Béla Bartók: Romanian Folk Dances For Cello: Cello: Instrumental Work

This is a new edition of Béla Bartók?s popular Romanian Folk Dances in its original scoring for Solo Piano. With fascinating background notes and unique imagery this publication is essential for pianistsinterested in the work of the Hungarian composer.When Bartók?was just 23 years old he visited the Transylvanian town of?Gerlicepuszta. Overhearing a lullaby sung by a teenage servant girl named LidiDósa he quizzed her about it and noted it down. This was the beginning of a passion for folk music that would go on to change the course of the composer's life and work. Romanian FolkDances?remains one of Bartók's most popular and enduring works evoking the folk melodies combined with his own idiosyncratic harmonies and textures. Each of the six short pieces here is based on atraditional melody which Bartók?penned during his travels.? Including newly engraved masterpieces?Stick Dance Waistband Dance In One Spot Dance From Butschum Romanian Polkaand Fast Dance this sheet music collection features editorial revisions guided by recordings of Bartók's own performance. The notation also includes fingering guidancethroughout. Romanian Folk Dances also?features a specially-written introduction as well as some fantastic photographs that both tell the story of the young composer and the intriguingbackstory of this work.? One of the most important 20th century composers and along with Liszt one of Hungary's finest musical minds Bartók?held a strong fascination for folkmusic. Through his studies recordings and arrangements he composed some incredible music like these?Romanian Folk Dances ?while simultaneously initiating the field of

The 'Romanian Folk Dances' undoubtedly rank amongst Bartók's most popular compositions. The earliest version is scored for piano (1915) and was published by Universal Edition in 1918. The composer himself orchestrated this version in 1917. Several other chamber music arrangements (for example Zoltán Székely's version for violin and piano) were not by Bartók although he authorised them. The musical material derives from Bartók's collections of folk music which date right back to 1904 when he wrote down a melody sung by a Hungarian peasant girl. In the course of extensive travels throughout Eastern Europe Bartókcompiled an enormous collection of folk tunes (by 1918 his collection comprised no fewer than 2700 Hungarian 3500 Romanian and 3000 Slovak dances and songs) which would in all probability have been lost had Bartók not written them down. As it was some of them found their way into his compositions. In 1908 Bartók jotted down dance tunes in Transsylvania. They are the source of the 'Romanian Folk Dances'.

Béla Bartók Complete Critical Edition Volume 38. Par BARTOK BELA. The third volume in the Complete Edition contains Bartók's works for piano solo composed between 1914 and 1920. Bartók's pianistic oeuvre from the years of World War I span a broadly varied spectrum; in addition to simple arrangements of folk music (15 Hungarian Peasant Songs, Sonatina) and original pieces for the concert podium (Suite, op. 14), we find Bartók's audaciously innovative Etudes (op. 18) inspired by Liszt, as well as Improvisations (op. 20), perhaps his most abstract and original folk music adaptations. The appendix of the volume reproduces movements originally intended for, but eventually discarded from, Suite and 15 Hungarian Peasant Songs, as well as all original sources for the folk-inspired pieces. The introductory essays in English, Hungarian, and German not only explore the genesis and reception of the works more thoroughly than ever before, but also orient the reader in issues of notation and performance. The critical commentary presents all manuscript and print sources of the works in detail (including folk music sources), it documents the compositional processes and surveys the range of textual variants and problems. / Somfai, László / Répertoire / Piano

Composées en 1915 les Danses populaires roumaines comptent parmi les ?uvres les plus connues de Bartók ? et ce sous de multiples formes car outre les diverses éditions de la version pour piano et une orchestration plus tardive de Bartók lui-même il existe également des arrangements réalisés par des contemporains avec l?accord du compositeur. On peut aujourd?hui même avoir recours à des enregistrements des danses par Bartók lui-même; ces derniers avec des reprises variées et enrichies de doublures à l?octave illustrent en quelque sorte la «version de concert» des danses. Le spécialiste de Bartók László Somfai a mis de l?ordre dans cette abondante documentation et présente dansla Henle-Urtextausgabe les variantes essentielles pour le musicien directement dans le texte musical.

This is a transcription of Bela Bartok's Roumanian Folk Dances for Clarinet and Piano by Zoltan Szekely. Score and Part edition.

Bartók wrote the first dance around the time of the Romanian movements of the 'Seven Sketches' after his first trip collecting Romanian folk music in July-August 1909. The second dance is the fruit of March the following year and it was only after some time he decided they should be published as a pair. From the beginning audiences were impressed by the first dance in the composer's peculiar performance with its initial drumming and its driving rhythms. If less popular compositionally the second dance is more original. He parades and varies his material in a chain form and this too is reminiscent of the dances heard in the playing of Romanian Transylvanian villagemusicians which in his scholarly work Bartók called 'motive dances.' (HCD 32525 Bartók New Series Vol. 25 László Somfai)

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 fiery war-like type of song ratherthan a pious and religious one”. Nevertheless he chose 20 melodies from this collection of “colinde” and published them under the title of “Christmas Songs”.In the first edition of 1918 theywere conceived for children’s hands and so were published “without octaves”; but in his revised edition of 1936 which we present here Bartók added an appendix featuring alternative “concertversions” confirming that these miniatures are also perfectly suited for public performance.This Urtext edition is based on that of the Bartók Complete Edition and for the first time integrates these concertvariants directly into the musical text. We also offer the original melodies and translations of the texts of these colinde to provide an insight into the origins of this rather different kind of Christmas music.