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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
Ed.: Somfai · Fing.: Várjon
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
Ed.: Somfai · Fing.: Várjon
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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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]
6 Allegro Più allegro
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 =
HN_1402_Bemerkungen.indd 16 06.04.2017 11:24:22
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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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Rumänische Volkstänze
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†)
#In Bartóks Aufnahme von 1928 (siehe Bemerkungen) mit Vorschlagsnoten:
%T. 8, 16 gis; T. 13 e 2, T. 19 d
2–c 2–c 2.
%Bartók’s recording of 1928 has grace notes (see Comments):
%mm. 8, 16 g k ; m. 13 e 2, m. 19 d
2–c 2–c 2.
%Bartók ajoute des ornements dans son enregistrement de 1928 (voir les Bemer-%kungen ou Comments): mes. 8, 16 solk ; mes. 13 mi
2, mes. 19 ré 2–do 2–do 2.
No part of this publication may be reproduced in any form.© 2017 by G. Henle Verlag, München, and Editio Musica Budapest
œ œ œ
œ œ œ
œ œ œ
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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17
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.
Ujszász (Pest), 1918
� � � � � � � � � � �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
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.
Ujszász (Pest), 1918
� � � � � � � � � � �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
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.
PIANO
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(1' 20")
13
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
Notes for the per-
former:
Interesting variants in
the fi rst of the “Roma-
nian Folk Dances”
Fingerings in italics stem
from Bartók (above),
those in normal type are
supplementary fi nger-
ings from Dénes Várjon
(below)
&
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42
42
42
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Even when the musical text is complex such as in the “Improvisations”, the sophisticated en-graving realises the crescendo with a pre-cise progression from the left to the right hand, following Bar-tók’s notation exactly
flyer-FINAL_ML_en.indd 2 15.03.2018 13:26:47
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]
6 Allegro Più allegro
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 =
HN_1402_Bemerkungen.indd 16 06.04.2017 11:24:22
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2
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.
&?
42
42Jœ-2
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Allegro moderato, ! = 104
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2
Rumänische Volkstänze
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†)
#In Bartóks Aufnahme von 1928 (siehe Bemerkungen) mit Vorschlagsnoten:
%T. 8, 16 gis; T. 13 e 2, T. 19 d
2–c 2–c 2.
%Bartók’s recording of 1928 has grace notes (see Comments):
%mm. 8, 16 g k ; m. 13 e 2, m. 19 d
2–c 2–c 2.
%Bartók ajoute des ornements dans son enregistrement de 1928 (voir les Bemer-%kungen ou Comments): mes. 8, 16 solk ; mes. 13 mi
2, mes. 19 ré 2–do 2–do 2.
No part of this publication may be reproduced in any form.© 2017 by G. Henle Verlag, München, and Editio Musica Budapest
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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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17
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.
Ujszász (Pest), 1918
� � � � � � � � � � �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
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.
Ujszász (Pest), 1918
� � � � � � � � � � �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
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.
PIANO
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13
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
Notes for the per-
former:
Interesting variants in
the fi rst of the “Roma-
nian Folk Dances”
Fingerings in italics stem
from Bartók (above),
those in normal type are
supplementary fi nger-
ings from Dénes Várjon
(below)
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Even when the musical text is complex such as in the “Improvisations”, the sophisticated en-graving realises the crescendo with a pre-cise progression from the left to the right hand, following Bar-tók’s notation exactly
flyer-FINAL_ML_en.indd 2 15.03.2018 13:26:47
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]
6 Allegro Più allegro
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 =
HN_1402_Bemerkungen.indd 16 06.04.2017 11:24:22
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2
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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Rumänische Volkstänze
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†)
#In Bartóks Aufnahme von 1928 (siehe Bemerkungen) mit Vorschlagsnoten:
%T. 8, 16 gis; T. 13 e 2, T. 19 d
2–c 2–c 2.
%Bartók’s recording of 1928 has grace notes (see Comments):
%mm. 8, 16 g k ; m. 13 e 2, m. 19 d
2–c 2–c 2.
%Bartók ajoute des ornements dans son enregistrement de 1928 (voir les Bemer-%kungen ou Comments): mes. 8, 16 solk ; mes. 13 mi
2, mes. 19 ré 2–do 2–do 2.
