335:
485:
385:
away illnesses and cures them not with medicines, but with magic spells and songs. And if “he wants to hide”-that is in modern parlance- if he wants to fall into trance, besides other things, he prepares himself by dancing, singing and by performing to the accompaniment of drums ceremonial exercises Traces of this can be found even to this day in
Hungarian folklore; of course in children’s playful rhymes: In the game which goes with this little rhyme, they beat each other with great noise and rapid gesticulation.
943:, BB 45b; Romanian Christmas carols, BB 67; Fourteen Bagatelles, BB 50; Sonatina, BB 69. Recorded Hamburg, Friedrich-Ebert-Halle, 1991, 1993, and 1996. CD recording. 1 disc, stereo. Philips 464 676-2 PM. : Philips Classics, 2001. Kocsis recorded all Bartók solo piano music, attempting to stay close to Bartók's score and Bartók's own performance. Tempos are strictly followed from the score, including the extraordinary 160 dotted quarters per minute in
2126:
50:
2136:
300:, Bartók did not usually play the set in its entirety. He premièred the first, fourth, and fifth pieces on the Hungarian radio on 8 December 1926, and played the fourth piece separately on numerous occasions. He referred to the set in a letter to his publisher as "five fairly difficult piano pieces", i.e., not as a suite. An
384:
If we remember that the
Hungarians, like many other people, were adherents of Shamanism in a certain period of their ancient history, these remnants can easily be understood. But the Shaman, the priest of the pagan Shamanism, is not only a fortune teller , he is also a doctor and magician, who drives
474:
This piece was immediately well received in
Hungary, unlike many of Bartók's other compositions. Stevens already focuses attention to the quality and importance of this work in his early biography. It is "the locus classicus of a uniquely Bartókian contribution to the language of musical modernism".
366:, which for Hungarians is up to this day an obvious quote from this folk song. The main motive of Bartók's piece is found in bars 9 and 10. This motive is taken from bars 5 and 6 of the folk song. The only change Bartók made was to accommodate the syncopation. The song text in literal translation:
398:
The piece is in ternary form with a coda. The opening, closing, and coda sections consist of imitations of drums and lower wind instruments—"pipes". A less percussive, legato treatment of the piano is called for in the middle section in the middle and higher register, imitating gentler wind
395:, and G. In Bartók's piece, this motive makes the tonal center (seem) E. Yet, just like the folk song, the piece comes home to the first degree: the tonal center D appears later in the piece at the end of the legato B section (measure 64) and the repeat of the A section.
304:
in the set has been proposed, with successive tonal centers of E-G-A-G-E, but different tonal centers have also been suggested, e.g., D-G-D-G-F. Nissman shows how individual pieces' motives and endings lead logically into the following piece within the set. Originally,
317:. Notably, the two final pieces, 4 and 5, form one continuous piece, numbered "3" in the sketches. Bartók applied this juxtaposition of "The Night's Music" in a slow tempo with a presto section in a single piece/movement also in the second (middle) movement of his
573:
The random scoring of nature's sounds in the A-material makes memorisation extremely difficult. But memorisation turns out to be not necessary as witnessed by the anecdote of Mária
Comensoli, a piano student of Bartók. She was astonished when she first played
569:
Notable overlap occurs in bars 61–66, where the chorale (B) and peasant flute (C) materials sound together. This is far from a traditional duet, because the characters, tempos and tonal centers of the two parts vary widely, as often in Bartók's night music.
582:
Are you playing exactly the same number of ornaments that imitate the noises of the night and at exactly the same place where I indicated them? This does not have to be taken so seriously, you can place them anywhere and play of them as many as you
312:
The compositional process sheds some light on the interrelation of the five pieces. Bartók's first sketches show pieces 1 and 2 as finally published. The third piece was added later, based on unused material for the third movement of the
1357:
Gillies, Malcolm (2006). "Bartók's "Fallow Years": A Reappraisal". Studia
Musicologica Academiae Scientiarum Hungaricae Volume 47, Numbers 3–4 / September 2006. Budapest: Akadémiai Kiadó. ISSN 0039-3266 (Print) 1588–2888 (Online) DOI
533:) are scored in a random fashion. This material is found in bars 1–17, 34–37, 48, and 67–71. There and small quotes in bars 25–26 and in 60, while the arpeggiated cluster chord is often inserted in the B and C material.
837:). Thirdly, the figure consists of two four-note figures, exactly a tritone apart. Lastly, the pitch inventory consists of two diminished seventh chords, on B and G, symmetrically divided over the figure.
