flyer-FINAL ML en · The four-movement Suite was composed in 1916 and was one of Bartók’s favourite piano works throughout his life. Unlike in his other works for piano of these

Levels of diffi culty for all of the piano editions

can be found at www.henle.com

All of the editions listed are a co-production

with Editio Musica Budapest.

Allegro barbaro

Ed.: Somfai

HN 1400

Composed in 1910/11, Bartók’s “Allegro

barbaro” is one of his best-known and most

popular works for piano. With this fi rst Bartók

Urtext edition, László Somfai gives an insight

into the many and varied musical impulses

awaiting us in the Béla Bartók Complete Criti-

cal Edition, which is being jointly published by

Editio Musica Budapest and G. Henle Publish-

ers since 2016.

For Children

Ed.: Vikárius, Lampert

HN 1225‡ (Volume I)

HN 1226‡ (Volume II)

This comprehensive collection of little piano

pieces is based on Hungarian (volume I) and

Slovakian (volume II) folk tunes respectively.

Both are organised in ascending diffi culty,

from simple two-part pieces to Impressionistic

miniatures, and they offer everything that

children’s hands can manage.

15 Hungarian Peasant Songs

Ed.: Somfai · Fing.: Várjon

Four Old Sorrowful Songs | Scherzo | Ballade

(tema con variazioni) | Old Dance Tunes

HN 1404‡

In a note for the planned fi rst edition, Bartók

wrote that “the melodies published here are

folksongs in the truest sense of the word; more

precisely, peasant songs”. The comments at the

close of this edition include important indica-

tions regarding performance practice derived

from the two recordings that the composer

made of several of its pieces.

Improvisations on Hungarian Peasant

Songs op. 20


HN 1405

The manner in which he confronts folk melo-

dies with subtle, avant-garde sounds here was

later described by Bartók himself as venturing

to “the outermost limits”. He also breaks up

the song structures so radically into their con-

stituent motives that the title “improvisations”

best conveys his approach to this folk music.

Mikrokosmos

Ed.: Nakahara

HN 1408‡ (Volume I–II)

HN 1409‡ (Volume III–IV)

HN 1410‡ (Volume V–VI)

Bartók‘s “Mikrokosmos” is one of the mile-

stones in the pedagogical piano repertoire – and

yet it is also far more than a “classical” piano

primer. These 153 piano pieces, organised in

ascending order of diffi culty, engage not only

with technical aspects of piano playing, but

also with the fundamentals of composition. The

famous “Six dances in Bulgarian rhythm” form

the passionate close of this unique work.

Romanian Christmas Songs

Ed.: Somfai

HN 1406

Bartók’s “Romanian Christmas Songs” are

based on folk melodies that originated in a

pagan celebration of the winter solstice, and

which he felt gave “the impression of a fi ery,

war-like type of song, rather than a pious and

religious one”. Nevertheless, he chose 20 mel-

odies from this collection and published them

under the title of “Christmas Songs”. In his

revised edition of 1936, Bartók added an ap-

pendix featuring alternative “concert versions”,

confi rming that these miniatures are also

perfectly suited for public performance.

Romanian Folk Dances

Ed.: Somfai

Stick Dance | Sash Dance | In One Spot | Dance

of Buchum | Romanian Polka | Fast Dance

HN 1402

Bartók’s “Romanian Folk Dances” are among

his best-known works. They exist in multiple

forms, since as well as several piano arrange-

ments and a later orchestral version of his own

there also exist arrangements by his contempo-

raries that were made with his consent. Bartók

expert László Somfai brings order to the rich

fund of sources, and enters signifi cant variants

directly into the musical text of the piano ver-

sion itself.

Sonatina

Ed.: Somfai

HN 1401

Bartók used different melodies taken from Ro-

manian instrumental folk music in his Sonatina.

A look at the sources shows how, in 1915, the

piece slowly evolved out of a series of piano

transcriptions of Romanian folk melodies into

its three-movement form.

Suite op. 14


HN 1403‡

The four-movement Suite was composed in

1916 and was one of Bartók’s favourite piano

works throughout his life. Unlike in his other

works for piano of these years, he did not use

any folksong melodies or folkloristic elements

here. Instead, he endeavoured to achieve a new,

more “abstract”, transparent piano style that

forgoes ornament.

Three Hungarian Folk Tunes

Ed.: Somfai

HN 1407 i. p.

‡ = Distribution rights restricted

Page of music (reduced reproduction) taken from “Mikrokosmos”, Volumes III–IV, page 68 (HN 1409). It shows the clear structure and excellent readability of our Urtext editions. The footnote refers to additional information by the teacher and interpreter Béla Bartók.

