1

PIANO MUSIC OF
BELA BARTOK
The Archive Edition, Edited by Dr. Benjamin Suchof f
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SERIES I

Funeral March
Four Piano Pieces
Rhapsody, op. 1
Three Folk Songs
Fourteen Bagatelles, op J
Ten Easy Piano Pieces ^
A*

Two Elegies, op. 8b

Seven Sketches, op. 9b
Two Rumanian Dances, op. 8a
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 Piano Music of
BELA BARTOK
The Archive Edition
Edited by Dr. Benjamin Suchoff

SERIES I

Dover Publications, Inc.

Newark
The present volume is part of the publication program of the New

York Bart6k Archive, to include both Studies in Musicology and the

Archive Edition of Bartok's music itself. The complete series of works
is projected as follows:

STUDIES IN MUSICOLOGY
Benjamin Suchoff, Editor
The Bela Bart6k Archives: History and Catalogue
Rumanian Folk Music
I Instrumental Melodies
II Vocal Melodies
III Texts
IV Carols and Christmas Songs (Colinde)
V Maramures^ County
Turkish Folk Music from Asia Minor
Bela Bartok Essays
Yugoslav Folk Music
I Serbo-Croatian Folk Songs (with Albert B Lord)
.

II Tabulation of Material
III Source Melodies: Part One
IV Source Melodies: Part Two
The Hungarian Folk Song

THE ARCHIVE EDITION

I Piano Music of Bela Bartok, Series I (Dover, 1981)
II Piano Music of Bela Bart6k, Series II (Dover, 1981)
III Songs
IV Orchestral Works
V Chamber Works
VI Music for Chorus
VII Instrumental Pieces

Copyright c 1981 by Dr. Benjamin Suchoff as Successor-Trustee of the

Estate of Bela Bart6k.
All rights reserved under Pan American and International Copyright Conven-
tions.

Piano Music of Bela Bartdk, Series I is a new work, first published by

Dover Publications, Inc., in 1981.

International Standard Book Number: 0-486-24108-4

Library of Congress Catalog Card Number: 80-70402

Manufactured in the United States of America

Dover Publications, Inc.
180 Varick Street
New York, NY. 10014
 CONTENTS
INTRODUCTION / VII

FUNERAL MARCH FROM THE SYMPHONIC POEM "KOSSUTH" / 1

FOUR PIANO PIECES / 5

1. Study for the Left Hand / 5

2. Fantasy 1/26
3. Fantasy II / 22
4. Scherzo / 24

RHAPSODY, OP. 1 / 39

THREE FOLK SONGS FROM THE CSIK DISTRICT / 66

1. Rubato/ 66
2. L'istesso tempo / 67
3. Poco vivo I 67

FOURTEEN BAGATELLES, OP. 6 / 68

1. Molto sostenuto / 69
2. Allegro giocoso 70
3. Andante / 72
4. Grave [Hungarian folk song] / 74
5. Vivo [Slovak folk song] / 75
6. Lento / 78
7. Allegretto molto capriccioso / 79
8. Andante sostenuto / 83
9. Allegretto grazioso / 85
10. Allegro 188
11. Allegretto molto rubato / 93
12. Rubato/ 95
13. Lento funebre ("She is dead ...")/ 98
14. Waltz ("My dancing sweetheart ...")/ 99
 TEN EASY PIANO PIECES / 105

Dedication / 706
1. Peasant Song / 107
2. Painful Struggle / 108
3. Slovak Young Men's Dance / 109
4. Sostenuto/ 110
5. Evening in Transylvania / 110
6. Hungarian Folk Song / 112
7. Dawn / 112
8. Folk Song II 13
9. Finger Study / 114
10. Bear Dance / 116

TWO ELEGIES, OP. 8B / 119

1. Grave / 119
2. Molto adagio, sempre rubato / 127

SEVEN SKETCHES, OP. 9B / 138

1. Andante (Portrait of a girl) / 138

2. Commodo (Seesaw. . . ) / 140
3. Lento / 141
4. Non troppo lento / 142
5. Andante rubato (Rumanian folk melody) / 146
6. Allegretto (In Walachian style) / 147
7. Poco lento / 148

TWO RUMANIAN DANCES, OP. 8A / 150

1. Allegro vivace / 150

2. Poco Allegro / 160

vi Contents
 INTRODUCTION
The Archive Edition of Bartok's works is an extension of FUNERAL MARCH FROM THE SYMPHONIC POEM
the New York Bartok Archive Studies in Musicology publica- "KOSSUTH"
tion series. The Archive Edition is intended to serve the pub-
Composition date: 2 April-18 August 1903.
—
lic for the first time! —
with the authentic performing version
First performance: Budapest, 13 January 1904 (orchestral ver-
of Bela Bartok's early compositions, published during his
sion).
lifetime or posthumously in Hungary, and those other, hereto-
fore unpublished works which were found among his other
First publication: Kunossy Szilagy es Tarsa, Budapest, 190?.
memorabilia subsequent to his death in New York City on A short time prior to his guest performance in Sopron (a
September 26, 1945. Hungarian town close to the Austrian border) on 9 December
Two principles have guided the preparation of the Archive 1905, Bartok wrote the following autobiographical note to a
Edition, both of them expressed by Bartok himself: local journalist:
"It of great importance that anyone who is involved with
is

music should be able to obtain [composers'] works in editions

Here my biographical data:
B. 1881. Nagyszentmiklos. Lost my father at age 7: my
which interpret precisely the author's intentions, not of such
mother, Paula Voit, raised me under great hardships. At age 10
kind that may have been arbitrarily modified or forged by Mr. Altdorfer [a composer] discovered my talent, in Nagy-
some adapter" [Bela Bartok Essays, No. 82, p. 499]. Sz6116s. I first studied [piano] with my mother; later, in Pozsony,
"To place [this material] before the public as carefully pre- with Laszlo Erkel; finally at the Budapest Academy of Music
pared and in as perfect a form as is called for by its unparal- (Thoman, Koessler). My Kossuth symphony was performed
leled value" [Bumanian Folk Music, Vol. I, p. 2]. with great success in 1904 in Budapest, later in Manchester
When Bartok emigrated to the United States in October [England]. This year, in March, I had a great success as a pianist
in Budapest, also 2 weeks ago in Manchester; 1 week ago my
1940, he brought with him the bulk of his compositions and
Suite for Orchestra, with its totally Hungarian character, pro-
folk-music collections, in manuscript and published form. The
duced a sensation in Vienna.
Archive Edition is based on his own corrected publications or,
I have never written such things about myself before; but I
whenever such materials were missing from his memorabilia, can't help that: it is just these "successes" that are the most
on original editions in the New York Bartok Archive. In the important in a biography.
latter case, comparative study was made between them and With patriotic greetings,
new editions published in Hungary since 1951; these recent Bela Bartok
publications apparently have made use of holdings in the
Budapest Bartok Archivum.
The present publication was produced by direct photograph-
The composer's program notes for the first performance are
ing of the above-mentioned original editions. Editorial addenda
as follows:
are enclosed in square brackets in the musical part, and square
brackets are also used for Bartok's duration indications at the The year 1848 is one of the most eventful in Hungarian

end of certain pieces. history. It —

Although the Archive Edition is performance-oriented, the
editorial annotations that follow below reflect musicological
scholarship based on primary source materials, in the expecta-
tion that this publication can serve as an intermediary stage in
the future preparation of the Complete and Critical Edition of
Bartok works. These annotations are intended to provide an
aid to interpretation of Bartok's music and further the under-
standing and appreciation of the man as composer.
was the year of the Hungarian revolt a life and
death struggle of the nation for freedom. The leader, the heart
and soul of this struggle, was Louis Kossuth. As Austria saw, in
1849, that the war was going against her, she concluded an
alliance with Bussia. A crushing blow was inflicted upon the
Hungarian Army, and the hope of an independent Hungarian
—
kingdom was shattered apparently forever. These events serve
as the basis for the symphonic poem.
The work consists often closely related sections, each with an
epigraphic inscription.
 — S — 1

*« f -

The Funeral March represents Bartdk's transcription of the -X^N

last two sections itflfc «-» a] ' r t = i* "

4 }d K PV 9 lajiJJj'T
—^-jr y: r
V T

9. "All is finished. Hungary lies in deepest woe. in deepest

\ *
mourning *.£
\ ) m
m m •

10. "A hopeless

:

silence reigns."
It is apparent that the thematic material beginning at bar 23:

Referem I

Ujfalussy, Bela Bartok, pp. 52-56.