1460:. New York: Oxford University Press. Revised edition. New York: Oxford University Press, 1964. Third edition, prepared by Malcolm Gillies. Oxford: Clarendon Press; New York: Oxford University Press.
241:. This particularly fruitful year followed a period of little compositional activity. The main trigger to start composing again was Bartók's attendance on 15 March 1926 of a performance of
902:
The Boosey & Hawkes printing is a facsimile of the original edition from
Universal Edition. There is a new edition from Boosey & Hawkes by Peter Bartók and Nelson Dellamaggiore.
889:
This piece is technically difficult: "From the standpoint of technique and endurance, especially for the left hand, this could easily be the most demanding in Bartók's entire output.
499:. After making a first noisy appearance in bar 6, he is featured throughout the piece, disregarding metre and tonality, ribbiting a last time in bar 70 before finally hopping off.
2167:
587:
The many precise dynamic and stress signs witness how Bartók aimed for very specific performance and sound effects. Three footnotes in the score deal with the exact execution of
846:, B, D, G for a few measures. This seems mostly a necessity for pianistic reasons, but the resulting figure is quite similar to the one bridging the fourth and fifth episodes
439:, who wrote keyboard pieces imitating this instrument. The piece consists mostly of imitating the sound effects of a poorly tuned pair of musettes. There is little melody.
2172:
2139:
1838:
631:
This piece consists of five melodic episodes. They are prefaced and separated (except for the fourth and fifth episode) by 'ritornello' type sections of repeated
462:), giving the performer a degree of freedom rare in classical music scores, and underlining the improvisatory and spontaneous nature of folk bagpipe music. The
1705:
1766:
1565:
334:
911:
Bartók had planned to record the fourth piece himself, writing it would last approximately four and a half minutes. No recording is now known to exist.
1725:
1585:
273:
It seems to me that the inherent nature becomes really expressive only by means of the present tendency to use the piano as a percussion instrument.
663:, in character to the chase scene and harmonically to the important two building blocks which are presented directly at the start of the pantomime:
858:
In the fifth episode, the figure is the same as in the first episode, except that it is stretched to ten notes over two octaves in two beats, F, G
246:
921:. LP recording, 9 discs in 3 volumes: 33⅓ rpm, stereo. Vox Box SVBX 5425–SVBX 5427. New York: Vox Records, 1961–63. Sándor was a pupil of Bartók.
1389:
Schneider, David E. (1995). "Bartók and
Stravinsky: Respect, Competition, Influence and the Hungarian Reaction to Modernism in the 1920s". In
507:
Imitation of the sounds at night in a
Hungarian summer, tonal centre G or ambiguous tonality. A highly dissonant arpeggiated cluster chord (E
1465:
1451:
1398:
1384:
1352:
1335:
1290:
1756:
478:
The form is described variously in the literature, e.g., a loose rondo, ABACABA or as ternary, with the middle as 'developmental' section.
2182:
1995:
525:,A) is repeated throughout the section on the beat. On top of this, six imitations of natural sounds (birds, cicadas, and the particular
2056:
389:
The quotation from the folk song that Bartók used contains only the trichord on the second degree of the tonal center in the song: E, F
1761:
1695:
1963:
1494:
1486:
1436:
1428:
1420:
1412:
1370:
1309:
1669:
1664:
819:
respectively). The chords are remarkably symmetrically distributed over the figure. Secondly, two ‘pantomime’ chords (F, B, E and G
225:. This increased the development of his own personal style, marked by a sublimation of folk music into art music. Bartók composed
1795:
1790:
1785:
1780:
1775:
1770:
1654:
1649:
1644:
318:
234:
2177:
1845:
1558:
2009:
783:
per two beats). This figure can be interpreted in different ways. Firstly, as two ‘pantomime’ chords, (F, B, E & B, F, A
261:) in Budapest with the composer as pianist. This piece and Bartók's compositions of 1926 are marked by the treatment of the
1340:
Danchenka, Gary. "Diatonic Pitch-Class Sets in Bartók's Night Music" Indiana Theory Review 8, no. 1 (Spring, 1987): 15–55.
1282:
277:
Another influence on the style of his piano compositions of 1926 was his study and editing of French and
Italian (pre)-
1942:
1905:
1831:
1506:
758:, E, calling in Bartók’s own fingering for a change of hand position in the execution of this figure (1, 5, 4, 2, 1).
