that premiered the early chamber works of th
garian composers.12 The works written by Kodály in th
Op. 8 show an interesting artistic disposition: the only p
tal compositions almost always involve the cello as a d
as in the Sonata Op. 4 for cello and piano and in th
violin and cello, while Op. 5, Op. 6 and Op. 9 are th
Op. 5 (1913-1916) is for baritone and piano or orchestr
Songs Op. 6 (1912-1916) and Five Songs Op. 9 (1915-
stated as being for voice and piano. To complete the pict
compositional stage, Kodály's output includes the Strin
(1916-1918), which masters formal experimentations a
in the Sonata Op. 4, in the Duo Op. 7, and in the Sonata
mal connection indicates "cellistic" roots of this second
and underlines the importance for larger compositions of t
related to Kodály's writing for cello.
The works composed between Op. 4 and Op. 10 are, t
ented toward a vocally inspired exploration of string ti
cifically the cello sound, based on purely Hungarian sou
in the Hungarian voice, attested by the early song cycl

11 Kodály was a self-taught cellist of particular talent and

cial interest in the instrument, as his works demonstrate. N
Op. 8, the Sonata Op. 4 for cello and piano (1909), the Capr
(1915), the Hungarian Rondo (1918) and the Sonatina (1922
piano, plus the Duo for Violin and Cello op. 7 (1914) and t
of Prelude and Fugue in E-flat minor from J. S. Bach's Wel
(1954), show a continuous exploration of the low string ins
tive medium. See László Eósze, Zoltan Kodály , 13.
12 See László Eösze, Zoltan Kodály , 18.
13 Features of the Op. 4 in the Quartet Op. 10 are the A-B-A
movement and the use of the introduction of the same move
form a bridge into the second movement. Also the quartet's
is modeled on the last movement of Op. 7, where a syncopate
generated from the slow themes. Finally the last movement o
ation process to regenerate sonata form, recalling the last mo
See László Eósze Zoltän Kodály Ibid, 109-110.

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106 Francesco Mastromatteo

mature result of a long journey that started wit

field of folk music. This exploration was deri
creative fascination, formed by his education
the countryside.14 Kodály's journey reached a
doctoral thesis "Stanzaic Structure of Hungari
tween 1905 and 1906. This thesis was the first sc
proach to folk music and the beginning of a p
embraced by Bartok: a seed from which a new
generated. Next to the folk studies, a more vo
interest in the cello and the broader chamber re
tion of creating a truly universal and abstrac
arrives, with the highest intellectual profile, in
European music during the first decades of the
ism, expressionism, atonality, futurism, and fol
were the creative forces of a new era.15
As a consequence of such a complex back
Op. 8 enters the literature with the footprints o
only unaccompanied work able to stand next
1012. Next to those, it was to become a strong
and musically for all the solo cello works pr
basic example of the authority of the piece a
craftsmanship is the adoption in Op. 8 of the " s
ing of the instrument) with the G and the C str
step down to F# and B. This technical tool no
Baroque practice,17 but opened a field of extr

14 László Eõsze Zoltán Kodály , 11-15.

15 The extremely experimental atmosphere of the b
tury was a true explosion of novelties in musical
letz, Twentieth Century Music , 8-9, 77-78, 106.
16 See Nathan Cook, Scordatura Literature for U
the 20th Century: Historical Background, Analysis
siderations for Composers and Performers. (Doc
Rice University, 2005), 65-97.
17 The Suite by J.S. Bach BWV 1011 calls for a c
to G, and this practice was common throughout
early eighteenth centuries. In fact the first works
for instruments with the most diverse tuning. In

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 Kodály's Sonata Opus 8 107

many works to come, as in the Trois Strophes for cell

Dutilleux (1976), Peter Sculthorpe's Requiem for Ce
Alfred Schnittke's Kligende Buchstaben (1988) and Kaij
and Spells (1997).
Kodály's Op. 8 is, therefore, relevant for its unique hi
For two centuries, after Bach's solo suites, major composers
strate any interest in writing for unaccompanied cello. Com
"pale imitation" 18 of Bach by Max Reger19 is the only creati
extremely challenging realm where harmonic conception
qualities had to be imagined and shared between a limited v
and more comprehensive horizontal developments. Kodály's
ment of chords and evocative use of melodic lines make
a totally new and stunningly modern solo work. He crea
overcomes tonality toward the modality of folk music base
scales, extreme technical virtuosity and, most important, t
Magyar lament as aesthetic, formal, melodic and rhythmic

Form and Variation Process

A primary element of the work's modernity appears to be in the formal

aspect of each movement. The Op. 8 is a traditional sonata only on its
surface, but its architecture bears the signs of the stanzaic structure of
Hungarian folk music and, thanks to this structure, the piece is formally
unified. The stanzas are also based on a more specific folk-influenced pro-
cess: a constant variation of head and tail of the opening motive. The mu-
sical nature of the head has a strong rhythmic profile. The tail functions as

famous examples are the works by Heinrich Biber (1644-1704). His Rosary
Sonata for solo violin (1676) experimented with various scordatura combina-
tions. See Nathan Cook, 27-44.
18 Bartok defines in this way the Solo Suites written by Reger, as he compares
these works to Kodály's Sonata. Eosze, Zoltán Kodály , 109.
19 Max Reger wrote three suites for solo cello between 1914 and 1915. The
German composer had the solo works by J.S. Bach as reference in style, at-
tempting a neoclassical revisit of those masterpieces.
20 There is one more work for solo cello written before Kodály's Op. 8. It is the
"Theme and Variation" written by Jean Sibelius in 1887. The work was redis-
covered in 1995.

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108 Francesco Mastromatteo

a melodic closing gesture as the opening phras

to m. 3 beat 1), with seven beats of a powerful rh
(from m. 3 beat 2 to m. 5 beat 1), instead, ther
melodic waves (see Ex. 1).