Suchoff Bela Bartok Essays, No. 49.
(ed.),
Demeny Bela Bartok Letters, pp. 44-48.
(ed.),
is a direct borrowing of the theme in Liszt's Hungarian Rhap-
Kroo, Guide to Bartok, pp. 16-21.
sody No. 2:
Stevens, Life and Music, pp. 110, 258-259.
Complete Edition, Hungaroton LPX 1300.

THREE FOLK SONGS FROM THE CSEK DISTRICT*

References
Composition date: December 1907.
(see list at end of Introduction for full titles)
First performance: Unknown.
Ujfalussy, Bela Bartok, pp. 46-51. First publication: Rozsnyai Karoly, Budapest, 1908.
Suchoff (ed.), Bela Bartok Essays, No. 48.
Kroo, Guide to Bartok, pp. 9-15.
A sung variant of melody No. 1 appears in Bartok's study
Stevens, Life and Music, pp. 109, 256-259. The Hungarian Folk Song--
Complete Edition, Hungaroton LPX 11517.
P&rlando, J

277.
1. Mi-kor Kd-esa S«n-dor Fel-uJ a lo . va - ra. Lo-bograj-<a

FOUR PIANO PIECES

Composition dates: No. 1: January 1903. No. 2: 8 February gydcs-ga-tya - ja. Ej haj, u - silk a Du - oa - ba

1903. No. 3: 12 October 1903. No. 4: June-September 1903.

First performances: No. 1: Budapest, 21 February 1903. No. 2:
When Rozsa Sandor
Budapest, 27 March 1903. No. 3: Unknown (perhaps Ison his horse,
25 January 1904). No. 4: Budapest, 25 November 1903. His linen breeches go flapping,
First publication: Bard Ferenc es fia, Budapest, 1904 (pub- Hey, hie, he swims the Danube.
lished separately).
and the instrumental tune or its variant is published in Bela
References Bartok Essays, p. 272:
Stevens, Life and Music, pp. 109-110.
Complete Edition, Hungaroton LPX 1300.

RHAPSODY, OP. 1

Composition date: November, 1904.

First performance: Pozsony, 4 November 1906.
Sung variants of melodies 2 and 3 also appear in Hungarian
First publication: Rozsavolgyi es Tarsa, Budapest, 1910.
Folk Song:
The Rhapsody, designated as opus 1 by Bartok, was origi-
Paxlando. J -. eg.
nally composed for piano solo, then transcribed for piano and s
f~ * ~_ L ~ *

orchestra. 1.1
Sir a kis ga-lam-bom si roll en ma - gam is. Si-runk mind a koUen
Like predecessor, the Kossuth symphony, the Rhapsody
,

its

reflects Liszt's influence, particularly with regard to its gypsy-

like csardas form: two contrasting parts, a slow (lassan) fanta-
sia is followed by a fast (friss) dance. Note, too, the similarity i gen ice- aer - ve-twn. A nyam, e-de» a - nyam, mert ul-do-aeaa

in phrase structure, melodic contour and rhythm between

Bartok's theme (Tranquillo, bars 17-22): fLy f f—\ '
u r, f— -
* ^J J J ., . J~ J- - \

tT r "

en -gem. Mert nem hagy-tad eit a kis le-anyt el - ven-nem?

When my little dove weeps, I also weep,

We both shed bitter tears.
Mother, dear mother, why torment me,
Why not let me marry this little maiden?

NowCiuc County, Rumania. The district was heavily populated by an

and that of Liszt's Hungarian Rhapsody No. 13 (Vivace, bars enclave of the Sz£kely (or Sz£klers) people, probably of Turki origin, who
25-32)- were wholly Magyarized in their speech and national sentiment.

viii Introduction
 Tempo giusto, J 100
Bagatelle No. 4 is a transcription of Hungarian Folk Song
melody No. 7a:
Ok - U5 -ber-nak, ok - t<5 - brr-nak el - sr - jcn Nero out a nap
Tempo giuato, J . 41

Mi - kor gu-laa - le-genjr vol - lam, Gu • la mrl-lett rl -a .lud- Urn

Calk-karcz - f»l - v» me - w - jrn Kl - bii - c»ii - 10m a ma-dar-icil

Pol - A - red-lrm ej.W - Uj - ba Egy bar-room aim at al-laa - ba

»«1 if. t'U, Az - 11 -tan a csik-karrz- U) - vi li . nyok (61.

I was a cowherd,
In October, on the first of October, * I slept by my cows;

There's no sunshine on the meadows of Csikkarczfalva; Iawoke in the night,

I part from the birds and the trees,
Not one beast was in its stall.

And also from the maidens of Csikkarczfalva. Bagatelle No. 5 is a transcription of a Slovak folk song:*
References
Ujfalussy, Bela Bartok, pp. 80-81.
Suchoff (ed.), Bela Bartok Essays, No. 33.
Stevens, Life and Music, pp. 110-111.
Complete Edition, Hungaroton LPX 1299. E]\ po-pred naj, po-pred naS, po-pred na Je dve . re,

popred na - Je dve - re, ej, ma-lo vi-nl lu-haj

FOURTEEN BAGATELLES, OP. 6

Composition date: May 1908.
bie - lu ru - iu se-jc, bie-lu ru - iu se - jo.

First performance: Vienna, 29 June 1908.

First publication: Rozsnyai Karoly, Budapest, 1909.
Ej, before our door,
In 1945, the last year of his life, Bartok prepared "most of my Ej, the abandoned young lad plants a white rose.

early piano works in a carefully revised edition. No essential

changes have been introduced but adding fingerings to all
the pieces the oldest of these sets of pieces are the Baga-
. . .
telles, written in May 1908. In these, a new piano style appears
as a reaction to the exuberance of the romantic piano music of
the nineteenth century, a style stripped of all unessential
decorative elements, using only the most restricted technical
means. As later developments show, the Bagatelles inaugurate
a new trend of piano writing in my career, which is consistently
for
The last two pieces of the set (Nos. 13 and 14) are musical
mementos of the bitter days between February 14 and
March 20, 1908, when the eminent Hungarian violinist Stefi
Geyer (1888-1956) broke off her relationship with the com-
poser. Some years later, perhaps 1911, Bartok orchestrated
Bagatelle No. 14 as the second, "Grotesque" movement of Two
Portraits (op. 5).

followed in almost all of my successive piano works, with more Beference:

or less modification. . . . Some additional explanations seem to Ujfalussy, Bela Bartok, pp. 85-90.
be appropriate to the Bagatelles. Suchoff Bela Bartok Essays, No. 61, No. 46 (p. 370).
(ed.),
"The first one bears a key signature of four sharps (as used Demeny Bela Bartok Letters, pp. 75-87, 89, 384.
(ed.),
for C-sharp minor) in the upper staff and of four flats (F minor) Kroo, Guide to Bartok, pp. 38-44.
in the lower one. This half-serious, half-jesting procedure was Stevens, Life and Music, pp. 111-112, 265-266.
used to demonstrate the absurdity of key signatures in certain Complete Edition, LPX 1299, 1302.
kinds of contemporary music. After carrying the key-signature Bela Bartok at the Piano [Bagatelle No. 2], BBS 003 (also re-
principle ad absurdum in the first piece, I dropped its use in corded on BBS 903, Bemington B19994, HMV AM 2622, Cont.
all the other Bagatelles and in most of my following works as 4006, CLP 1001 and Turnabout THS 65010).
well. The tonality of the first Bagatelle is, of course, not a
mixture of C-sharp minor and F minor but simply a Phrygian-
colored C major. In spite of this it was quoted several times as TEN EASY PIANO PIECES
an 'early example of bitonality' in the 1920's when it was Composition date: June 1908.
fashionable to talk about bi- and polytonality.
First performances: No. 10: Budapest, 15 November 1909.
. . .

"Concerning the tonality of some of the other pieces, the

No. 5: Budapest, 15 March 1910.
following statements are added in order to avoid misunder-
First publication: Bozsnyai Karoly, Budapest, 1909.
standing:
"Bagatelles — No. 2: D-flat major; No. 6: B major; No. 7: D Bartok's note to the latest edition, which he revised in 1945,
sharp minor; No. 8: G minor; No. 10: C major; No. 12: B reads: "The Ten Easy Pieces with a 'Dedication' as an —
minor; No. 13: E-flat minor. . . eleventh —
are a complement The former to the Bagatelles.
"This information is addressed especially to those who like were written with pedagogical purposes, that is, to supply
to pigeonhole all music they do not understand into the cate- piano students with easy contemporary pieces. This accounts
gory of atonal' music." for the still more simplified means used in them."
The "Dedication" opens with the "Stefi Geyer leitmotif" the —
*The day on which the recruits join their regiments. Another sung variant,
transcribed by Bartok for voice and piano as No. 5 of Eight Hungarian Folk
Songs (1907-1915), is "Ha kimegyek arr' a magas tetore" [If I climb the rocky Published posthumously as No. 692a in Vol. II of Bartok's study Slovenske
mountains all day through]. L'udove Piesne [Slovak Folk Songs] (see References).

