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Béla Bartók Urtext Editions for Piano

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

Allegro barbaroEditor: SomfaiHN 1400Composed in 1910/11, Bartók’s “Allegro barbaro” is one of his best-known and most popular works for piano.

Etudes op. 18Editor: SomfaiHN 1412‡ i. p.

For ChildrenEditor: Vikárius, LampertHN 1225‡ (Volume I)HN 1226‡ (Volume II)Both volumes are organised in ascending difficulty, from simple two-part pieces to Impressionistic miniatures, and they offer everything that children’s hands can manage.

15 Hungarian Peasant SongsEditor: SomfaiFingering: VárjonFour Old Sorrowful Songs | Scherzo | Ballade (tema con variazioni) | Old Dance Tunes HN 1404‡The comments at the close of this edition include important indications regarding performance practice derived from the two recordings that the composer made of several of its pieces.

Improvisations on Hungarian Peasant Songs op. 20Editor: SomfaiFingering: VárjonHN 1405The manner in which he confronts folk melodies with subtle, avant-garde sounds here was later described by Bartók him-self as venturing to “the outermost limits”.

MikrokosmosEditor: NakaharaHN 1408‡ (Volume I – II)HN 1409‡ (Volume III – IV)HN 1410‡ (Volume V – VI)These 153 piano pieces, organised in ascend-ing order of difficulty, engage not only with technical aspects of piano playing, but also with the fundamentals of composition.

Six Dances in Bulgarian Rhythm from MikrokosmosEditor: NakaharaHN 1411‡These six dances form the final culmination of Bartók’s “Mikrokosmos”, that work of the century comprising over 150 pieces.

Romanian Christmas SongsEditor: SomfaiHN 1406Bartók’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 fiery, war-like type of song, rather than a pious and religious one”.

Romanian Folk DancesEditor: SomfaiStick Dance | Sash Dance | In One Spot | Dance of Buchum | Romanian Polka | Fast DanceHN 1402Bartók expert László Somfai brings order to the rich fund of sources, and enters significant variants directly into the musical text of the piano version itself.

SonatinaEditor: SomfaiHN 1401Bartók used different melodies taken from Romanian instrumental folk music in his Sonatina.

Suite op. 14Editor: SomfaiFingering: VárjonHN 1403‡The four-movement Suite was composed in 1916 and was one of Bartók’s favourite piano works throughout his life. Bartók did not use any folksong melodies or folk-loristic elements here.

Three Hungarian Folk TunesEditor: SomfaiHN 1407‡Unusually, the first edition issued in 1942 did not include the folk music sources; however, they have of course been repro-duced in this Urtext edition based on the Bartók Complete Edition.

‡ = Distribution rights restricted

All of the editions are a co-production with Editio Musica Budapest. Levels of difficulty for all of the piano edi-tions can be found at www.henle.com

as at September 2019

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.

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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**

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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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%T. 8, 16 gis; T. 13 e 2, T. 19 d

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%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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2. Brâul · Sash Dance · Danse du ceinturon*

3. Der Stampfer · In One Spot · Danse sur place *

ÿOriginal footnote: From Igri† (Torontal)@The repeat in Bartók’s recording.#Fingering in parantheses is from the%revised edition; see Preface.

Die Wiederholungin Bartóks Aufnahme:

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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

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.


� � �� 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

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

Béla Bartók – Urtext editions from Henle

Scholarly basis and editor

All of the Bartók Urtext editions from our publishing house follow the text of the scholarly Complete Critical Edition of Béla Bartók’s works that reflects 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 Bartók’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.

Notes for the performer

Our 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 articulation. 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 “reference recordings”. These indications provide important ideas for teaching, study-ing and performing and are not contained in any other Bartók editions.

Fingerings

The fingerings in our Bartók piano editions stem from the composer himself, unless otherwise indicated. They are supplemented, where necessary, with modern fingerings that have been supplied by the Hungarian pianist and Bartók specialist Dénes Várjon.

Fingerings in italics stem from Bartók (above), those in normal type are supplementary fingerings from Dénes Várjon (below)

In grey print: Indication concerning the much faster tempo for the “Allegro bar-baro” in Bartók’s record-ing of 1929

Even when the musical text is complex such as in the “Improvisations”, the sophisticated engraving realises the crescendo with a pre-cise progression from the left to the right hand, following Bartók’s notation exactly

In small print: Notation in octaves in one of the “Romanian Folk Dances”, as in one of Bartók’s recordings

Notes for the performer: Interesting variants in the first of the “Roma-nian Folk Dances”

Information from sources and models

Accompanying texts in our editions provide information regarding the source situation and evaluation as well as also answering questions concerning 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 collec-tions such as “Mikrokosmos” and “For Children”. Where available, early or alternative versions or (for the first 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, Romanian or Slovak as well as translations into German and English. This enables the performer to delve deeper into the works in question. This information is not contained in any other Bartók edition.

Music engraving

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

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