Example 1: Zoltán Kodály, Sonata Op. 8 Allegro m

mm. 1-7 (Universal Edition, 1921).

The stanzaic structure, the basis of Kodály's d

be built on various numbers of lines in the Hu
but in the opening Allegro maestoso ma appa
structure for each stanza shapes the newly con
instrumental realm this four-line concept wo
rostructure of the entire movement appears t
sections, and the microstructure of the four
subsections.
The stanzaic structure of the overall formal
(mm. 32-79)-Al (m. 80-151)-Bl (mm. 152-199),
a traditional sonata form in quadripartite desig
be interpreted as first and second theme areas
and B1 as recapitulation without the first them
used in the development21 and does not need t
mal choice is typical of Haydn, a composer to
larly close because of his Hungarian interests a

21 The absence of the second theme in a recapitu

is a pretty common exception, as attested in Wil
(Oxford: Oxford University Press, 1998), 173-174
22 See Ferenc Bonis ed. The Selected Writings of Z

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 Kodály's Sonata Opus 8 109

this stanzaic design overlaps with an entirely typical th

form: exposition (mm. 1-79), development (mm. 80-146
lation (mm. 146-199). This second formal plan seems to
nent than the aforementioned four-part organization. Th
multiple levels of two formal designs, a dynamic stanzaic
controlled sonata design, communicates the main tension
content tends to expand, while the form tries to compress.2
intersection between these two designs, which Varese w
tion," happens from m. 146 to m. 151. This passage pre
dialectic of the Sonata. In fact, the indications Pesante
and the use of quadruple stops with accents expand the head
At the same time the rewriting of the tail from the openin
eighth notes with its consequent compress rendition (les
contracts the melodic wave into a more basic gesture (se

Example 2: Zoltán Kodály: Sonata Op. 8 Allegro maestoso ma

m. 146-151, "Ionization" (Universal Edition, 1921).

It is interesting to move from the macro-level into each of

to notice the persistence of the expanding/compressing dial
the articulation of the stanzaic structure to a smaller degree
The opening A (mm. 1-31) is subdivided into

a: opening phrase from m. 1 to m. 5 beat 1 - head and tail o

b: consequent phrase from m. 5 beat 2 to m. 14 beat 1.
c: second consequent phrase from m. 14 beat 2 to m. 25
d: coda of the entire first theme area from m. 25 beat 3 to

Each phrase in this section shows a progressive expansi

ception is the relatively short coda. The compression of t

23 A similar dialectic between a dynamic form and a sonata for

cept of Varèse's Ionization . See Elliott Antokoletz Twentieth
342-346.

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110 Francesco Mastromatteo

the extreme synthesis of the opening and co

vigorous initial outburst of energy with an equ
nified melodic segment. At the end of A, th
sura further strengthens Kodály's formal class
The B section introduces the subordinate theme area and could be di-
vided into the following four subsections:

e: from m. 32 beat 2 to m. 43 beat 1.

f: from m. 43 beat 2 to m. 52.
g: from m. 53 to m. 69.
h: from m. 70 to m. 79.

The main feature in this section is the interconnection among ideas. The
instrumental flow is smoother than in the opening theme area and pro-
vides the traditional, more melodic quality of the subordinate themes.
Even the indication sul ponticello, after the two fermata , seems to define
a necessary transformation of the vocal quality of the instrumental lines.
The two sudden forte markings of m. 64 and m. 66 are carefully indicated
as espressivo , as if the composer wanted to absorb even this sudden change
into a more unified flow.
The Al section has clear developmental character and is the most inter-
esting in regard to its subdivision, since it truly expresses the theme and
variation essence of the overall sonata. Its subdivision could be framed in
the following way:

al: main theme figure at major third distance, from m. 80 to m. 84 beat 1.

bl: first variation of consequent phrase b in A from m. 84 beat 2 to
m. 100 beat 1.
a2: main theme at major sixth distance from a and perfect fourth from
al, from m. 100 to m. 104 beat 1: overlapping with bl.
cl: this is the subsection with the most articulated expansions in the
movement from m. 104 beat 2 to m. 146 beat 1. The subsection also
has four sub-subsections: cc 1 (from m. 104 beat 2 to m. 120 beat 1),
cc2 (from m. 120 beat 2 to m. 128 beat 1), cc3 (from m. 128 beat 2
to m. 134) and cc4 (from m. 135 to m. 146 beat 1).
a3: main theme a perfect fifth below a2 with augmentation of the melodic
tail fused with the head of more rhythmic character from m. 146 beat 2
to m. 151.

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 Kodály's Sonata Opus 8 111

The Al section seems to evade the four-line stanzaic stru

what is a legitimate variation even in folk poetry. Neverthel
in the movement seems to articulate the quaternary design a
er level. In fact this section could be interpreted either as a
ture with a as rondo theme, or as a five-part structure, with
to each repetition of a. Instead, to reinforce the four-part o
last repetition of a, a3, could be interpreted as the point
on the macro level between ternary and quaternary desig
becomes the climax in the movement and can be seen as inde
Al, but not yet part of the upcoming Bl. It is a crucial st
and a formal oxymoron: a necessary interpolation. It is f
mous from Al but can be also interpreted as its coda. Ko
the moment strongly with his expressive markings,24 an
culmination of the expanding motion which starts with the
in AI. In fact a2 is at perfect fourth from al, while a3 expan
fifth from a2. Even in this case, however, an opposite contr
since compared to a in A, a3 is only a whole step above th
fore, the space of major third, which separates the beginnin
tion) from the beginning of the development Al, contracts b
Finally the Bl section has the function of a recapitulation
sixth distance from B, the original subordinate theme ar
plan. Its subdivisions are as follows:
el: from m. 152 beat 2 to m. 163 beat 1.
fl: from m. 163 beat 2 to m. 172.
gl: from m. 173 to m. 189,
hi: from m. 190 to m. 199.