PIANO

BélaMusic for Piano

BartókMusic for Piano

Ord

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603

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www.henle.com

G. Henle Verlag · Forstenrieder Allee 122 · 81476 Munich · Germany · [email protected] · Phone +49-89-7 59 82-31

flyer-FINAL_ML_en.indd 1 15.03.2018 13:26:40

PIANO

Béla Bartók – Urtext editions from Henle

16

cate editorial additions to the musical text.

Editorial notes for the performer TempoSeveral versions of the metronome num-bers and durations appeared during Bar-tók’s lifetime. Our edition considers the revised edition (UE1934) as the last fully

controlled form of the pia no version (printed in bold in Table 1). When in 1943 Bartók revised the score again in America, he presumably set tempos that suited the solo piano and the violin and piano versions alike; he himself generally played the piano version at faster tempos.

As regards the tempi, one should not consider Bartók’s two performances as

being of equal value as sources. The home-made phonograph recording from 1915, the year of the work’s com-position, presents a rough interpreta-tion, not yet solidified by performances in concert; the 1928 piano roll, on the other hand, already displays the com-poser’s mature performance.

RhythmIn his recordings Bartók played the first two notes of no. 1 M 1 – 5 (and like passages) not as � � � � � but in a sharper rhythm

� � � � � � or (similar

to his notation of the peasant dance in A) in triplet rhythm

� � � � � �

�

Variants in Bartók/1928In no. 1 Bartók presents a slightly em-bellished version (with grace notes, slides, the “bokázó” heel clicking fig-ure, etc.) that presumably evolved in the course of his concert performances; this process corresponds, in certain respects, with the way in which differ-ent performances of folk music typical-ly also inspire variants. In no. 2 Bartók plays the repeat in the right hand in octaves; in no. 4 he repeats M 3 – 18 with octaves. Both octave variants are typical concert style variants and can be understood as part of the finalized text.

PedallingIn addition to Bartók’s common pedal sign 6 , in no. 6 8 also ap-pears (signalling a quick half-change of the pedal). In no. 4 the original sign 6 was replaced by 1 2 in UE1934, but mostly as 1 1 1 (without 2 ). We assume that with this series of 1 Bartók better expressed the intended performance – probably similar to the 8 .

Budapest, spring 2017 László Somfai

UE1934 BH1943 Bartók/1915 Bartók/1928

1 Allegro moderato 57" 58" [58"] [55"]

2 Allegro 26" 25 – 26" [missing] [27"]

3 Andante 45" 45 – 46" [47"] [48"]

4 Moderato 35" 35 – 36" [38"][1'17",

M 3 – 18 repeated]

5 Allegro 31" 31" [33"] 29"

6 Allegro Più allegro

13" 36"

13 – 14" 36"

[14"] [incomplete]

12"36"

Table 2: Duration

UE1918 UE1934 BH1943 Bartók/1915 Bartók/1928

1 Allegro moderato 80 104 100 [c 100] [c 100 – 102]

2 Allegro 144 144 144 [missing] [c 170 – 174]

3 Andante 112 116 108 [c 104 – 108] [c 106 – 112]

4 Moderato 100 100 100 [c 92 – 94] [c 104 – 106]

5 Allegro 152 152 146 [c 144] [c 160 – 170]


152 160

152 160

146 152

[c 144 – 146][c 172]

[c 166 – 170][172 – 176]

v =

v =

v =

v =

v =

v =

Table 1: Metronome markings

v =

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Allegro barbaroEntstanden 1910/11 · Erschienen 1919

BB 63

No part of this publication may be reproduced in any form.© 2016 by G. Henle Verlag, München, and Editio Musica Budapest

ÿAlternative oder zusätzliche Angaben in Grau-%schrift entsprechen Varianten aus Bartóks%Referenzaufnahme von 1929, siehe Aufführungs-%praktische Hinweise in den Bemerkungen.

ÿAlternatives or additions in grey print correspond%to variants in Bartók’s authentic recording of 1929,%also see the Editorial notes for the performer in the%Comments.

ÿLes indications supplémentaires ou alternatives en%gris correspondent à des variantes relevées dans%l’enregistrement de référence réalisé par Bartok en%1929; voir aussi les indications d’exécution dans les%Bemerkungen ou Comments.