Introduction ix
 I

3 Nrgkltitl uukjavd, pimi iumiiiiI,

succession of ascending major thirds previousl) encountered egklatl c-iOkjinl, piroi luaurlril.
Meljel yjj»*ll celpegeUU, a.a6a
in Bagatelles 13 and 14 (set- the respective editorial remarks Kun Toll • «;•)•»•

above): 4 ll*rU hog) Bthot Bel brlrr f JOrul tot.

Ig»rl« bofy aaboi kfl belre gylril bui.
Allan ollirboi Irrdrprlrnd velaa.
8 elvteaen aagahoi

i tin •njan kerta ae kuiir aeg varea,

;:tt f.dei enjim ktren ne hlla* •(
itrm.

—
I *n:
TM"

—
Hiiten igerem, bog; en • routaail
Holloaig beerrm

No. 5 "Evening in Transylvania" "is an original compo- Bart6k transcribed No. 5 and No. 10 ("Bear Dance") for
sition, that is, with themes of my own invention, but the orchestra in August 1931 as thefirst two of the five pieces

themes are in the style of the Hungarian Transylvanian folk comprising Hungarian Sketches.
tunes. There are two themes: the first one is in a parlando-
Beferences:
rubato rhythm and the second one is more in a dance-like
Ujfalussy, Bela Bartok, pp. 91-95.
rhythm. The second one is more or less the imitation of a
Suchoff(ed.), Bela Bartok Essays, Nos. 45, 46 and 61.
peasant-flute playing. And the first one, the parlando-rubato,
Demeny (ed.), Bela Bartok Letters, pp. 89, 207, 384.
is an imitation of song, vocal melody. The form of it is ABABA."
Kroo, Guide to Bartok, pp. 51-55.
No. 6 is a transcription of a Hungarian Folk Song melody:
Stevens, Life and Music, pp. 112-114.
Complete Edition, Hungaroton LPX 1299, 11355.
Tempo giusto, J . ito Bela Bartok [the composer playing Nos. 5 and 10], Polydor
Vox PLP 6010 (also recorded on Vox 650, Turnabout Vox
Az ii - ro-gi
Gyere ked-vea
fa-lu - ve-gen
kiaan-gyaJum, menjimkel
6zol a mu-zsi-kn.
o-da
Ott mu-la-tok kt-d-vem-re, TV 4159, BBS 903, HMV AN 469 and Cl.C. 2075).

ba-bam sfr ke - »er-ve-6en. Ro-po^dacaolk-ja raj-tarn bza-roil, nem fe-lej-teni d

TWO ELEGIES, OP. 8B

At the far end of Urog village, music sounds; Composition dates: No. 1: February 1908. No. 2: December
Come, my beloved, let us go there. 1909.
There I shall rejoice heartily, First performances: No. 1 : Perhaps in Budapest, 21 April 1919.
My love shall weep bitterly, No. 2: Unknown.
Her kisses will dry on my lips, but I shall never forget her!
First publication: Bozsnyai Karoly, Budapest, 1910.
Bartok's previously quoted notes (Essays, No. 61) indicate that
No. 8 is the Hungarian folk song "Azt mondjak: nem adnak"
the Two Elegies mark "a certain return to the old-style piano
[They say: they don't give], which is based on a Slovak folk
technique (note the decorative' broken chords [in the Seven
melody that became the Czechoslovakian national anthem
Sketches] and similar effects in the Elegies) No. 1: D minor; . .

One
.

after 1919. of the earliest publications of this song, pro-

No. 2: C-sharp minor." It has also been reported that he re-
vided with a piano accompaniment in accordance with custom,
ferred to these pieces as a reversion to the grandiloquence of
occurred in 1853 in Budapest (100 Magyar nepdal, collected
Bomanticism.
by Ignac Bognar and transcribed for piano by Mihaly Fu-
The concept of reversion, moreover, is encountered in other
redi). Comparison of the Furedi and Bartok transcriptions will
ways. Be verse arpeggios, marked with the vertical wavy line
dynamically illustrate the latter's compositional thesis that
on the right side of the chord (previously met in Bagatelle No.
East European folk music "generally avoids allusions to the
7), appear nine bars before the end of Elegy No. 2:
dominant triad in its melodic structure, thereby allowing in its
harmonization a much more extended liberty. But even the
melodies of West European character, having inherent allu-
sions to the tonic and dominant triad, present possibilities of
exquisite harmonization, however, which the composer must
have the gift to find." Here is the Furedi version:

A return to the "Stefi Geyer leitmotif" (see the remark on the

£««* "Dedication" of Ten Easy Pieces, above) occurs form
in altered
Ait mun J — j*k : nem ad- nik m- gtm ga- Ian - bum- unit.
in Elegy No. 1, bars 19-20:
Pc - dig ai en r«- uam ba nr - Ii - den net ram.
16* szam. poco adagio

and in the original configuration in bars 69-70:

Atl mondjik nera id- nek en-gem gi-lim - boa-nak, Ha-nea Un i

Pe- dig at en rd-isla ka tie- li-den nea ram, Ha ciu - kol

Introduction
again altered but in retrograde form in the lower staff of bar 695. fii~£
80:

and in Elegy No. 2, where it serves as the basic entity:

^CT^^j-iLtfl^^'^ ^^ 1

2.v»A«,

A m -^^Z- — im i^ ijj rv m iw r w*m-\ r^^ > ri'ra » a w^> u.m^ f»* m *

T. 3r
Wpa
fr'tirrpffitffff jtl l

c 1967 by Martinus Nijhoff, The Hague.

References The full poetic text appears in Class B, Songs of Sorrow, in

Suchoff(ed.), Bela Bartok Essays, No. 61. Bumanian Folk Music, Vol. Ill (Texts). The translation:
Stevens, Life and Music, pp. 115-116.
Iwas liked by everyone, only sense I did not have;
Complete Edition, Hungaroton LPX 11335. Everybody cared for me, but I had a weakly mind.
A girl's mind is like a crow's: for a lad she stands to die.
A girl's mind is like a magpie's: for a lad she stands to sicken.
Oh my mind, my silly mind: made a servant out of me!
SEVEN SKETCHES, OP. 9B No. 6, "In Walachian style," is a work "with original the-
matic material, but of a completely Rumanian character." This
Composition date: 1908-August 1910.
character, as Bartok's title indicates, is Old Rumanian, that is,
First performance: Unknown.
based on the folk music style of Rumania proper. *
First publication: Rozsnyai Karoly, Budapest, 1911.
References
Bartok's 1945 notes: "The Seven Sketches are from the years
Ujfalussy, Bela Bartok, pp. 87-89, 95-97, 103.
1908-1910. . . [they] represent, on the whole, a similar trend
SuchofF(ed.), Bela Bartok Essays, No. 61.
to that observed in the Bagatelles [see Bartok's comments
Demeny (ed.), Bela Bartok Letters, pp. 199-205.
above], although in Sketch No. 4 there is a certain return to
Stevens, Life and Music, pp. 39-45, 117-118.
the old-style piano technique (note the decorative' broken
Complete Edition, Hungaroton LPX 11335.
chords there). Sketch No. 2 [which is not bitonal or polytonal,
although 'it was quoted several times in the 1920s as an early
example of bitonality] is indisputably a pure C major. Sketch
No. 4: C-sharp minor; Sketch No. 7: B major."
Sketch No. 1, "Portrait of a girl," is dedicated to Marta
Zeigler, who had enrolled in Bartok's piano class in the fall of
TWO RUMANIAN DANCES, OP. 8A
1908, a year after he succeeded his teacher, Istvan Thoman, as
professor of piano at the Budapest Academy of Music. Bartok
Composition dates: No. 1: 1909; No. March 1910.
2:

married his sixteen-year-old pupil in the fall of 1909. First performances: No. 1: Paris, 12 March 1910; No. 2: Un-
Sketch No. 3 is dedicated to Emma and Zoltan Kodaly and known.
is dated August 1910. Kodaly, who was to become one of First publication: Rozsavolgyi es Tarsa, Budapest, 1910.
Hungary's most celebrated composers, and whom Bartok con- In January 1931, Bartok wrote a letter to a Rumanian folklor-
sidered to be "my only friend," married Emma Sandor Gruber
ist, in which the composer states that the Two Rumanian
on the third day of that month. Dances (1909 is given as the composition date!) is a work "with
Sketch No. 5, "Rumanian folk melody," is a transcription of original thematic material, but of a completely Rumanian char-
a melody Bartok collected in the Transylvanian village of De-
lani. Published in his study Bumanian Folk Music, the texted
acter. " Bartok's —
statement perhaps a memory lapse? is valid —
only for the first dance; the second one is based on a Rumanian
form appears as one of eleven variants in Vol. II (Vocal Melo- folk tune.t
dies):
No. 1 is perhaps best described as an imitation of Rumanian
bagpipe performance: scalar structure, in which certain tones
fluctuate lower in pitch; tonic-dominant "drone/middle-pipe"