The character of Bl is the same as of B with smoother connections among

ideas and a more melodic profile. Its striking ending gesture is the only
novelty. The two chords of m. 199 quote the opening chords of the move-
ment, but now in ff and with sf markings working as an abrupt conclu-
sion. This memory of the essential figure of the Allegro maestoso 25 creates

24 See pp. 8 and 9.

25 They seem an extremely contracted recapitulation of what generates the entire
movement: a B Aeolian chord.

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112 Francesco Mastromatteo

strong expectations for continuation, and idea

the second movement.
The Adagio seems to confirm the overlapping of two distinct formal de-
signs noticed in the first movement. Its structure appears to be quaternary
with inclusion of a ternary design. Once again the classical sonata form,
which is also employed in this movement, is renovated by the stanzaic
structure of folk poetry. The process nevertheless shows, in the Adagio,
an even higher level of complexity with sophisticated links between the
subdivisions of the macro-structure.
The quaternary design could be arranged as follows as a macro-stanza
of four verses.

A: from m. 1 to m. 52 built, at a subordinate level, on five subdivisions:

a (m. 1 to m. 6)-b (m. 7 to m. 17)-a 1 (m. 18 to m. 29)-bl (m. 30
to m. 38)-c (m. 39 to m. 52). Therefore five smaller verses build the
macro-verse.

B: from m. 53 to m. 96. This section is more an indep

passage, without developmental character, but still
the main two themes of A. The process of variatio
sections of the entire Sonata.
Al: from m. 97 to m. 115. This section expands b of A
main subsection d (m. 97 to 105) and e (m. 106 to
A2: from m. 116 to m. 147. This section expands c and
three subsections f (m. 116 to m. 122), g (m. 12
h (m. 135 to m. 147).

Therefore together Al plus A2 are built on five subs

verses, just like A, creating a symmetry where expa
tion again work simultaneously. Kodály's writing in
denser with abundant use of double stops, and faster a
rhythmic figurations, as well more extensive use of left
faster rhythms and the accelerating motion seem to com
contrast to the broader and less dense beginning. At t
figurations enlarge the cello sound, creating a broad
supported by the expanding pitches, which climb to t
above middle C in m. 142. In m. 143, instead, the low B
movement has moved up or "expanded" to a fifth above F

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 Kodály's Sonata Opus 8 113

Next to this expanding/contracting symmetry, the unific

zaic structure and sonata form is evident in the analysis
an expanded recapitulation. In this section the melodic
worked out in the material mostly based on b and c. Thi
sion is necessary to prepare for the extreme rhythmic e
last movement, where the dramatic tension accumulated
released in an outburst of intense energy.
The second movement, nevertheless, also presents the
traditional sonata-like ternary design with emphasis on the
section among the two overlapping forms. In fact it is possi

A: from m. 1 to m. 52 - Exposition.
B: from m. 53 to m. 96 - Middle section.
Al: from m. 97 to m. 134 - Recapitulation.
Coda: from m. 135 to m. 147.

The intersection between the two forms seems to be at the reappearance of

the c motive of A, mm. 116-121. This motive in A is the basis of a coda,
whereas in the recapitulation it can be interpreted in terms of a dual func-
tion: as a beginning of a new section in a quaternary form, or codetta of
the recapitulation that anticipates the Coda of the entire movement in the
ternary design.
This Coda leads into the final Allegro Molto Vivace , which concludes
the transition from folk sources to a more abstract idiom. The last move-
ment also establishes the priority of the traditional ternary plan A-B-Al
plus Coda in a rondo-sonata form. Nevertheless, the four-line stanzaic
structure, primary in the first and second movements, leaves its traces also
on this concluding Allegro . The formal plan is as follows:

A: Exposition from m. 1 to m. 173. It can be divided into three theme

groups or verses: al from m. 1 to m. 61, a2 from m. 63 to m. 118
and a3 from m. 119 to m. 173.
B: Development from m. 174 to m. 419. This section can be divided
according to the quaternary stanzaic structure: b from m. 174 to
m. 238, c from m. 239 to m. 271, d from m. 272 to m. 325 and
e from m. 326 to m. 419.

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114 Francesco Mastromatteo

Al: Recapitulation from m. 420 to m. 604.

three thematic areas: aal from m. 420 to m.
of m. 446 to m. 516 and aa3 from m. 517 to m. 604.
Coda: from 604 to the end.

The coda might also be interpreted as a fourth section of Al, recreating

a second four-line stanza after the development. Nevertheless, the dimen-
sions of the work and of the last movement itself seem to justify a separate
coda instead. The intent is to propel, for the last time, the powerful "ex-
pression of will"26 of the entire work. The Coda, as fourth independent
part, re-establishes there a final link to the four-line stanzaic structure that
was interwoven with sonata form in the entire Op. 8. The connection now
puts the folk-derived form on a subordinate level, reversing the scheme
of the other movements. In the Allegro molto vivace, the abstract sonata
form finally shapes the energy of the folk source, which dominated the
Allegro maestoso ma appassionato as well as the Adagio .
The ambiguity of architecture in the last movement is also extended to
another fundamental concept of this work: the variation process. In fact
the Allegro molto vivace is also a theme and variations movement divid-
ed into eleven sections (a theme and 10 variations), overlapping with the
sonata-form A-B-Al plus Coda. The confirmation of this theme and vari-
ation substructure comes from Kodály himself, who after hearing Janos
Starker playing the work in 1939, 27 asked him to reduce the separations
between "the variations" in the third movement.28
The folk roots of Op. 8 and its link with the Hungarian lament start
from the formal architecture but involve every aspect of the work. More
specifically, the process of variation allows the sonata's functions and stan-
zas to be connected and unified. As a consequence of this constant stream
of variations, the work shows a deep improvisatory quality throughout.
The Hungarian lament, which is entirely crafted on variations and improv-
isation, underlines this process in all thematic ideas and developmental

26 See opening quotation, 1 .

27 At the time the Hungarian cellist was only 15. This is still today a shock in
precocity for any cellist who plays the work.
28 Zoltán Kodály, Starker Plays Kodály. Janos Starker, cello; Joseph Gingold,
violin. Delos International CD, 1987. Liner notes by Nancy Perloff.