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1. Der Tanz mit dem Stabe · Stick Dance · Danse du batôn**

BB 68

Ion Bu†itia gewidmet*

Entstanden 1915 · Erschienen 1918

ÿZur im Original rumänischen Widmung siehe Vorwort.%See Preface for the original Romanian dedication.%Voir la Préface concernant la dédicace originale en roumain.@Originale Fußnote: Aus Voiniceni (Mure†)%Original footnote: From Voiniceni (Mure†)%Note de bas de page originale: De Voiniceni (judet de Mure†)

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Scholarly basis and editorAll of the Bartók Urtext editions from our publishing house follow the text of the scholarly Complete Critical Edition of Béla Bartók’s works that refl ects the latest scholarly research. To this end all available sources have been consulted. The complete edition is a joint publishing venture between G. Henle Publishers and Editio Musica Budapest. At the same time, we have entered into a close collaboration with the Bartók Archives in Budapest. It is the only institution in the world exclusively dedicated to the life and works of Béla Bartók. The Archives also have close ties with all of the other major Bartók collections around the world. The Bartók Archives and the Complete Critical Edition have a core team of editors that have devoted themselves to Bar-tók’s works, often for decades. Among them is the founder of the Complete Critical Edition and the most important Bartók scholar in the world, László Somfai. He is the editor of many of our editions.

FingeringsThe fi ngerings in our Bartók piano editions stem from the composer himself, unless other-wise indicated. They are supplemented, where necessary, with modern fi ngerings that have been supplied by the Hungarian pianist and Bartók specialist Dénes Várjon.

Notes for the performerOur Urtext editions contain notes for the performer in the musical text and in the accompanying texts, documenting Bartók’s own performance practice. They cover pedal use, tempo indications, rhythm and articula-tion. In addition we also give the variants Bartók used in concerts, which have been handed down in his recordings and which he himself sometimes referred to as “refer-ence recordings”. These indications provide important ideas for teaching, studying and performing and are not contained in any other Bartók editions.

PIANO

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Verzeichnis der Melodien und ihrer Texte · Index of the melodies and their words

� � �� Meg-kö-töm lo - va-mot Szo - mo- rú fuz - fá-hoz,Le-haj-tom fe - je-met A ba-bám ö - lé - be,

1.

Ujszász (Pest), 1918

� � �� Le - haj - tom fe - je -met Két el - so lá - bá - hoz.Hul - laj - tom köny-nye-im Ró-zsás kö - té - nyé - be.

� � �� Kit vi - rá-got ró - zsám a-dott, El sem her-vadt

2.

Jobbágytelke (Maros-Torda), 1914

� � �� már el - ha-gyott, jaj ja - jaj jaj,� � � �� An - nak csak egy asz - szony o - ka, Ver- je meg az� � �� E - gek U - ra, jaj ja - jaj jaj.

� ��

Aj, meg kell a bu - zá - nak ér - ni,

3.

Nyárádköszvényes (Maros-Torda), 1914

� �� Mer min-den-nap uj szél é - ri. Meg kell szi-vem-

� �� nek ha - sad - ni, Mer min - den-nap uj bú é - ri.

� � �� ,

Kék ne - fe-lejts rá-haj-lott a vál-lam - ra,

4.

Zentelke (Kolozs); V.★)

★) Aus Béla Vikárs Sammlung . Collected by Béla Vikár

� � � � �� ,

S é-des a-nyám el - csa-pott a vi - lág - ra.� � � � �� ,

S mért csa-pott el oj - jan i - gaz ár - vá - nak?� � � � �� Buj - do - só - ja le-gyek a nagy vi - lág - nak.

� � �� 1. Fe - le - sé - gem o - lyan tisz - ta, Egy-szer mos-dik2. Ke - nye - ret is jól tud süt - ni, Öt- ször-hat-szor3. Öt- ször-hat-szor be - fut ne - ki, Még is sü - let -

5.


� � � � � � � � � � �1. egy hó - nap - ba, Sej, dí - nom, dá - nom,2. be - fut ne - ki,3. len sze - di ki,� � � � � � � � � � � � � �

refr.

míg é - lek is bá - nom, Hogy meg-há - za - sod-tam.

Hab’ mein Ross gebunden,An die Trauerweide,Neigte ihm zu FüßenSchwer mein Haupt im Leide.

In den Schoß der LiebstenMuss das Haupt ich lehnen,In der Schürze BlumenWein’ ich meine Tränen.

Die Blume, die mein Liebster mirgegeben,

War noch nicht verwelkt, als er michschon verließ, Oh weh, oh weh.

Der Grund dafür ist eine Frau allein,Die der Herrgott bestrafen soll, oh weh,

oh weh.