53-e.
as the accompaniment in the lower staff; staccato rendition of
fi*J(0
the "chanter" melody which has a rhythmic skeleton pattern of

IPs^fe^is four eighths for each bar, a pair of sixteenths substituted for a

Prior to the Treaty of Trianon (4 June 1920) Rumania consisted of the

united principalities of Walachia and Moldavia (the Treaty awarded the for-
merly Hungarian territory of Transylvania to Rumania). Bart6k's collection of
ti -tu. - «*-•«. tint d*<x- fa. ,
Rumanian folk-music material almost exclusively comprises vocal and instru-
c 1967 by Martinus Nijhoff, The Hague. mental melodies he recorded from Rumanian inhabitants of Transylvania, and
he deeply regretted the lack of time or opportunity to extend his field work to
Old Rumania.
tin 1945 Bart6k referred to the Two Rumanian Dances as representing his
and as a hora (a parlando-rubato "song" genre in that area) for "new piano style [and] which are, incidentally, based on original thematic
peasant flute in Vol. I (Instrumental Melodies): material and not on folk tunes" (see Essays, No. 61).

Introduction xi
 single eighth, eight-bar sections; and, most significantly, Inde- Hi I I iu \< is:

terminate or improvisationa] form based on motif-structure, Suchofl (ed.). B4k Bartok Etsays, Nos. 15 (p. 118), .33 (pp
This type of structure, peculiar to bagpipe music, employs 244-263) and 61.
"one or more two- or four-bar motifs, spanning generally a Demeny (ed.), Bela Bartdk Letters, pp. 199-203.
pentachord, [which] arc repeated without any plan or order." Stevens, Life and Music, pp, 18-119. 1

Bartok, in the first volume of his Rumanian Folk Music Complete Edition, Hungaroton LPX 11335, 11314.
study, classified the motifs he had extracted from his extensive Bela Bartdk at the Piano [No. 1 only], BRS 003 (also recorded
collection of bagpipe pieces. Some of those motifs which relate on BRS 903, HMV AN 469).
rhythmically to Dance No. 1 are:

27(:-*.).i-i.i-*l 2 1 5(a.-c). *-?,)! -sj t i

-s\

BIBLIOGRAPHY
Bartok, Bela. The Hungarian Folk Song. Edited by Benjamin
SuchofF. Albany: State University of New York Press, 1981.
Rumanian Folk Music. Edited by Benjamin SuchofF. The
Hague: Martinus Nijhoff, 1967 (Vols. I— III), 1975 (Vols.
c 1967 by Martinus Nijhoff, The Hague.
IV-V).
No. 2 is actually a transcription of a jeering song in Vol. II of Slovenske L'udove Piesne. Edited by Alica and Oskdr
Rumanian Folk Music: Elschek. Bratislava: Slovenska Akademia Vied, 1959 (Vol.
I), 1970 (Vol. II).

Demeny, Janos (ed.). Bela Bartdk Letters. London: Faber &

Faber, 1971.
Kroo, Gyorgy. A Guide to Bartdk. Budapest: Corvina Press,
c 1967 by Martinus Nijhoff, The Hague. 1974.
Somfai, Laszlo (ed.). Bela Bartdk: Two Rumanian Dances.
Of the hopvine a green leaf, Budapest: Editio Musica, 1974.
Women have a weakly mind; Stevens, Halsey. The Life and Music of Bela Bartdk . New York:
But the men's is weaker still, Oxford University Press, 1964.
For it goes about ungirdled. Suchoff, Benjamin (ed.). Bela Bartdk Essays. London and
New York: Faber & Faber and St. Martin's Press, 1976.
and/or its instrumental variant in Vol. I: Guide to the Mikrokosmos of Bela Bartdk. London:
Boosey & Hawkes, 1971.
Ujfalussy, Jozsef. Bela Bartdk. Budapest: Corvina Press, 1971.

Discography
Bartdk Plays Bartdk. New York: Remington Records R19994.
Bela Bartdk. New York: Polydor Vox PLP 6010.
Bela Bartdk at the Piano. New York: Bartok Records BRS 003,
903.

c 1967 by Martinus Nijhoff, The Hague.

Complete Edition Bartdk Bela. Budapest: Hungaroton LPX
1300, 1299, 11335 (Piano Music 1-3); 11517 (Posthumous
In 1910 Bartok transcribed Dance No. 1 for orchestra. Works 2).

xii Introduction
 i
rbri&ufli

LastMS page of Bartbk's unpublished symphonic poem Kossuth, 1903. "Funeral March," the piano version
of the two final sections (page 1), was all that appeared in print.
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First MS page of "Sonata (for piano, for left hand),*' which became the "Study for the Left Hand" in Four
Piano Pieces (page 5).
 -a>^/

Bela Bartok at age 22. The autograph musical quotation is from "Fantasy I" (No. 2 of Four Piano Pieces, see
page 16), composed in 1903, the year of this photograph.
 Jjc^iMI}

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MS of the poco piit tranqudlo section of the first of the Two Elegies, op. 8b (see page 125).
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A MS version of "Seesaw," No. 2 of Seven Sketches, op. 9b (see page 140), with a "perpetual" extension of
the final unison; inscribed inI^atin: "In perpetual memory of the hours 6, 7, 8, 9, 10, 11 p.m., February 16,
1909."
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 Piano Music of
BELA BARTOK
The Archive Edition
Edited by Dr. Benjamin Suchoff

SERIES I
 FUNERAL MARCH
from the Symphonic Poem "Kossuth"
Bela Bartok
Lento
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Copyright e 1981 by Dr. Benjamin Suchoffas Successor-Trustee of the Estate of Bela Bart6k.
 sempre non legato

non legato

2 Funeral March from "Kossuth"

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 FOUR PIANO PIECES
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Study /or the Left Hand 15

 to Emma Gruber

2. FANTASY I

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18 Four Piano Pieces
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20 I our Piano Pieces
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 to Emsy and Irmy Jurkovics

3. FANTASY II

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22
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Fantasy II 23
 to Erno Dohnanyi

4. SCHERZO

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24
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26 Four Piano Pieces

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36 /our Piano Pieces

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38 Pour Piano Pieces

 to Emma Gruber

RHAPSODY
Bela Bartok, op. 1
Mesto (Adagio A 58 -54)

Copyright c 1981 by Dr. Benjamin Suchoffas Successor-Trustee of the Estate of Bela Bartok

39
40 Rhapsody
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ritard. molto

&£&

48 Rhapsody
tensr^t *£_#* ft g ft ..§ ft y ft

Rhapsody 49
 {breve)

50 Rhapsody
 Adagio molto
o t
1

liijjfl- * m J cee= " P I

ffi ff

P
pp o
^gag^^ if #i:
* ^
i =;. s
«*
8*

Tranquillo J: 66 molto ca

Rhapsody 51
 t
pricctoso

W a poco
i#5f
e cresc.
^ PI ^^ ^3
rrf 7 f^t
^fefefp 1 i « !t
I £E!=i±5
^&#
«•
h:

mm f

pfe rr
?E^
poco accel.

sir
11 1
±2\*L
" v J m *j
t
M
^0
#«n~i
£
i
\,Jjf

^
tf pi
Hi
P
i gp u p r *»

9=* , ^ .

