Bartók used different melodies taken from Romanian 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. In this Urtext edition that is being released prior to its publication as part of the Complete Edition, Bartók specialist László Somfai outlines the work’s exciting genesis and expounds on Bartók’s later revision, during which he not only changed the tempi but also the fingerings. The information on this work is rounded off by indications on how to play the the very complex piano notation by Bartók himself and from his recordings. An invitation to pianists to rediscover this Sonatina.
Content/Details
- Level of difficulty (Explanation)
- Other titles with this level of difficulty
Audio/video
Preface
Béla Bartók (1881 – 1945) drafted the Romanian Christmas Carols (Colinde) BB 67, the Romanian Folk Dances BB 68, and the Sonatina BB 69 practi Manuscript pages Bartók’s numbering Musical contents Folk music pieces 1 – 5 I. Romanian Christmas Carols I 10 5 – 9 V. Romanian Folk Dances 8 9 – 10 III. Sonatina: movement II 1 … more
Critical Commentary
About the composer
Béla Bartók
This composer, who numbers among the most important musical figures in the first half of the twentieth century, is known principally for his research into Hungarian folk music, the elements of which he incorporated into his style. His broad oeuvre includes numerous works for orchestra, piano, and chamber ensembles, as well as choral music; songs with piano accompaniment; and an opera.
| 1881 | Born in Nagyszentmiklós on March 25. First piano instruction from his mother. |
| 1893–ca. 1896 | Piano studies with László Erkel in Pressburg (Bratislava). |
| 1899–1903 | Studies piano and composition at the Budapest Academy of Music. Symphonic poem “Kossuth” in 1903. |
| from 1905 | Together with Zóltan Kodály he begins scientific field research into Hungarian folk music and thereby refutes conventional notions. He becomes acquainted with the music of Debussy. |
| 1905–07 | Suite No. 2, Op. 4, for small orchestra. |
| 1907–34 | Professor of piano in Budapest. |
| 1908–09 | “For Children,” 85 transcriptions of folk songs for piano, later only 79. |
| 1915–17 | String Quartet No. 2, Op. 17, with percussive playing techniques. |
| 1917 | Premiere of his ballet “The Wooden Prince.” |
| 1918 | Premiere of “Bluebeard’s Castle,” Op. 11 (composed 1911), partially based on the sounds of French music. |
| 1920 | Improvisations on Hungarian Peasant Songs, Op. 20. |
| 1926 | Performance of the pantomime “The Miraculous Mandarin.” Piano cycle “Out of Doors.” |
| 1926–39 | “Mikrokosmos” for piano (six volumes). |
| from 1934 | Editor of the complete edition of Hungarian folk music. |
| 1936 | Music for Strings, Percussion and Celesta as avant-garde work. |
| 1937–38 | Concerto (No. 2) for violin and orchestra. |
| 1940 | Emigrates to the United States. |
| 1945 | Piano Concerto No. 3; his concerto for viola remains unfinished. Death in New York on September 26. |
Redacteur Laszlo Somfai licht deze Urtext grondig toe. Als bron werd ook de pianorol gebruikt die Bartok in 1927 inspeelde. De layout is meer dan uitstekend: compact en toch overzichtelijk.