285:
112:
1530:
288:, whom he had married in 1923 shortly after divorcing his first wife, and who had given him his second son in 1924.
2162:
2129:
2002:
1679:
1674:
1659:
1551:
1520:
1516:
526:
489:
1988:
1956:
1936:
1911:
979:, plus music by Schubert, Chopin, Rachmaninoff, Hummel, Mendelssohn and Prokofiev. CD recording, 1 disc: stereo.
2103:
1880:
1900:
1894:
314:
230:
134:
80:
1112:
by Dr. Damjana Bratuz during the Ninth international congress on
Musical Signification, 19–23 September 2006)
2092:
1873:
1859:
1743:
1700:
1620:
1377:
Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality
659:
399:
instruments. Bartók made a sketch of an orchestration for this piece in 1931, using for the opening section
251:
2097:
484:
2087:
667:
A three-note chord consisting of the ground note, and a tritone and a major seventh above, e.g. F, B, E.
266:
1750:
1602:
2072:
2034:
1931:
1918:
855:. This figure is the first half of a cadence which resolves in the recapitulation of the first theme.
436:
1970:
1718:
965:. LP recording, 1 disc: 33⅓ rpm, stereo. CBS Masterworks M 36704. New York: CBS Masterworks, 1981.
914:
2082:
1711:
257:
2077:
2051:
849:
Bridging the fourth and fifth episodes, for only one measure the figure changes to B, D, F, G, A
221:(1914–1918), Bartók was largely prevented from continuing his folk music field research outside
309:
was published in two volumes: one contained the first three pieces and the other the last two.
2110:
1627:
1574:
1490:
1482:
1461:
1447:
1432:
1424:
1416:
1408:
1394:
1380:
1366:
1348:
1347:. California Studies in 20th-Century Music 7. Berkeley : University of California Press.
1331:
1315:
1305:
1286:
138:
41:
1949:
1301:
924:
709:
measure). This figure consists of the ‘pantomime’ chord of F, B, E, to which the fourth of G
49:
1925:
1813:
968:
463:
428:
242:
202:
192:
180:
contains the following five pieces with approximate duration based on metronome markings:
1379:. California Studies in 20th-Century Music 5. Berkeley: University of California Press.
2016:
950:
169:) is among the very few instrumental compositions by Bartók with programmatic titles.
2156:
1866:
980:
632:
596:
408:
297:
1446:. Ernest Bloch Lectures in Music 9. Berkeley : University of California Press.
1852:
565:-G from a previous section. This material is found in bars 37–58, 61–67, and 70–71.
380:
Károly Viski quotes this song in reference to the shamanistic origin of the text:
555:. Bartók frequently composed contrasting sections with a tonal centre which is a
546:
218:
354:
This is the only piece in the set which can be traced to a specific folk song,
592:
466:
of the grand piano is necessary for a right rendering of the final four bars.
1319:
404:
301:
17:
1229:
Bónis 1995, 148, quoted in translation by Vera Lampert in Bayley 2001, 240.
675:
588:
416:
2135:
1393:, edited by Peter Laki, 172–202. Princeton: Princeton University Press
556:
432:
412:
400:
278:
222:
185:
731:
is moved an octave down, making the whole figure span a minor tenth (C
780:
679:
636:
595:
figurations. The fourth footnote instructs the pianist to play the
483:
333:
262:
1423:(pbk) American printing, Portland, Oregon: Amadeaus Press, 1994.
1489:
Paperback reissue, Bloomington: Indiana University Press, 2000.
1547:
578:
by heart (as required at Bartók's lessons) and Bartók remarked
1543:
1524:
1474:. Budapest: George Vajna & Co. ASIN: B002LY2XQM (No ISBN).
342:
which contains the fragment Bartók used as the main motive of
539:
Chorale in G. This material is found in bars 17–34 and 58–66.
1017:
Gillies 2006, 317–318 and see also Schneider 1995, 183–187.
761:
In the fourth episode, the figure is expanded to B, D, G, A
746:
In the third episode, the B is moved an octave down B, F, G
451:
similarly consist of sound imitations of folk instruments.
1029:: 288. Bartók's answer to a questionnaire prepared by the
1507:
List of errata in the Boosey & Hawkes edition PIB-130
1444:
Béla Bartók: Composition, Concepts, and Autograph Sources
1296:
Bartók, Béla (1976). "About the 'Piano' Problem (1927)".
1045:
Somfai, 1993, 179, 186–187; Nissman, 145; Yeomans, 105–6.