\m=S
i..:
= ifci
«r p j & »g
T
; r
g ffi K fei
j »g=gi
i

|
i
J* 1

t mf.
||
s

i^itii
\m
» r r
£M ii
ftl^l y
sempre piu vivo . . j
* = 170 - 186

tftfg «< ; H p jfei

?
Mfffi gytfTfe
ft;
i
Hi
cresc. motto
/ .#•

m iJ ^i £
i ?
I
A"»*%*V« »v»-vvv»-wvvv»'vw

m
T m
Vivacissimo
'§-& * ***>
mm •—*
m Ii i
si n t
f»P ip *=i=fi

¥S
ife
s
-%^ww*- ^w^^v%^wv»'W%<»»^«i -v^w^-w^-wv

i
¥
If?

f PP

^1
jpaeo rtt.

p ¥ i
m i^W & H m ^ n

w^ i
*/ € °f
^-Hf-^;
% ^#^
&
*i tJ ''Itj
1

i -f si
Ittf

52 Rhapsody
 Meno vivo J: 144

& >&%$ "ili^ e^'ile ^tei % a it

ffijjad j

°f jyp capriccioso,rubato

mn j|
^ 1
1 41^ I
pfj P^ ipi
v • v ~ Rtar,r.n.t.n r r f

p y^fi *§*§
cresc. molto
§ ^ «f
i
sf
Vivo Jzi80

/
t

mi
*
I nflfr
2 1 _i
Up f i p8 J itJ NT]
I-
^ ?
JD000 ritard.

^ TC?
T7
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3
*/

-*
st
E
ff
^ *f

Meno vivo J-. 144 2*000 a

* ^ SJeJ
^ ff
3
capriccioso, rubato

_J£
3 ft^y^jg^ ," |
tt E==E|»=jy^^g j

4
*i ti
8*_ ii
m* # * ^t
i
l=:
:EI
I*
I
13 i I
IP # IP IP

S
accel.

M*
JOO00
Vivace molto Jriso

y-H-g * «=
i I
sempreff

„ J 4 3Si
3 e*|

jpoco ritard.

Rhapsody 53
 #

Sostenuto molto V VO Sostenuto

^-
S
'
^<"i? r
«£#>
p t
BE E S:i
f^ i> i^ 1

a csant
fpcs nte

y^ i &
/
mk
jTleggicro
,
sj? i Itt j> *
^
*
I
e: «f r 3 ^
molto Vivo

H^
allarg.
r\

«
fpleggiero
i»i
nr*
f *? i
ji
^y f is
vm »•»-»»•»»« »\»vv\v<

^s ait^^ ^ i
f
I
3
^^ /~3
f
J
s
t = fe

<9
•*
tti i=£ I fc§
J= l
fc I *<n
I
h*
IE!
£

wwwvwwwv -v^v AM»v»\vnvmt\vi VH^WVVVMHW rrvp

2r
Ks
s J m -?t
£ 5
€$ p*
a —a:

molto rit. a tempo

s-
rb

1^ E!*£ l L ^>
ttf „ttf fl
*

^
> r i
1
^
azza »4J
—•izi i l >
i»
5 g jj£" 1
9+
a
— i
B ¥ f
f

»1 fe
t Mefr §
rif^ .
itij»f • ,»f M tt i

i£
t-

i »=« J

9E « ** J IF
ai ^ '
/«** I * '
*-g- rf
TP
^
Uf
ig
ipse

¥
W*M*
w p tj \
;

54 Rhapsody
 Molto vivace J-. iso

*W*U r> "Hff,| F? it

«f / /-
^3 i B 3"a _:
*= P=K£2
*
i
r=

JCZK ^3 W~m 3^

^ r r ^
§ 5
Df
m 33

£=r# poco dim.

*=s3
3E$

^m m ? ^ rs
xiii i^ 7 7
ji
37
Poco maestoso (Meno vivo s- 160)
rubato
J__ ife
P
m.

i * =
i '-3
* £
a=a

e^e; ^ Ft £S ¥

•-:
b*
=» «»—=P »: " =

Rhapsody 55
 Poco piii allegro (non rubato) u l

*t* m
^f ^ ^ up HUp hp tff ^^ ;

|g
* r *
fFEM ft
W
^ |

r
iff-4-
?f i W
H I f^t ffeftf ?

i
tt

it
i
*EE^EE#?
ttf'# i<* f # f f
Iee?
i ^Mf
3
f
-

fr

/
*-*
I : »=K i •=!:
%rinn 1*
56 Rhapsody

.
 Z *tte te g » tes f# fe ^
3 i Sal f
5*
2
4fc
F
3 3=f^=:
con 8'
J 4J 4 '
i ^F? 4 '

^
4 4 f 4
Piu vivo
'

J =
i
180
4-4

4ft

\j m s-
^
 •

Riten molto a tempo (Allegro vivace J = 184)

poco rubato
leg'giero'

t l'»p-
m & mm b**t
1 or*1 mj
1
• V

^j * 7 A >-^i> J >-^i >-^J i* kft *

m £ £
S £ si
£
f
tempo giusto

1 k* • .
i V

I itH —
e

& * l& #
£
*
I
4 I
E * 1$ I
I
i m t

poca . m. . ace.
al tempo

*# m
/
$m £7" iB^g
^
cresc. &.
\* 4>

^m -A i.
a #"
s^ E*
3
5 £EEE=5

58 Rhapsody
 r •

I& m 3£
^ ^P
fc
<> ^W -w ^
m =£ E e!= =S * m§ *h » i h
if
M# 4ft 64#g m *3
^Sl n SB m £S Mm
^E m lb: „
— E |=pij E
:

a dim mf

W
SfiHT espr.

r>

pm i
m $
^
8
£
ess
8\
ttrffffff i
f$rtr -z=e>
£ *p* m
i J. J —
^ El w=* w
-d

W «
Presto d -.92

jo agitato
^ cresc.

I €E^ 3=!
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J3 J Hi
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ra # i r< 7 «%

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«&.)

8
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if
7
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n

#* espr ess.
ft* fti

Pi m
r'TirmT
l \ \m* '
' '
a i
rfffr ffriTT'irrrffi
cresc. . . _ - . _

is & ji
# V
t "P »
3T

«7 '
*

Rhapsody 59
 — =

-/ir—
JEl Ife iSEg i ;

Vfs F ^
i
*/ cresc. r i»

\j ra y
1* •?
.
ji i i . j i EctP
pfEEE =?
. <7> r ,
r ^ffe f^i .

kf= *|
l4=
f,

» a4=&
60
Ff fPrfff T"

Rhapsody
i

p#5
FF
af

m^ if
M
rff Effff
cresc.

%*.
*
=

SPpI
martellato
^
—
 —

-^
fmff It
^ i
ft
—
* •*
>i»fiji ifeni irf

allargando bs-tt/1
a tempo d = 92

^^tt#f
M •=fe
* ti * * E=t !^l
* t**
ff
S £ ^: J
I
ft
*

W IF
-1
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rf

j= »
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g|i£* ?=t * ki

£=w £=i
»— y
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p
t-

§ * r * ** i^i h fei — &=

1I e
%
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I £ % I

«
^
y^ti

za
g^
fe .
tpi

S
i. g>ti
E

fTS
te
i
bi

S
117
Z
I
£ I
«ki h

r-M si
hi
5
H
«*
P 96

poco allargando - a -

wte l
* te
% * s- r A
?^# fit h a S i|| ^I nil
_,

V
v

Rhapsody 61
 #

Meno vivo rallcntando

D-j^m ""11 ••

8
Wi ^^
m 'W^'ftv
gfHffrfrEt
>— __«:
4.

^ 3
jw s ubit

3 -d» ^ u it-

m *
8
Presto

7
%nero'f
Plegkh
^ y
<P*i
1
w 7y
T
t
a
n 7n
FTC i

Pi 1 i
p
* ap *
«*
*

sempre staccato

^=3 ^ % J.

w?J3
B ti ^fe
ft
^S ft
*
«s
I
*

m* PI £it 1 ii si ? mm
1 te I #

f
Qg
^$
cresc
*
» tU •
—J *p jg"¥i hf y iP
a
I f ff
P^ WC" tn-
ft*
I
i
is
1 i=i

ftfff>,g_ff
1 e
g . **!£ .^ m^
Hii £IHI
uji

^ ,!>*
^
^f
inn
v—
#i^ £=t p^ t*=» 1
1.3

^jO
l

w
>>
m<i l>>if *f*S f> u^lii fti^I
:__*
cresc. molto

tit Htiji
s * SE
*ffif"
ill: Hi
62 Rhapsody
 molto allargando

E
ffigy "^ !

f '
*r

{
si
f
? ? 3

m fifttfifaC: r«
^m
ft p
i
7
m :E
m

Rhapsody 63
 flft Sfrf ..