No part of this publication may be reproduced in any form.© 2017 by G. Henle Verlag, München, and Editio Musica Budapest
œ œ œ
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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.
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17
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.
Ujszász (Pest), 1918
� � � � � � � � � � �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
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.
Ujszász (Pest), 1918
� � � � � � � � � � �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
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.
PIANO
&
?
23
23
44
44
23 œœ
. ..œœ.-
Œ œœnn.D ..œœ
.- œœbb .D ..œœ.-œœnn ..œœ
Œjœœ ‰ Ó
Rœœbb>
....œœ>
˙˙>
sostenutowwwwnnbb
ww
espr. jœœnn ‰ Œ ÓJœœnn
Œ œb .-ggggggg
3œb .-gggggggœ.-ggggggg
œœbb .-
œœbb .-4
œœ.-
più sostenuto
più pÓ
wwwwnn
...wwwbbbggggggg
espr.
&
?
44
44ÀÀÀÀÀÀÀÀÀ
27œœ œ
.>ggggg ‰ jœœn .g
J ‰ jœœn .g œn œœœ œn
œœbb. œœbb. œœb
.œœbb. œœ
.œœ. œœ
>
Poco a poco accelerando sin al fine
p f
poco marcato, sempre più pesante
œ œjœœœ.
>W.œn .œn œœœ.
>œœn .Jœœ.B
œœœœbb.
..œœbbœœbb. œœbb. œœbb.
& ?
cresc.
‰ œœœ.>œœn . œœ.
‰ œœœnn .>œœn . œœn .
œœbb. œœbb
. œœbb. œœbb.œœbb. œœbb. œœbb
.œœbb.& ? &
œœbb. œœbb. œœbb. œœbb.œœbb. œœbb. œœbb.œœbb .
&?
ππππππππππππππossia:
&
&
&
ÀÀÀÀÀÀÀ
ccccccccccccccccc8 d
ÀÀÀÀÀ ÀÀ
30‰ œœœnn .> œœn . œœ. ‰
œœœn .>œœ. œœn .
K K
M R R b bœœbb. œœbb. œœbb. œœbb. œœbb. œœbb
.œ3bb œ3bbœœbb .œœbb .œœbb .œœbb .
1œœbbb1œbb
? &
œœbb .œœbb .œœbb .œœbb .œœbb .œœbb . œœbb .œœbb .
ππππππππππππππ
œœœbbb. œœbb.
œœœbbb. œœœbbb
.‰œœœn .K œœœ
.K œœœ.K
œœ3nn
K
œœ4n œœ3n
K
œœ4n œœœ3n œœœ3nnn
Œ Ó
Œ Ó
Ï
(1' 20")
13
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
Notes for the per-
former:
Interesting variants in
the fi rst of the “Roma-
nian Folk Dances”
Fingerings in italics stem
from Bartók (above),
those in normal type are
supplementary fi nger-
ings from Dénes Várjon
(below)
&
&
?
42
42
42
œœœœœœ. œœœœœœœ. œœœœœœœœ. œœœœœœ.
œœ.1œœ. œœœ. œœ.
œœœ.5œœœœœœœœœœœœœœ.F
p
Allegro, ! = 144**) ππππππππππ
œœœœœœœœ. œœœœœœ. œœœœœœ. œœœœœœ.
œœœ. œœ. œœ. œœ.
œœœ.œœœœœœœœœœœœœœœœ.E
œœœœœœœœœœ. œœœœœœœœ.≈≈≈≈ œœ
œœœœ. œœœ.3 ≈≈≈≈œœ
œœœ.
œœœœœœœœœœœœœœœ.
d
˙˙^
˙
˙
Even when the musical text is complex such as in the “Improvisations”, the sophisticated en-graving realises the crescendo with a pre-cise progression from the left to the right hand, following Bar-tók’s notation exactly
flyer-FINAL_ML_en.indd 2 15.03.2018 13:26:47
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
Ed.: Somfai · Fing.: Várjon
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
Ed.: Somfai · Fing.: Várjon
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
er N
o. H
N 2
1101
603
.201
8
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
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
Ed.: Somfai · Fing.: Várjon
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
Ed.: Somfai · Fing.: Várjon
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
er N
o. H
N 2
1101
603
.201
8
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