The Miraculous Mandarin

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The Miraculous Mandarin Op. 19 Sz 73 (originally titled Der Wunderbare Mandarin and sometimes translated as The Wonderful Mandarin) is a pantomime ballet in one act, based on the story of the same name by Melchior Lengyel, and composed by Béla Bartók from 1918-1924. It was given its first performance in Cologne in 1926 but was received scandalously and banned from further performance in that city. It was received more successfully at its Prague premier but for the rest of Bartók's life was mostly performed in its concert suite version, which preserves about two-thirds of the original ballet's music.

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[edit] Synopsis

After an orchestral introduction depicting the chaos of the big city, the action begins in a room belonging to three tramps. They search their pockets and drawers for money, but find none. They then force a girl to stand by the window and attract passing men into the room. The girl begins a lockspiel — a "decoy game," or saucy dance. She first attracts a shabby old rake, who makes comical romantic gestures. The girl asks, "Got any money?" He replies, "Who needs money? All that matters is love." He begins to pursue the girl, growing more and more insistent until the tramps seize him and throw him out.

The girl goes back to the window and performs a second lockspiel. This time she attracts a shy young man, who also has no money. He begins to dance with the girl. The dance grows more passionate, then the tramps jump him and throw him out too.

The girl goes to the window again and begins her dance. The tramps and girl see a bizarre figure in the street, soon heard coming up the stairs. The tramps hide, and the figure, a Mandarin, stands immobile in the doorway. The tramps urge the girl to lure him closer. She begins another saucy dance, the Mandarin's passions slowly rising. Suddenly, he leaps up and embraces the girl. They struggle and she escapes; he begins to chase her. The tramps leap on him, strip him of his valuables, and attempt to suffocate him under pillows and blankets. However, he continues to stare at the girl. They stab him three times with a rusty sword; he almost falls, but throws himself again at the girl. The tramps grab him again and hang him from a lamp hook. The lamp falls, plunging the room into darkness, and the Mandarin's body begins to glow with an eerie blue-green light. The tramps and girl are terrified. Suddenly, the girl knows what they must do. She tells the tramps to release the Mandarin; they do. He leaps at the girl again, and this time she does not resist and they embrace. With the Mandarin's longing fulfilled, his wounds begin to bleed and he dies.

[edit] Musical Content

[edit] Orchestration

The Mandarin, unusual and colorful in sonority, is scored for

The scoring is generally heavy, often utilizing chromatic scales, trills and tremolos in the woodwinds; glissandos in the horns, trombones and tuba; cluster chords and tremolos on the piano; scales and arpeggios on the piano, harp and celeste; and scales, double stops, trills, tremolos, and glissandos in the strings. Other special effects include fluttertonguing in the flutes; muting the brasses and strings, striking a cymbal with a snare drum stick; a cymbal roll a due (a cymbal crash followed by scraping the plates together); playing the bass drum with the wooden part of a timpani mallet; a roll on the gong; rolled timpani glissandos; string harmonics; col legno and sul ponticello playing in the strings; scordatura in the cellos; and, at one point, quarter-tones in the violins.

[edit] Description of Music

The score begins with an orchestral depiction of the "concrete jungle." The violins have rising and falling scales in the very unusual interval of an augmented octave. One of the central motives of the work is set forward in bar 3—a 6/8 rhythm in minor seconds. This motive will reappear at the violent actions of the tramps. The sound of car horns is imitated by fanfares on the trumpets and trombones. As the curtain rises, the violas play a wide-leaping theme that will be associated both with the tramps and the girl. The 3 lockspiele are scored for the clarinet, each one longer and more florid than the last. The old rake is represented by trombone glissandos spanning a minor third, another very important interval. As the tramps throw him out, the minor second in 6/8 returns. The music for the shy young man is a slow dance in 5/4, also interrupted by the 6/8 minor second as the tramps throw him out. When the Mandarin is heard in the street, the trombone plays a simple pentatonic theme harmonized by 3 lines of parallel tritones in the other trombones and the tuba. When the Mandarin enters the room, the trombones and tuba play downward glissandos, again spanning a minor third. Three measures later, this interval is played fortississimo by the full brass. The girl's dance for the Mandarin contains both a waltz and the viola theme associated with her and the tramps. When the Mandarin seizes the girl, the minor second is heard again. The chase is represented by a fugue, whose subject also has a pentatonic flavor. The concert suite ends at this point. In the complete ballet, the 6/8 minor second returns again as the tramps rob the Mandarin. The attempted suffocation and stabbing are reproduced with great force in the orchestra. As the tramps hang the Mandarin from the lamp, the texture is blurred with glissandos on trombones, timpani, piano and cellos. The glowing body of the Mandarin is represented by the entry of a wordless chorus, once again in the interval of a minor third. The climax, after the girl embraces the Mandarin, is a theme given out fortissimo by the low brass against minor-second tremelos in the woodwind. As the Mandarin begins to bleed, the downward minor-third glissando heard at his entry is echoed in the trombone, contrabassoon and low strings. The work then stutters arrythmically to a close.

[edit] Recordings

Though previously performances of the Mandarin ballet suite were more common than performances of the entire ballet, the number of complete recordings has grown in recent years. Possibly the most famous performance of the suite was recorded by Georg Solti and the Chicago Symphony Orchestra; others who have recorded the suite include Zubin Mehta with the Berlin Philharmonic Orchestra and Jean Martinon with the Chicago Symphony. The recording of the complete ballet on Philips by Ivan Fischer and the Budapest Festival Orchestra received the 1998 Gramophone Award in the Orchestral category[1]; other recordings of the complete ballet include those by Pierre Boulez with the Chicago Symphony and Marin Alsop with the Bournemouth Symphony Orchestra.

[edit] References

  1. ^ www.gramophone.co.uk

The Fischer recording's award on Gramophone's website

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