¥ C\
TTr

*.-*
U
8

r^
33B
i
jyp (quasi tremolo, ad libitum^
mm dim.
mum
jrpp

64 Rhapsody

L
 eeelSSffecfe

p
h*=i

^P
dolce

h
mm %
iMA
^?
^ ^W^m ^JitM_
* H
b
"t

"
F=2
*' ' i> > ::
»——;»

Piii lento
molto quieto
ritard.
u
Tj g3H,J

ritardando molto 8'

_ _ .

*&
^
wrdcndosi — j>

j/p ben pronunciato il tema

m =s

Rhapsody 65
 THREE FOLK SONGS
from the Csik District*

Bela Bartok

1 B .b» t . i,
^ ^ ^ jg ^gfl ^^ ^
^g j

;
J ,13

poco tit a tempo poco ritard.

1. 2.

as
i F P j tjtj ^ffl n 1 1 J-
fdiinJEL
it jw ^ i
7" **- ^
* i
rit. »^
Pa
yj
/£//*/>0

tfP
A TJ-i

i
r

»;
*
^ /*

\ 60-year-old man played them on his shepherd's flute in Gyergy6teker5patak [a village in this Transylvanian district].

66
Copyright 198] l>\ Di Benjamin Suchoff as Successor-Trustee of the Estate of Bcla Bartdk
 L'istesso tempo
2. KT^W.
5
I mp

S Si &'!•
m
w-
fl /^W/K?
scherzando, non rubato
te -# te

i f/ffff?rrn^ li
»
Mn
r
-64;
IT
J
ffi Sit yJ
nii:

fit
—II-"*' E

^H DeT

ii
i

acuto
ritard

Bg
^
te
i
te

3F
5

O. Poco vivo Jri

ii

sempref

m fmm i F f ffer ,
f

wiiWF s 7T
m
1
i
&- u Udp
Three Folk Songs 67
 .

>>
Instructions for "Fourteen Bagatelles

Accidentals affect only those notes which are on the same

line or in the same space, and only within one measure. Thus,
for example:

pikUJpTTF
El,

or

No natural sign is placed before the notes marked with +

An exception is made only when notes are tied over into the
next measure:

Pedaling is indicated by the following sign:

I I

Here and there a rest is placed above the barline. There we

want a pause between the respective measures, whose dura-
tion is indicated by the value of the rest.
Sostenuto indicates a sudden slowing down of the tempo;
ritard. or riten., a gradual slowing down.

68
 FOURTEEN BAGATELLES
i.
Moltb sostenuto 7«6 Bela Bartok, op. 6
/4

^m
wjfespress.
^s
^^ -»- J j * J-

m pespr.
^ &:
(J?p)
?=9- ^ ^
'0m m ^
son ore
£ ^^Fi
^
3 5

^f^
2 A
-O-

^irfgDB ^ g^
WS*?
V7j^ji-^
fe*S
^^i i ^k
-
5
moltocresc.

^fefe^
t-ttrri

ritard.

Copyright '
1981 by Dr. Benjamin Suchoffas Successor-Trustee of the Estate of Bt'la Bartok.
 2.

Allegro giocoso °/»»

/2

it!

'LJ * J* ^^

smorzando
wo/^ r#.

v+— i*
E=S S ii
4*5 w ^ **5 J- i>

££££££ tffrrrrrr
pocof
—
i iiMFP i • • • • • •

fr

^ i
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l}
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70 Fourteen Bagatelles
 —
I^m^ffj-'tf f ft
l

gf f r . . fe^ S
cresc. - — - - .,_
dim.

pf Ff^ff J^El i^==i§ IB

^ »* ^ "f f llr , .

^=v rsr^
2 I

fi^
%
i^Si
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^
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£
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(,!>>>. bfc^rf fel^>

PS
,

t > 'HI.
£ sh
semprep

I ^ £J > M 1
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b^ i*3
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£ b»*
H^* b# r\
"^n^ , 7y
i

i
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r tt 15
[1 niin. 48 sec.)

Fourteen Bagatelles 71
 3.

Andante ^/i 26

I 5 4 3 2 1

psempre leggiero e legato

P^EE
mfespress.

~fc~ JfcjJ J|,Ji J jujui^u j\m} Jtj J b ^J

Ji-
Jjj
J b J flJlJ Jlj « Mpi -J-jl]»!>J|;JlJ l
=
J^bJ jJJ JljJiJ^
,

Pi f^i i ^

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1

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W & 3

,2 Fourteen Bagatelles
 JtlMliJJ^i iJjtlM Js l l
£3 dJJJUJ
J J J\M\M IjJbJliJ l
Jj^JliJljJljjJlpJlJ

1
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t
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9^ J^l^JlJJiH^i JlJJtH^JlJ
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te e 3 ^
s

; J, fcj i
J j J b J[« Jw^^WW^jg t) «Uj ;
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3 J J JH J bJ JiJ pH JS
Jl j
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J jJ!iJjy
< »#i i jt] q
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^

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p ^ p

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ritard.

n\

^f m
[45 sec]

Fourteen Bagatelles 73
 —

4.

Grave 4&.

m
T T? r
i
J2l

r
ma w ff ¥
r>

pcresc.twlto
p pococresc.

m^i k
m
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t** J S3
c\

^
r
Pi
rrT
_ £1
a 3P^
if
^

o
JO poco cresc. pcresc.molto ff

mmi C\ b« t
fef
f

[1 min. 10 sec]

"An old Hungarian folk song from the Transdanubian region.

74 Fourteen Bagatelles
 5.
ViVO "Is*.

/4

r=r=r *=* f=r==i=5» £*•

$t
i? leggiero
£ f E
m -ppo c oma re.

**eMM
3 #=4=£ 4M U £

^. 4

s Ml ^S . ^ h
feg

poco marcato

T=F=
bTfir
ss

*A Slovak folk song from Gemer Count).

Fourteen Bagatelles 75
 $==Mm^ fa#
• •

r r 9 m
i

§= £££! *££££ ^£i£

3
3 5
2 5
2
1 4 5
i A
^

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9 m
I i JESEES

1
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A.

^
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s ^ BE £
tf,
£ £ a
76 Fourteen Bagatelles
 —

poco rit. a tempo

W E
x=x=x t=t=t=t
* £l

mf 4 J
£ £ £ £
4f ?/

*=*=* r=*=i=r r^r^r^r *=*=:*=* *=*=»=» \±

if
cresc.

3
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3= 9-

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poco n7. a tempo

P b 8-

'ffff ^ff^f f fff

i i

mf

^ W £
•

[ 1 min. 10 sec]

Fourteen Bagatelles 11
 . "

6.

2
fN^ i

jjjjj_>
B
i

a tempo 2

te 5 s
jDO^o cresc.

ZE

j?0£0 espress.
m ^g i
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m
k
m H » H
j-T p
b
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f llj

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dim.

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smorzando

PP
semprc dim.
iM J 4 lt *L tt
J
te

^:-
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[1 min. 35 sec]

78 Fourteen Bagatelles
 .

7.

Allegretto molto capriccioso

ritard -
% *)ji
.

12 3 4

rit. j
%'45 J.
Xso «<?<?. .
4
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jdoco ace.

P^lSii *•!
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5-3

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140

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s i m s ^^

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^rcp ^^i?
ppr
pocoeresc.
^
mn
7*?Y.

I =SFBH
^r ^ f^fflfg g^
I

*If there is no n'f. or ace. before the metronome mark, the change of tempo has to be sudden.

**Achievement:

Fourteen Bagatelles 79
 . p

rit.molto
4,20
"* J.
ISO

ffe-^3 psp^fS^SlSEpJt] ^ *&£tt

.p

Pf=?1
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f-r p '
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80 Fourteen Bagatelles
 poco a poco ---._...
accel. mo lto

pi
w\jUi
poco a poco cresc
s^ 5
m «^i
i=m
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tat n >i i i

W *?
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l4 Mfcjfi
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Fourteen Bagatelles 81
 J
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A

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p§ I
^*
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sempre ff co» fuoco

* m m I J I J
— #-

J.
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88

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molto dim.

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132

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ritard.
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§i ^ Vi
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€J4 4d l

[1 min. 57 sec]

82 Fourteen Bagatelles
 8.

Andante sostenuto ^/54-eo

Sostenuto
espr. */42-46

Fourteen Bagatelles 83
 p ^a
dim.

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Ritenuto
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[1 min. 15 sec]

84 I nurteen Bagatelles
 9.

Allegretto grazioso <^/62

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tir iir
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Fourteen Bagatelles 85
 i. i*
*•• fte ffe
IT :* HI
cresc.

It iiflffl U" ^e
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^=^'
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ffr.Wr.g 38
4
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dolce grazioso

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leggiero poco accel.

