It creates interest through an interplay among "memory, variation, and progression." Though it appears static and to deny progress the pairs of movements create with the center a "unidirectional process" and the form "actually engenders specific expressive possibilities that would otherwise be unavailable for the work as a whole." (Wilson 1992, p.32)
Béla Bartók is often noted for his use of arch form such as in his Fourth and Fifth quartets, Second Piano Concerto, and, less so, Second Violin Concerto. (ibid)
Source
- Wilson, Paul (1992). The Music of Béla Bartók. ISBN 0300051115.