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 Kodály's Sonata Opus 8 115

aspects. As Kodály wrote: "No singer could recite mourn

variation, so entirely does it depend on the inspiration of t
The variation process links the main themes in all mo
various movements to each other, and is so extensively
look at the entire work as a continuous transformatio
four-measure statement.30 The opening statement reve
greater details. The two figures that build the theme are t
and the melodic tail.31 They both move around the B: the f
C#-D-A-B (m. 1 to m. 3 beat 1 ), the second split into two
(m. 3 beat 2) and B-C#-D-E-F#-E-B (m. 3 beat 3 to m.
move from the boundary of the perfect fourth D-A to the p
both typical of descending Lament figurations (see Ex.

Example 3: Hungarian Folk Lament: Ghymes (Nyitra County)

profile spanning a fourth g-d and a fifth g-c, while presen
and 4 as variations of lines 1 and 2.

The folk-rooted variation process is immediately at wor

The second figure of the opening theme in the Alle

29 Zoltán Kodály Hungarian Folk Music , 86.

30 For specific interconnections between themes in the son
Lin, The Treatment of the Cello in Kodály's Sonata for Un
Op. 8 (Doctoral Dissertation: Boston University, 1995), 22
31 See Example 1.
32 See Example 1.

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116 Francesco Mastromatteo

appassionato is an expansion of the openin

around the fundamental modal tonic B.
In the first movement, the first half of the melodic tail in the figuration
which opens the work is the basis of the second theme. The reason is to be
found in the traditional more lyrical quality of the second theme areas in
sonata-form. The tail of the opening statement has this expressive character
and is adopted as the root of the second theme in the Allegro maestoso ma
appassionato . Here, the variation process appears in the transposition of
the figure, first up to a major sixth (m. 34) starting on the G (G-F#-G-A),
then to Eb (Eb-Db-Eb-F) in m. 42, a minor sixth above G (see ex. 4).

Example 4: Zoltán Kodály: Sonata Op. 8, Allegro maestoso ma appassionato ,

m. 32-42 (Universal Edition, 1921).

The entire second theme adopts this neighboring figure in different con-
texts, most strikingly in polyphonic dialogue on the first two strings with
the inversion of its contour as in mm. 44-45, 46-47, 48-49, 53-54, 55-56,
57-58 (see Ex. 5).

Example 5: Zoltán Kodály: Sonata Op. 8 Allegro maestoso ma appassionato ,

mm. 43-62: Double stop polyphony (Universal Edition, 1921).

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 Kodály's Sonata Opus 8 117

This strong thematic element based on the neighboring fig

in the exposition of the second movement, after the op
duction (al). The essential theme of the Adagio starts
boundaries of a neighboring figure completed in m. 8
figure varies the first half of the second thematic elem
ing movement, inverting the contour and placing the u
note at the end of the four-note group, while in the origin
lower neighbor is second in the group. Nevertheless, th
at m. 9 of the Adagio reconnects to the same descend
added) which closes the opening theme of the first movem

Example 6: Zoltán Kodály: Sonata Op. 8. Adagio , mm. 1-8 (U

1921).

In addition, the fifth interval (now both ascending and des

inverted neighboring figure also open the B section (m
of the Adagio and are its main thematic source, confirm
variation of basic melodic elements (see Ex. 7).

Example 7: Zoltán Kodály: Sonata Op. 8, Adagio mm. 52-66 (

1921).

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118 Francesco Mastromatteo

One more confirmation of the extensive variat

that opens the third movement. This idea is
neighboring figure of the opening Allegro mae
derived theme first appears in m. 4 of the All
mented in m. 5, and in this "richer" version is
m. 6 (see Ex. 8).

Example 8: Zoltán Kodály: Sonata Op. 8 Allegro mol

Edition, 1921).

In this last movement, the figuration which starts the Sonata also appears
as the opening of the second theme area (m. 62) with the addition of a
pedal above the theme in virtuosic double stops. Finally, even the third
section of this exposition, at mm. 119-122, is based on an extension by
one pitch up and one down of the same neighboring motive, and with the
addition of the D pedal now as alternating note and not as double stop.
The use of variation procedures is not only a folk derived tool, but
also a link to the classical style, where the late works of Beethoven offer
magnificent examples of the adoption of variation procedures. In rela-
tion to the cello, Beethoven crafts the second movement of the sonata
Op. 102 n. 2 as theme and variations. The process, in this case, has
substantial differences from Kodály's compositional strategies. In the
language of the Hungarian composer, the variations do not relate to the
harmonic structure and to the triads, since the folk idiom is modal and
not tonal. In addition, the late style of Beethoven has a totally organic
nature, manifesting itself as a work in progress. The variation is a proce-
dure but also becomes a form, while, in Kodály, the stanzaic structure is
the formal environment where the variation process reveals itself. In the
Sonata Op. 8, the stanzas seems to contain the expansion of the work,
while in Beethoven's Adagio from op. 102 n. 2 the form is determined by
the variations.