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f fl

Molto sostenuto (J=J_*P) Tempo I

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^ SIV.

86 Fourteen Bagatelles
 — —

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[1 min. 37 sec]

Fourteen Bagatelles 87
 — » — i —

10.

Allegro ^92.

m
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E i fcM

88 Fourteen Bagatelles
 poco rit.

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molto dim.

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Fourteen Bagatelles 89
 a,
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90 Fourteen Bagatelles
$
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sempre Pedal

Fourteen Bagatelles 91
 Vfe
^
m m^ Mf b?

srmprc fj e molto marcato

-f

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E £ £

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[2 min. 23 sec.]
^Achievement: 3~a

92 Fourteen Bagatelles
 11.

Allegretto molto rubato ^ 6

accel. molto. ^?oco rit.
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v
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Fourteen Bagatelles 93
 —
69 a tempo
cspr ess. sempre acccl

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94 Fourteen Bagatelles
 12.

Rubato
soste?i.accel.

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calando

BE ip » p g*

*A gradual acceleration, in which there is no definite number of notes (and similarly in subsequent measures with the same
figuration).

Fourteen Bagatelles 95
 Poco piii andante

Lento ^8 &T

3£ senza Fed.

l 3

96 Fourteen Bagatelles
 ^8 *70-76
molt o csyress. 5 *

13
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[3 min. (i sec]

Fourteen Bagatelles 97
 . J , :

13.

(She is dead . .
.)

Lento funebre ^0-72

2 3 13
4

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[1 min. 46 sec]

98 Fourteen Bagatelles
 ^ ) g

14.

WALTZ
(My dancing sweetheart . .
.

Presto ^20.
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Fourteen Bagatelles 99
 *

^ £ ^
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^ « 3 I 2 1

Tempo I
A

100 Fourteen Bagatelles

iss i=Mt
t % i E *? ?~tl3
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Fourteen Bagatelles 101

 »*
1 »iMI »% jg Cf ^— f-i?*£f t ft t «tNE¥i
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102 Fourteen Bagatelles

 »

at ^44
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Fourteen Bagatelles 103

* M PI
p
p 2>p
w W^ m^ltfr* IP =m
8-
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W I
i
te
^
s
K *
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^
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Ik jfet tet
1
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i
fff marcatissimo

min. 55 sec

104 Fourteen Bagatelles

 .

yy
Instructions for "Ten Easy Piano Pieces

Accidentals affect only those notes which are on the same

same space, and only within one measure. Thus,
line or in the
for example, in

$ - '-JJ 7J M
$t= &=£
f$

the right hand plays / despite the/# in the left hand, and in

fa i
^^ -#
BE*
•*+ e

no natural sign is placed before the notes marked with +

An exception is made only when notes are tied over into the
next measure:

4 ^Tr "r

Pedaling is indicated by the following sign:

up down

Here and there a rest is placed above the barline. There we

want a pause between the respective measures, whose dura-
tion is indicated by the value of the rest.
Sostenuto indicates a sudden slowing down of the tempo;
ritard. or riten., a gradual slowing down.

105
 — T 4

TEN EASY PIANO PIECES

Dedication
Bela Bartok
[a tempo]

^ ^ 2
L3 ^ _
i

W
5

i W 2E
v
J^F i pp
ppsemplice •'Wrfcraa0(fl»wb »«?s;S0) dim, rit.

«B=^
2
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[a tempci]

£
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j3oco appassionato

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W |J||J~U
3

fcSE*
^ ££.

PI I
calando

[2 min. 15 sec]

Copyright c 1981 by Dr. Benjamin Suchoff as Successor-Trustee of the Estate of Bela Bartok.

106
 1.

PEASANT SONG

Allegro moderato ^60-66

f^*
f
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2=§ te * Z2

2
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£ r «
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it
^^* 32 ^^^ 1*

yr-? If I g£H==* )EE* i n:

[1 min.]

Ten Easy Piano Pieces 107

 2.

PAINFUL STRUGGLE
Lento J/69
molto espr.

^ £ 6»-

f . m s^
i*
Li
pp
tt r ( r I
d^ULU ge£

s^ £
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s SE# 7g ft
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^
,

IE
CjJ- J> s

W
calando
cresc. />*
m
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IS
= Pedal sign
(Lmcli/ cm
5
^3
1 *
1
espressivo ..
[1 mm.
zn
=V
TT
..
4t>
.
sec]

108 Ten Easy Piano Pieces

 — —

3.

SLOVAK YOUNG MEN'S DANCE

Allegro J/144

i
^
"74

^3 3 2 3

f^f
3 2 1

m ^n 1
a ^3 .
3

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3
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3 ^ 3

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dim.

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90-

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#-#

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2

sempre cresc
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if-
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2_a.

5
13
a
p
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3
Tempo 2

—— ritard.

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.

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wm- 3f pp cresc.
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t=$ $=$ *=* m
£
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VVP
xm =»=£
3«>-* rw W
[50 sec.

Ten Easy Piano Pieces 109

 4.

SOSTENUTO
5 poco es-p-r.

dolce 6
[1 min. 40 sec]
5.
EVENING IN TRANSYLVANIA
Lento, rubato J/so
3forit.

PP2
4 5

110 lm EtUff Piano Pieces

 Tempo I

Vivo,non rnbato

m Em ^
&
^
74 \
m m m
9 HB —
rz:
c/ttf ctfg i

^* pscherzando
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f f Himn* mi* 2
4
5

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4 2
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[2 min. 40 sec]

Ten Easy Piano Pieces 111

 6.

HUNGARIAN FOLK SONG

Allegretto
Oj

J74 j.3
6 8
21
Am
i
4
2

^S
F
48 4
1113
5 8
1 ^>3

iim
MZZ
5 8
8 1
12.

^S ^
4
2

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m-1
43 4
11131
58 5
3
2 5 3
13 1

2
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2
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1
4
2
5 % ? ? 3 4 5 5
3
a
1 11284 1
6/ JL\
8 Vyy
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7 1113 1

[50 sec]

Molto andante J/qb-ioo . molto rit. a tempo 3

ri

112 Ten Easy Piano Pieces

 =
—

8. [1 min. 30 sec]

FOLK SONG
Poco andante J/69

m
2foespr.

ifsg 5
9 3-

*0 ms m
pp mp
4 4 4

1 2* 5 2*

m
poco
&
ty— ^
^
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4 4
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4 4

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P^
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poco Su, J==

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1
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dolce

[1 min. 4 sec]

Ten Easy Piano Pieces 113

 9.

FINGER STUDY

Moderato J/72

Psempre legato

m f
nu poco
fr
espr.

114 Ten Easy Piano Pieces

 ^ £
m/
t
£ i ^ ^

^ * i ^ ^
^ /
i
^
$?

molto cresc

ritenuto

W^ f^ ¥ t
tt^TJ^rHri i
m~ *» *

»<w legato
espr.
[1 min. 30 sec]

Ten Easy Piano Pieces 115

 —

10.

BEAR DANCE

Allegro vivace J/104- 120 4

molto marcato 2
2+3
^
# mf
5

m ££££ ^^g £ £=£

f4 3 3 1

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116 Ten Easy Piano Pieces

 —

$ JJJJJ ^ ^^ pesante
2 1

mm
cresc.
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m i=»
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simile

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Ten Easy Piano Pieces 117

 mm ^m mm tmw se nurcccr

cm l"i»
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7
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43

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[1 min. 45 sec]

1 18 Ten Easy Piano Pieces

 TWO ELEGIES
i.

Bela Bartok, op. 8b

Grave d) = 63

/ 4 poco a poco meno adagio _ poco

Copyright e 1981 by Dr. Benjamin Suchoffas Successor-Trustee of the Estate of Bela Bartok.

119
 poco a poco u adagio
appassionato

\ *A 3~^. \>~[~~3

120 Two Elegies

%/ molto marcato il tema

Two Elegies 121

122 Two Elegies
Two Elegies 123
 3
4 Poco Andant e J *:< r.«

^
i
P 3:

^
p ^
¥^r? "j>rl||»l>P . |
1
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12
fi£C

124 Two Elegies

 poco piii tranquillo J = 54 -
58
sempre legato

OWi'tt 5 1Q 10

J JUJ W J ^J J j J
10

^ J J J
JTj ,,J
S
J I

[=1

^ pr^^'P es¥ r -
i

jpoco a jdoco ^tw espressivo 3/

8-

Two Elegies 125

 = :z/?> r\

p dim. s em pre ca I a ?i do

mf ^991

,j J' J f
a tempo J>= 92-100

126 Two Elegies

 2.