358:(see illustration). Bartók called his piece in Hungarian
721:, is added. This ostinato changes at every new episode:
1403:
Somfai, Laszlo (1993). "The 'Piano Year' of 1926". In
1285:. Cambridge and New York: Cambridge University Press.
1407:, edited by Malcolm Gillies, 173–188. London: Faber.
840:
Within the fourth episode, the figure is limited to A
376:
With a whistle, with a drum, and with a reed violin.
373:
A Turkish child cut it, a Hungarian child cured it.
2065:
2044:
2026:
1980:
1823:
1805:
1735:
1688:
1637:
1612:
1594:
118:
108:
93:
73:
59:
32:
1345:Music Divided: Bartók's Legacy in Cold War Culture
1479:Bartók for Piano: A Survey of His Solo Literature
886:The melody features the augmented octave scale.
284:He wrote the work for his new wife, the pianist
1839:Eight Improvisations on Hungarian Peasant Songs
1110:On the Shaman’s Trail – Béla Bartók’s Szabadban
801:) to which four or two notes are added (D, G, G
229:in the 'piano year' of 1926, together with his
147:
64:
1559:
1108:Viski, 1932, 16. (quoted in the presentation
1041:
1039:
8:
201:"The Night's Music" – Lento – (Un poco) più
163:
155:
481:Three types of material are distinguished:
296:Although the set is often referred to as a
1566:
1552:
1544:
370:Stork, stork, what made your leg bloody?
350:, the first two words of the third system.
48:
29:
2173:Compositions that use extended techniques
1726:Music for Strings, Percussion and Celesta
1481:. Bloomington: Indiana University Press.
959:Improvisations on Hungarian Peasant Songs
1363:Bartók and the Piano: A Performer's View
1328:Így láttuk Bartókot: ötvennégy emlékezés
545:Peasant flute imitation strictly in the
208:"The Chase" – Presto. 2 min – 2 min 12 s
992:
247:Concerto for Piano and Wind Instruments
213:Period and circumstances of composition
2168:Solo piano compositions by Béla Bartók
1300:. edited by Benjamin Suchoff. London:
657:The piece is related to the pantomime
346:. The Hungarian title of the piece is
7:
1757:Sonata for Two Pianos and Percussion
1202:Schneider, 84–87; Somfai, 1993, 180.
1063:Nissman 2002, 146; Somfai 1993, 178.
941:Three Hungarian Folk Songs from Csík
694:, E, of which the E is on the beat (
670:A scale spanning an augmented octave
133:is a set of five piano solo pieces,
27:Five pieces for piano by Béla Bartók
281:keyboard music in the early 1920s.
1343:Fosler-Lussier, Danielle. (2007).
460:play optionally two or three times
25:
1964:Three Rondos on Slovak Folk Tunes
1706:Divertimento for String Orchestra
1531:An interactive score of Bartók’s
1458:The Life and Music of Béla Bartók
1279:The Cambridge Companion to Bartók
1247:Stevens, 1953; Somfai, 1993, 182.
198:"Musettes" – Moderato. 2 min 35 s
2134:
2125:
2124:
1365:. Lanham, Md.: Scarecrow Press.
893:Editions of score and recordings
364:With a whistle, with a drum, ...
292:Interrelation of the five pieces
1846:Fifteen Hungarian Peasant Songs
1026:
981:Three Oranges Recordings 3OR-19
825:, D, G) with two added notes (A
454:A noteworthy instruction reads
325:Discussion of individual pieces
1:
2057:Béla Bartók Music High School
1283:Cambridge Companions to Music
1277:Bayley, Amanda (ed.) (2001).
269:. Bartók wrote in early 1927:
1375:Schneider, David E. (2006).
929:Béla Bartók: Works for Piano
725:In the second episode, the C
495:, whose call is imitated in
955:Murray Perahia Plays Bartók
931:. Sonata for Piano, BB 88;
623:with the palm of the hand.
469:
435:. Bartók's was inspired by
2199:
2003:Twenty Hungarian Folksongs
1361:Nissman, Barbara. (2002).
1358:10.1556/SMus.47.2006.3-4.7
456:Due o tre volte ad libitum
2120:
1989:Eight Hungarian Folksongs
1957:Three Hungarian Folktunes
1912:Romanian Christmas Carols
1581:
1472:Hungarian Peasant Customs
1456:Stevens, Halsey. (1953).