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 Kodály's Sonata Opus 8 119

Rhythm, Pitch-Organization and Instrumenta

Compression and Expansion
Beyond the extensive variation process, the rhythmic stru
also links this cello work to the Hungarian lament. Th
all the music of Kodály, has powerful connections wit
as can be seen from the constant emphasis on down b
patterns, typical of the Hungarian language. This strong
important in relation to the lament. As Kodály states:
of the Lament as a musical genre in Hungarian Folk Mu
being the only example of prose recitative and almost
of improvisation."33 This "musical prose" is preserved i
ments of the Sonata Op. 8, not only in the more lyrical
in the rhythmic sections. Describing Old and New Hun
Style, Bartok defines three prominent rhythmic catego
(strict dance meter), variable tempo giusto (strict dance me
ly complex) and parlando rubato (free reciting style). T
to dominate Kodály's Sonata. This free reciting approach to
duces the accents and flow of Hungarian language and
mourning always improvised in the Lament. Most typical o
style is the single pitch repetition in accelerando rhythms
descending mourning line. A relevant statement of such fi
in m. 315 (see Ex. 9) in the last movement marked
accelerando . This measure prepares the most importan
tion and pitch organization section in the Sonata: the
passage (starting at m. 326) which connects to the final

Example 9: Zoltán Kodály: Sonata Op. 8 Allegro molto vivace

Lament Figure (Universal Edition, 1921).

33 Zoltán Kodály, Hungarian Folk Music p. 88.

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120 Francesco Mastromatteo

This passage is the most prominent appearance of

rhythmical figuration, but single pitch repetitio
in the course of the work: for example, in the th
opening (mm. 1-4, F#) and in the accents fro
ment figuration appears also in the B repeated
Allegro maestoso (m. 1 to m. 10, with B funct
accelerando sextuplets of m. 106 and m. 107
even if presenting three pitches rather than a si
tion of the same "weeping" gesture, just like t
ando at m. 108. The same concept applies to th
the third movement at mm. 191-194 and mm
section from m. 326 to m. 419. In the latter the
a poco reinforces the priority of repetition of pi
notes here have to be performed not as tremolos
mic precision, since they are the most extende
gesture that is stated in m. 316.
Apart from this rhythmic and expressive r
sonata proceeds with rhapsodic quality even i
rical sections, as in the beginning of the thi
section in the second movement. These outbu
in the direction of rubato by the abundanc
accents and double stops. The rhythmic flow
ous expressive instabilities. The overall effec
duction of tragic "will" in the Lament than a
More specifically, from m. 1 to m. 19 in the
of ricochet bow stroked in mm. 5, 6, 13 and
flow, because of the irregular character that
fers to the neighboring figure.35 The same co
grace notes on B pedal which ornament the d

34 Again a comment by Janos Starker might help to

ity of the work: "These are declamatory melodic li
Hungarian language. One makes accents, stresses
the language" Zoltán Kodály, Starker Plays Kodály.
Gingold, violin. Delos International CD, 1987 Line
35 The ricochet is an irregular bow stroke consis
the string and letting it bounce in the same direct

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 Kodály's Sonata Opus 8 121

as to the accents of mm. 16 to 18. In order to perform

clearly, the tempo has to be pulled back, creating a rhyth
which is proper of a musical prose. A similar instability
by the opposite concept in a strictly rhythmical perform
m. 59 of the Adagio . Here the variety of rhythmic figurati
to thirty-second notes to dotted quarter to triplets), the
accents on the last beat of triplets, plus the three accia
notes) in hemiolia in m. 59, blur the beats and the meas
ing the improvisatory fluctuating quality of parlando ru
the Sonata reconnects to its Lament source and moves th
free improvisatory quality of its folk root to an abstract fo
level. In this realm, each decision is carefully planned, bu
sensation stays equally improvisatory.
If the rhythm reproduces the freedom of speech, the p
adopted by Kodály in his composition transfer the compr
dialectic observed at the formal level to a more essential stag
Kodály's writing explores folk material to create a music
to convey the complexities typical of the artistic idioms in t
eth century. Therefore, his music fully contains the imprin
era. The triads of the sonata are non-functional, and m
the tonal system as fundamental grammar. Basic to this
pentatonic scale and its expansion to different modal scal
the root of the melodic language in Op. 8 is the Hungar
with its symmetry of the two minor thirds on the extreme
steps in the middle (for example A-C-D-E-G). In this m
the harmonic significance of the chords is always derived fr
so the harmony is a consequence of the melodic contour.
the diatonic modal language established in the first them
ing Allegro maestoso ma appassionato centers on B Aeol
on a pentatonic underpinning which emerges from m. 1
"pentatonic-based" modality is the root of the entire wor
The second theme, instead, presents locally an aesthet
links to and unifies all the movements. The quality of this t

36 Eôsze, Zoltán Kodály , p. 98.

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122 Francesco Mastromatteo

octatonic overall with a combination of octat

between m. 43 and m. 53. The shift from a d
octatonic dimension implies a contraction in t
concept is a basic tool in understanding the co
Bartok and Kodály, who probably shared the
similar compositional processes.37
An interval cycle is a series of pitches create
same interval class. Relating this concept to
that such scale can also be interpreted as a se
perfect fifths or interval class 5/7.38 An octaton
by the intersection of two minor thirds cycles a
The ratio of this intersection is 1: 2, being t
sion of half-steps and whole-steps. This is a c
open succession of fifths or fourths of the re-in
Therefore in the first movement of Kodály's O
compress in terms of basic pitch structures, as in
tatonic basis of the first theme, to the octaton
Further confirmation is in the second theme o
appassionato . Here in m. 34 Kodály uses the s
m. 3 beat 2, but shifted from the diatonic to an
therefore contained in a new boundary of a m
major third of its original statement.
The process, more than specific episodes, involv
and its direction calls for the appearance of
totally chromatic environment, where the exclus
(interval class 1) would represent the ultimate
writing, strategically delays this moment as muc

37 The concept of contraction and expansions of

tool is presented by Bartók in his essays. See Benja
(New York: St. Martin's Press, 1976), pp. 381-38
38 These numbers simply express how many half
specifically, a perfect fourth is composed of 5 ha
of 7. They are also the inversion of each other,
interval class, even if they are not the same interv
duction to Post-Tonal Theory (Upper Saddle Riv
1990), pp. 154-157.