Molto adagio, sempre rubato (quasi improvisando) «b =

\ espr.

sempre Ped

Poco meno adagio

ti^m £
mp
e
molto

i
3^ espr,
poco a poco pin leg'g'iero

*The signs o- -o indicate that the accompaniment figures appearing between them need not be fixed in number but may be
varied according to the rubato, especially in the middle part (upper staff 4/4, lower one 3/4), where the accompaniment should be
an even roll.

Two Elegies 127

 poco a poco p\u_ adagio

128 Two Elegies

 Tempo I J) . «9
%* \

^»-

>XT

l£
3 H>i*
P=*3;
r^:~z" pt^:
pq*
r:^

=e O— $

* =

7u;o Elegies 129

 Tempo J f*n _

ritard

3/ a tempo __
Andante J ; 66

PP leggiero

4/» simile

ppp *i#
Sfasemprc ]jp dolce

m T 63-60
^

II JX

130 Tu>o Eleglet

 poco

a poco piu tranquillo J - 54 -52

Two Elegies 131

 Tem po I A- 88

poco_piu sosten.

- .9
3a meno adagio A 96 (molto appassionato)

132 7u>o Elegies

sempre Pedal

Two Elegies 133

 tranquUlo
^4 p >nolto §apr.

s
ftz
$ PfW
K^

134 Tux; Elegies

 poco a poco accel.
cspr.

Poco andante J = 63-60

Two Elegies 135

 repetition* ad libitum Kitcnuto molto

V V
poco a poco acccl. v crcsc. Jf JJ
ff/jj \snntf

WS§

136 Two Elegie»

 *fc. J =

(the pedal held down)

f
Reverse arpeggio.

Two Elegies 137

 SEVEN SKETCHES
1.

(Portrait of a girl)

Andante (con moto) J

Bela Bartok, op. 9b
= 104

m
IF £
^ jt? U-—-h£
r=^ f^ $
,
?
m ?-«>
2-5

4M ^
JP semplice

£
^ £ fc i=dt
^
jPQgo re'/.

leggiero

^ ^
5 s

isi£ nJ ^"!
^ ^m
^^i^Xi^f
1
i j
I ? £=* T^ f
gEE ^ r
3ee£ t
H *E @ is
£ £
P?
^j&r

138
Copyright c 1981 by Dr. Benjamin Suchoffas Successor-Trustee of the Estate of Bela Bartdk.
 Sostenuto
molto espr.

sempre molto espressivo

semprecresc. c poco a poco allargando

Poco meno mosso

<£
<** ffa»^o> P° co esKl

ps
lei
I
££#
tel
1y SiJBL

^ J. „_hi)

5
^^ — f ^
^f
» i

a tempo

[1 min. 40 sec]

Seven Sketches 139

 )

2.
(Seesaw . .
.

4
Commodo J^ r 125
^ 4 3 3 <
HE
35H #?^m *

1 sopra
s
^ U Is

1 2 J
E
& ^ S^^ 5-1
7rtJ

ff^i
poco ra^.

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tomando al tempo

mm ? ? # 1#

w
molto dim.

^
*
^ in? iy
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U J
£ 5
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P-7
^0£0 «/. 3 £ &
a tempo

$ ^
i,<
< r^ ^'j_j ^tj p iiiiiJJli I
rit.

s
rr\

140 Seuen Sketches

A
 3.

.Lento J z 54 52

poco stringendo
-4 _= 1£

poco ritard. - — — — 5^ a tempo

[1 min. 50 sec]

Seven Sketches 141

 4.

Non troppo lento J = 54 - bo

P^ p do Ice
W
1 5
p^ W
z^:
v

3 rr? ir I
r
S_ 5

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77? j

f ^ it*
f
p
a
?
f f

j&oro a poco piii sosten.

142 Seven Sketches

 a tempo poco rit.

sosten uto m olto e ritardando

J *J& $ 1434

Tempo I
9/ sotto

gp^pf

sopra

f ffSD «ttJ) i
^J '
I
^!!J '
"'gh^gH

Seven Sketches 143

 (sopra)

tip ,
1 ^ ' ^H] M
sotto
^^ I f^Bffr

y
Mr >r
fy r y ii
Mp->

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v
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f

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144 Seven Sketches

 sostenuto
poco rubato

ppco rit.

a tempo V
isa v

l 77 J & IPi M rP^ J ink

!1 hE * 5
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te* </z'ztt

u?
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mezza zoce
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F *
- i [3 min. 40 sec]

Seven Sketches 145

 « •

5.

(Rumanian folk melody)

Andante rubato J= 104-96

ft

poco rall.jz — A — Ivnga a tempo

iB«— =*• 3fc 4 £ % *

fi *M=Z 1 I? y *J
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f

a tempo

dolct
poco a poco rail.

[1 mm. 10 sec.

146 Seven Sketches

 6.
(In Walachian style)

m
Allegretto J = 138

tzTrr-r
S^ P^ ^ i m> fi +
^¥
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s:
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[33 sec]

Seven Sketches 147

 7.

8
. Poco lento J)= 138

piup
m&
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2 4

148 Seuen Sketches

mp espr.

mk&. 5
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Mp espr.

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33 Oi

[1 min. 45 sec]

Seven Sketches 149

 * - *

TWO RUMANIAN DANCES

i.

Bela Bartok, op. 8a

Allegro vivace J=i60
h 3 1 1 3 1 3

m 'iJiJ'JIHJHt, --W5 /J Q {Jgf

«
"

2>pp
PPP-
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2

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i>i>

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8
2 3 .

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i 3
3 3

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m
rwnw •'uTJi t JJ j. xrj^,
pp
s
^
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g $
8- _l 2 2
5

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3 5

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1

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2=* £ £
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8-
eVs £
p«
^r* — P
8- 8

150
Copyright c 1981 by Dr. Benjamin Suehoffas Successor-Trustee of the Estate of Bela Bartok.
 # — —

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J.
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I
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tfir
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^ £ :£r^*r^*: -±: w

Two Rumanian Dances 151

 g> * fcjX
cresc.
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I

77?/
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f m$m y.i^iji ^ l^y^lj; y

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A leggiero

i
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152 7u>o Htnnanum Dances

 —

> 3. . 1

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fa=^=^=^^
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jsoco pesantv

%
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s«
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= WJ3

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a tempo 5

w^p
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HWJ
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f^J J ItjSl
#M

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rit.
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f
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Two Rumanian Dances 153

 Lento (J. 52-54

4 4

g>ni J-. 3

m fflH HUB
i m m 5 ¥=*
¥

4
%.

ews 5
«
mm
^
g * # * m

WW'

154 Ttoo Rumanian Dances

 3,
% 4 jgoco r?Y. ,

i FfPff $ *3 *t* $>

m
jf?/? /#/?£•«

£i
1 3*
jzs
Pr^ J 7Z •
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leggiero
H «? if
r=fs

Ttuo fiunwnwn Dances 155

 g v

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~ 9
• • flJ V p (ir-^—

poco cresc.
^wm
P
7n\irj es ^^ f i & ^* 7
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it-
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agitato
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vip f tr tf- "P £J tuJ
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agitato

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156 Tiuo Rurrumtan Dances

i
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W>^
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Largamente J _ 144

Tempo I violto agitato .

fe£ tt!#

pTuT

s n f__ jj

Two Rumanian Dances 157

 pochissitno fit,

e * e k&l A

Molto agitato J=i«o

, , A A

i£ S ^
H
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y/

S »&
qj«"If ^^ £
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mf—=z.

^^^^^^ miam
dim
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£
J£l±J
33
ip] jti =^ gp^ *^ 5

158 Two Rumanian Dances

 tranquillo (J =132) ^ ,

J * $
P—
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7/2,

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energico

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f \ \ \
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gpgp ^
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b^v 3 ^

[4 min. 30 sec]

Tu;o Rumanian Dances 159

 * — ' —

2.

Poeo Allegro
l*-L=m——i,
j* 1 ^'
J =i«o

u T= V.
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7/4.
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3 5 5 2
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5 2
sopra

I hi fr hi i> y * hi fr fr hi ,fr fr hi J- jm U h
iJ| t _
"<= i ; t: • —<=
:

£ £
k
^ j>* .i
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1 1
1 2 3 3 1 3 1 2 2 1 4

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4
i#-,

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Piu mosso J 17«

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4
4
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f* 1TO
160 Two Rumanian Dances
 — £ r —

:i
«i£
j^. im—ifc— fa
J£! J> fr ji fa fa — fa_ ^ dffl
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 HRAHY

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 PIANO MUSIC OF
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