Der Weizen muss heranreifen,Weil er jeden Tag von neuem Wind

angeweht wird,Mein Herz muss zerbrechen,Weil es jeden Tag von neuem Kummer

erfasst wird.

Blaues Vergissmeinnicht beugte sichüber meine Schulter,

Meine Mutter hat mich fort in die Weltgetrieben.

Warum hat sie mich als eine Waisefortgejagt,

Damit ich in der weiten Welt herum-wandern muss?

1. Monats einmal wäscht wahrscheinlichSich mein Weibchen, das so reinlich.Wetter und Blitzschlag! ’s reut mich all

mein Lebtag,Dass ich das Ehjoch trag!

2. Brot bäckt sie – es ist zum Lachen,Muss fünf-, sechsmal Feuer machen.[Refrain]

3. Muss fünf-, sechsmal Feuer machen,Dennoch nimmt sie es unausgebacken

heraus.[Refrain]

I tie my horseTo the weeping willow.I bow my headTowards his forelegs.

I bow my headTowards the lap of my love,And I shed tearsUpon her flowery apron.

The flower my beloved gave meHas not yet withered but he

has left me, ay-ay-ay.He left me because of a woman,She should be punished by the

Lord of the heavens, ay-ay-ay.

The corn ever must ripenFor new winds daily sweep

across it,My heart must breakFor new grief daily strikes it.

Blue forget-me-not bent overmy shoulder,

My mother turned me out tothe world.

Why did she turn me outto become an orphan?

Who wanders about in the worldat large.

1. My wife is so cleanThat only once a month she washes.Hey, let’s be merry, all my life I’ll

regretThat I got married!

2. Well indeed she knows how to bakebread:

Five times, six times lights the fire.[Refrain]

3. Five times, six times lights the fireStill she takes it out half-baked.[Refrain]

HN_1404_Bemerkungen_SRZ.indd 22 29.09.2017 09:55:08



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Information from sources and modelsAccompanying texts in our editions provide information regarding the source situation and evaluation as well as also answering questions concern-ing performance practice, which at times go far beyond ones concerning tempo, dynamics and articulation. They include, for example, suggestions by the composer for a possible selection of individual pieces and the formation of suites from the large collections such as “Mikrokosmos” and “For Children”. Where available, early or alternative versions or (for the fi rst time ever!) transcriptions of the versions Bartók played in concerts have also been included.With works that take up melodies from folk songs, the editions also contain these melodies with the underlying text in the original Hungarian, Roma-nian or Slovak as well as translations into German and English. This enables the performer to delve deeper into the works in question. This informa-tion is not contained in any other Bartók edition.

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Music engravingThe clear and precise engraving in our editions follows Bartók’s very exact notions concerning notation, articulation and dynamics, down to the last detail.

In grey print:

Indication concerning

the much faster tempo

for the “Allegro barba-

ro” in Bartók’s record-

ing of 1929

In small print:

Notation in octaves in

one of the “Romanian

Folk Dances”, as in one

of Bartók’s recordings

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former:

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the fi rst of the “Roma-

nian Folk Dances”

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those in normal type are

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(1' 20")

13


In grey print:





ing of 1929

In small print:





Notes for the per-

former:



nian Folk Dances”






(below)

&

&

?

42

42

42




p







œœœ.


d

˙˙^

˙

˙







Allegro barbaro

Ed.: Somfai

HN 1400









ers since 2016.

For Children















HN 1404‡










Songs op. 20


HN 1405








Mikrokosmos

Ed.: Nakahara














Ed.: Somfai

HN 1406














Ed.: Somfai



HN 1402










sion itself.

Sonatina

Ed.: Somfai

HN 1401







Suite op. 14


HN 1403‡








forgoes ornament.


Ed.: Somfai

HN 1407 i. p.



PIANO



Ord

er N

o. H

N 2

1101

603

.201

8

www.henle.com







Allegro barbaro

Ed.: Somfai

HN 1400









ers since 2016.

For Children















HN 1404‡










Songs op. 20


HN 1405








Mikrokosmos

Ed.: Nakahara














Ed.: Somfai

HN 1406














Ed.: Somfai



HN 1402










sion itself.

Sonatina

Ed.: Somfai

HN 1401







Suite op. 14


HN 1403‡








forgoes ornament.


Ed.: Somfai

HN 1407 i. p.



PIANO



Ord

er N

o. H

N 2

1101

603

.201

8

www.henle.com



Documents

flyer-FINAL ML en · The four-movement Suite was composed in 1916 and was one of Bartók’s favourite piano works throughout his life. Unlike in his other works for piano of these