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 Kodály's Sonata Opus 8 123

this delay unifies all the movements of the work. The octa
fact systematically re-open toward a diatonic realm always
tonicism. This new expansion in language happens, for
of the first movement after the more octatonic subordina
in the B section of the Adagio, where the octatonic flavor
terns (mm. 68, 71, 73, 77, 93-94) opens up the F# aeolia
lation based on a F# pentatonic that appears in its pure ent
The process, nevertheless, is not incomplete but culm
max of the entire sonata: the section from m. 326 to m. 419 of the last
movement. Here the chromatic passage is in a crucial formal position:
right before the recapitulation which, due to the continuous variations and
interconnections among themes, is the strongest restatement of the neigh-
boring idea which generated the entire Sonata (see Ex. 10).

Example 10: Zoltán Kodály: Sonata Op. 8, Allegro molto vivace m. 326-351.
Chromatic contraction and expansion of intervals.

The chromatic contraction therefore appears as the goal of Op. 8, delayed

until the most important section of the last movement. In addition, this
essential area in the work presents the strongest statement of expansion/
contraction motion basic to the entire work. In fact, on a long F# pedal,
the intervals proceed chromatically horizontally, but expand vertically to
whole steps, minor and major thirds, perfect and augmented fourths, and
finally reach a succession of minor sixths from mm. 338 to 350. The harsh
timbre of the ponticello effect makes this moment as striking as possible.
The minor sixth reached in the trills passages is the most important "ex-
panding" interval in the Sonata, since it emphasizes its scordatura . This is

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124 Francesco Mastroma tteo

the interval separating third and second string

by Kodaly, and the passage starting at m. 350
stops on 2nd and 3rd strings in a series of minor
the middle of the cello's strings opens the sound w
dramatic interval than the traditional fifths. In a
cello's timbre keeps expanding to its extreme in
a distance of five octaves (high B in m. 393, low
while the marking stringendo contracts the m
therefore of an expanding/contracting motion
rallentando , in the final statement of the theme
from m. 420 (see ex. 11).

Example 11: Zoltan Kodaly: Sonata Op. 8, Allegro m

Final Recapitulation (Universal Edition, 1921)

At these measures, the process of abstraction

both formally and in pitch-organization. Here the
and contraction generates the maximum amoun
released proceeding toward the Coda. Kodaly m
moment as much as possible: double, triple and
cation Meno Mosso to hold back the tempo, the
simoy and the accelerando to Tempo Primo , bu
It is important to state that the chromatic c
expansion of the work is an abstract process w
the expressive quality of the Hungarian lament
is the placement and choice of pitches for the
careful markings of glissandi in Op. 8 seem to sug
contraction/expansion process. The glissandi ar
of the chromatic space, and at the same time t

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 Kodály's Sonata Opus 8 125

most significant intervals in the sonata. They are marked

m. 170 in the first movement on an ascending fifth A-E,
m. 55 on the descending tritone A- D#, at m. 143 on the
A-E, on its descending inversion and on the fourth A-E in t
Again the composer calls for glissandi in the last movem
from m. 338 to 350, in the implied shiftings from a double
in minor sixths intervals, at m. 516 on a 3 octaves descendin
the pizzicato chords built on fifths at the bottom from m
and on two minor sixths from m. 589 to m. 594.
The intervals marked with glissandi are a local emphasis of the com-
pression/expansion process which goes through the entire sonata. The
perfect fifths or fourths are the basis of an interval cycle that reinterprets
the pentatonic scale. This interval compresses toward the tritone, basis of
the octa tonic scale40 (first glissando in second movement), and then opens
again toward fifths and fourths (also in the second movement). Finally in
the third movement the implied glissandi on the minor sixths trills open
the pentatonic interval (from fifths to minor sixths) but also contract in
their chromatic motion, and the final glissando on the unison F#-F# at
a three octave distance achieves the climax of the essential contraction/
expansion process. Therefore, the glissandi telescope the aesthetic process
at work in the Sonata.

More specifically the glissando at m. 516 of the Allegro molto vivace

underlines the smallest possible interval: the unison. This interval is pre-
sented at a three-octave distance, the second largest distance in the entire
sonata, therefore realizing an ultra-expansion while contracting to the ex-
treme (see ex. 12).

39 Usually glissandi , particularly in late romantic music, were left to perform-

ers to decide. They made recurrent use of this expressive tool, according to the
late nineteenth-century aesthetic. It is therefore highly significant that Kodály
claims, with his markings, control of this instrumental device and shifts its
conception from the realm of interpretation to that of composition.
40 Even if the tritone includes six half steps, one more than the fifths, this
interval is the base of octatonic scale which is in fact determined by the succes-
sions of the three tritones.

