Cantata Profana, Sz. 94

Béla Bartók (1881 - 1945) - Cantata Profana (A kilenc csodaszarvas/Die Zauberhirsche/The Nine Enchanted Stags), Sz. 94, BB 100 (1930) I. "Volt egy öreg apó". Molto moderato [0:00] II. "Hej, de az ő édes apjok". Andante [8:18] III. "Volt egy öreg apó". Moderato [16:22] József Réti, tenor András Faragó, baritone Budapest Chorus Budapest Symphony Orchestra, János Ferencsik (1967) Cantata Profana is a work by Bartók for double mixed chorus and orchestra. The libretto, written by Bartók himself, is based on two Romanian colinde that he collected in Transylvania in 1914. The piece is cast in three movements that exemplify Bartók's use of arch form, and it typically lasts around 19 minutes. "Little is known about the evolution of this powerful cantata. Bartók, an inveterate collector, arranger, and borrower of folk music, based this choral work on a Rumanian folk ballad, and translated the text himself into Hungarian. Many forget that the composer was born in a town in Hungary (Nagyszentmiklos) that is now a part of Rumania. What is unusual about this cantata is that it is unique in Bartók's output, like his only opera Bluebeard's Castle. This is not to suggest a kinship between these two masterful works, because stylistically they are quite far apart. Cast in three connected movements, Cantata profana is subtitled 'The Nine Enchanted Stags.' Its text tells of an old man with nine sons whom he only trained in the hunting of stags (male red deer). They depart without him on a hunting expedition one day and are changed into stags. When their father discovers their fate, he asks them to return home with him, but is told by one son their antlers cannot fit through the doorway and that they must remain in the forest. The first movement, marked Molto moderato, is entitled, 'Once there was an old man.' After the dark introduction by the orchestra, the chorus enters in a nocturnal haze. The mood remains eerie and mysterious until the powerful middle section, where the choral writing and driving rhythms impart a primal character. The latter part of the opening panel returns to the darker mood of the opening, but now with greater orchestral color and atmosphere. Marked Andante, the second movement is subtitled, 'Through forest aroving, hey-yah!' Tensions stir from the outset, and again, the choral writing is savage and rhythmic. But solo parts for the tenor (son, now a stag) and baritone (father) soon follow, tempering the furious mood somewhat. The long solo for the baritone is darkly atmospheric and features deliciously eerie music from both the chorus and orchestra. The latter part of this panel has both soloists in dramatic and powerful dialogue regarding the return of the nine sons. The final movement, marked Moderato, is subtitled 'Once there was an old man.' It opens with a lovely chorus, devoted to summarizing all the details of the story presented in the first two movements. The music is less vehement and features only one brief solo part, for th