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126 Francesco Mastromatteo

Example 12: Zoltan Kodály: Sonata Op. 8, Allegro m

most emphatic gliss in the work (universal E

The aforementioned glissando is also presented af

and with a molto crescendo marking, two elem
importance. Finally it is in a descending motio
sive element of the reciting prose in the Hungari
powerful aesthetic connection.
In the compression/expansion relationship, the
ond only to the glissandi in its significance. It
octatonic language which is the transitional sta
of the work: diatonic modality and chromati
comes dominant in sections like the second the
maestoso, as a boundary of the neighboring figur
in the double stops at mm. 160 and 161. The tr
Adagio in mm. 2 and 4 and mm. 27-28, to creat
as well as in the last movement with the glissand
at m. 322. The latter announces the final move into the chromatic realm
from the octatonic and whole tone flavors of the arpeggio passage between
m. 272 and m. 325.
The last tool used by Kodály to empower the expressive quality of the
Sonata and to reinforce its folk roots is the use of pedals. If the single pitch
repetition has been presented among the rhythmical features of the con-
nection Sonata/Lament,41 the pedals are constantly used in the work to
support various compositional traits: the contraction/expansion process,
the descending expressive lines of the Sonata, the polyphonic language
achieved on a mostly monophonie instrument, the explorations of timbre,

41 See ppģ 20-22.

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 Kodály's Sonata Opus 8 127

the formal articulation of the work and virtuosic writi

first two realms are the measures from 5 to 10 in the
ma appassionato . Here, above a B pedal, the intervals
to reach the major ninth of m. 10, but also constantly
B, evoking powerful weeping emotions. Instead, the use
same movement from m. 43 to 80 has a polyphonic goa
voice dialogue between different strings, at first with s
the top voice (mm. 43 to 45, 46-47, 53-54, 55-56, 57-58
a long value on the low voice mm. 70 to 79. A different fu
izes the left hand pizzicato pedals in the second movem
mm. 117-132), as well the single-note and double-stop
movement (mm. 119 to 156). Next to their fundament
polyphonic quality, these passages demonstrate a virtuos
revolutionary for the time. These extremely challenging
sonata the reputation of being an unplayable work. It w
zling recording of 1948 in Paris, winner of the Grand Prix
paved the way for Op. 8 to enter into the cello reperto
achievement for every performer.
The constant use of pedals also emphasizes, by contra
chromatic path of the glissandi throughout all the poss
pitches and establishes them as fundamental in the sonata.
sando , this expressive bending of the pitch, becomes an id
ferring to the cello the grieving and wailing of the La
particularly in connection or after the fix sound of ped
reciting musical prose might have been equal to the pro
tain syllables to highlight intense sorrow and usually cu
bending similar to the glissando . These two features m
sential instrumental ideas for Kodály when he listened to t
moments in the performance of the Lament. The artis
the strategic use of such tools in the Sonata, with the pow
conveying the contraction and expansion of a deeply fel
The transformation of glissandi and pedals from instrum
aesthetic pillars of the Hungarian Lament rendition leads in
of a similar strategic function for the daring scordatura (d
the instrument) adopted by Kodály. The composer wrote
third and fourth strings were lowered by a half-step, subst

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128 Francesco Mastromatteo

and C with B. As already indicated in this analysi

change is the creation of a minor sixth interval in
strings with two perfect fifths aside (D-A and B-
newly created minor sixth interval has decisive f
the Sonata. The appearance of the minor sixth
m. 357 of the last movement at the maximum con
has already been noted. In addition, glissandi on t
in pizzicato chords from m. 589 to m. 595 in t
before the final coda of the work. In the opening
passionato >, the subordinate theme area (m. 32) s
tance from the opening theme (G above the ini
(m. 80) is on an Eb chord, a minor sixth from the
nate theme area, exactly like the beginning of th
sixth from G). The opening phrase of the Adagio
in a minor sixth boundary, which is also a recurr
stops of mm. 99-102 and in the arpeggios mm.
as well in the double stops in m. 110. In the last m
occurs in various double stops passages in alternat
fifths as in m. 137 to m. 161, mm. 205-206, m
and in the coda on the arpeggiated figurations sta
confirmation of the interval's importance is the en
a minor sixth double stop chord D#-B reiterated
before reaching a low B five octaves apart. The m
fore, the widest interval in the work, and leads i
The scordatura , just like the pedals, is at w
opens the sound of the instrument separating mo
low register on the cello, it gives a darker and
sound through the emphasis of different harm
unaltered,43 it provides more solutions in suppor
work around the B modal frame, and most impor
points in the movements with its peculiar minor

42 See p. 26.
43 It is extremely interesting to see the change or st
produced by the scordatura on the sounds of the c
mally tuned instrument. Nathan Cook: Scordatur

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 Kodály's Sonata Opus 8 129

This exploration in timbre through the scordatura onc

back to the folk source of the work. The darker sound, a
intonation caused by the inevitably false harmonics and the
in timbre because of the missing middle open fifth, become
support the recreation of the lament atmosphere to the s
degree. As Kodály said: "On one occasion I wished to
lament before recording it. It was extremely beautiful. She
peated it in front of the apparatus, and although we both re
words well, so that I could prompt her if she hesitated, the
was a mere shadow of the first." In my opinion, given the d
of the recording lacking the richness and beauty of the orig
the laments heard, Kodály wanted to make sure that the
exactly what he had experienced the first time, but failed t
The reciting attitude and its dramatic implications tran
and extremely tense expressive tool, the cello with scordatur
ral recording machine for the improvisatory Lament. Th
ment and the solid architecture of the sonata form, unif
structure through the variations process, provide Kodály
recording tool and realize a deeply felt wish of the comp
sonal involvement and "wish" attests once again, to the de
Kodály's music with a genre that seems to be the stronge
of the Hungarian spirit.
The intimate association with and the masterful crafts
ment's transformation in Op. 8 were probably felt by B
marks on the Cello Sonata which appeared in 1921: "No
has written music that is at all similar to this type of work
is expressing with the simplest possible technical meanin
entirely original. It is precisely the complexity of the pr
lenge of writing a work for solo cello) that offered him the
creating an original and unusual style, with its surprising
type: through quite apart from these effects the musical va
is brilliantly apparent."44

44 Laszló Eõsze, Zoltán Kodály , p. 109.

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130 Francesco Mastromatteo

Comparisons: Hungarian Lament outsi

The artistic and technical importance of the
mation of the lament, and a brief comparison
two vocal works by Bartok, and by Kodály hi
evidence of this connection. There are featu
the link between the Lament and the Sonata
substantial degree in other masterpieces. Such
mutation of basic figurations with neighborin
descending leaps, and the addition of long pe
of single notes in accelerando patterns in crucial
components are all derived from Lament desc
lyzed in his folk music studies. The Hungaria
firmation of the connection through one of h
Psalmus Hungaricus.45 In this work written i
the Sonata Op. 8, the presence of the text clarif
confirmation of Kodály's thinking.
The Psalmus celebrates the anniversary of t
from the unification of three different cities, bu
ture. Its spirit is Hungarian because it expresses
unbridled will, in facing the tragedy of the loss
the separation of Hungarian territories among
historical situation was just as tragic as the o
when the Sonata Op. 8 was conceived. The Hun
Psalm 55, in which David grieves because he h
people, and invokes the help and compassion o
is the perfect Lament song rooted in a Hungaria
filled with the despair of the historical mom
firms many of the features observed in the S
ian Lament. The chorus sings about the griev

45 Laszló Eósze Zoltán Kodály, pp. 156-161.

46 The treaty of Trianon signed by Admiral Hort
to one third of its pre-war size. Hungary lost te
slovakia and Yugoslavia, and this loss had a hug
Hungarians, particularly for artists like Bartók a
Twentieth Century , p. 106.)

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 Kodály's Sonata Opus 8 131

and in the brass as well as in the strings a neighboring fig

the exclusive musical gesture. The chorus, instead, kee
descending motion which "attracts" down all the leaps
closing with a prominent descending perfect fourth, which
big leap in the opening theme of Op. 8. The connection
procedures and figurations in the Lament folk source ap
also in the Psalmus, and could be considered as a further
sible link with Op. 8 (see Ex. 13).

Example 13: Zoltán Kodály: Psalmus Hungaricus , mm. 74-79

1923). Lament Figurations.

Bartók's music is equally significant in justifying the roots

both the instrumental and the vocal realms. A relevant
cello part of Bartok's Quartet n. 6. There, from m. 80 to
ond movement, Bartok employs the most typical featur
writing, common also to Kodály's Op. 8: repetition of a s
celerando , extensive use of glissandi , and relevant descend
intervals. The other strings provide an accompaniment of t
and pizzicatos (viola), creating a background for the Lam

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1 32 Francesco Mastromatteo

Finally, the opening scene of Bluebeard's Castl

1911, is just as explicit as Psalmus Hungaricus in
and Lament characteristics. In one scene, Judith
the castle with Bluebeard, in total darkness, and
horrifying is going to happen: "Can it be that
castle feel its sorrow?"47 The clarinet melody accom
Lament, with descending profile and reiteration
line, particularly in the second question, insists
iterating only two pitches, C# and B, and presenti
profile that ultimately confirms the "Lament" fun
(See Ex. 15: The Clarinet melody is on the right
The Hungarian Lament, therefore, permeates
various works of the two greatest Magyar comp
fies even further the possibility of considering lam
of inspiration for the Sonata Op. 8.

Example 14: Béla Bartók: Quartet n. 6, Mesto : mm.

(Boosey and Hawkes, 1941).

47 Béla Bartók, Bluebeard's Castle , Universal Edition

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 Kodály's Sonata Opus 8 133

Example 15: Béla Bartòk: Bluebeard's Castle , mm. 125-160 (Pi

Universal Edition, 1921.)

Conclusion: Powerful Unity

The unity of Kodály's Cello Sonata and the interconnect
"lucid" forms of its movements transfer the thirty-minute
tion of the Hungarian folk genre to the dimension of an
western classical music. This intimate wholeness is the last and most es-
sential quality of the piece, including all the previously analyzed elements.
The separation among the Allegro maestoso and the Adagio is erased by
an introductory phrase (mm. 1 to 6 in the Adagio) that starts with a B, root
of the chord which closed the first movement. Basically this phrase works
as a transition into the main theme of the movement, whose proper begin-
ning is at m. 7. The introductory character of the opening six measures, in
addition, is transformed into a conclusive gesture when, from m. 117 to m.
134, the same material is expanded to bring to an end this inspiring vocal/
instrumental recitation and lead into the final coda. Therefore, the phrase
has transitional and ending qualities, but is not an opening, and allows a
natural blossoming of the Adagio from the Allegro maestoso . Similarly,
the ending of the second movement on the F#, 5th degree of modal B, natu-
rally flows into the exciting opening of the Allegro molto vivace, which

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134 Francesco Mastromatteo

re-establishes the priority of B as tonic by its

motion is totally different from a traditional
it is not based on chords, but simply the iterat
rhythmic position. It is the repetition of F#-B
movement and at the beginning of the third t
connects the two different modal spaces.
This unity of structure is the final project
out of its folk roots to the level of abstrac
thirty-minute long Laments, continuously v
ful but impossible to record, but in the Son
plete frame in which to hold this intense ar
real breaks in the Sonata creates a masterpie
constant variation process, establishment of
four-part stanzaic structure and three part son
of highly expressive Lament gestures: glissa
and descending melodic profiles.
This unity guides the listener in experienci
his/her intimate emotional landscape. The
human inner life as much as it does with its ow
ings describing a single moment of sorrow, as
ity of a dignified cathartic pain. The cello in th
humanity. In this landscape, the Sonata op.
lages to the world, and, with the strongest w
a powerful energy, it become a masterpiece o

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48 The reference to painting is indebted to P

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Young, Zoltán Kodály, p. 70.

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