961:, Op. 20; Suite, Op. 14;
184:"With Drums and Pipes" –
47:
39:
2104:Suite paysanne hongroise
1996:Five Hungarian Folksongs
1881:Nine Little Piano Pieces
1031:Musikblätter des Anbruch
919:Béla Bartók: Piano Music
789:; or F, B, E & D, G
427:The title refers to the
1744:44 Duos for Two Violins
1621:The Miraculous Mandarin
1539:with Sir András Schiff.
1477:Yeomans, David (1988).
1442:Somfai, Laszlo (1996).
674:The left hand plays an
660:The Miraculous Mandarin
362:, literally translated
2178:Modernist compositions
2098:Polymodal chromaticism
1762:Sonata for Solo Violin
1696:Concerto for Orchestra
1670:Violin Concerto No. 2
1665:Violin Concerto No. 1
1470:Viski, Károly (1932).
1157:Schneider 2006, 81–86.
1072:Yeomans 1988, 106–107.
635:in a clashing rhythm (
585:
500:
387:
378:
351:
330:"With Drums and Pipes"
275:
164:
156:
148:
137:81, BB 89, written by
65:
2183:Suites by Béla Bartók
1326:Bónis, Ferenc. 1995.
1166:Stevens 1953, 135–37.
580:
487:
382:
368:
337:
319:Second Piano Concerto
286:Ditta Pásztory-Bartók
271:
267:percussion instrument
113:Ditta Pásztory-Bartók
2073:Hungarian folk music
2035:Homage to Paderewski
1919:Romanian Folk Dances
1655:Piano Concerto No. 3
1650:Piano Concerto No. 2
1645:Piano Concerto No. 1
1586:List of compositions
1405:The Bartók Companion
1391:Bartók and his world
441:With drums and pipes
356:Gólya, gólya, gilice
344:With drums and pipes
340:Gólya, gólya, gilice
235:First Piano Concerto
54:The composer in 1927
1971:Two Romanian Dances
1867:Fourteen Bagatelles
1330:. Budapest: Püski.
1211:Schneider 2006, 84.
1175:Schneider 2006, 81.
937:Two Romanian Dances
490:Hungarian Unka frog
470:"The Night's Music"
2083:Musical cryptogram
2010:Five Songs, Op. 15
1712:Hungarian Pictures
1603:Bluebeard's Castle
1523:by Neal O'Doan in
1511:Free recording of
1298:Béla Bartók Essays
1265:Yeomans 1988, 108.
1193:Nissman 2003, 162.
1184:Yeomans 1988, 107.
1121:Somfai, 1993, 178.
1081:Nissman 2002, 155.
1054:Somfai, 1993, 174.
906:Notable recordings
501:
449:Nine little pieces
431:, a type of small
360:Síppal, dobbal,...
352:
348:Síppal, dobbal,...
239:Nine Little Pieces
2163:1926 compositions
2148:
2147:
1628:The Wooden Prince
1533:The Night's Music
1466:978-0-19-816349-7
1452:978-0-520-08485-8
1399:978-0-691-00633-8
1385:978-0-520-24503-7
1353:978-0-520-24965-3
1336:978-963-8256-53-9
1302:Faber & Faber
1291:978-0-521-66958-0
1256:Bartók 1976, 338.
1238:Nissman, 159–163.
1090:Somfai 1998, 178.
1008:Somfai 1993, 173.
999:Somfai, 1996, 18.
576:The Night's Music
497:The Night's Music
126:
125:
16:(Redirected from
2190:
2138:
2128:
2127:
1950:Three Burlesques
1568:
1561:
1554:
1545:
1323:
1266:
1263:
1257:
1254:
1248:
1245:
1239:
1236:
1230:
1227:
1221:
1218:
1212:
1209:
1203:
1200:
1194:
1191:
1185:
1182:
1176:
1173:
1167:
1164:
1158:
1155:
1149:
1146:
1140:
1139:Somfai 1998, 91.
1137:
1131:
1128:
1122:
1119:
1113:
1106:
1100:
1097:
1091:
1088:
1082:
1079:
1073:
1070:
1064:
1061:
1055:
1052:
1046:
1043:
1034:
1027:Bartók 1927/1976
1024:
1018:
1015:
1009:
1006:
1000:
997:
881:
880:
875:
874:
869:
868:
863:
862:
854:
853:
845:
844:
836:
835:
830:
829:
824:
823:
818:
817:
812:
811:
806:
805:
800:
799:
794:
793:
788:
787:
778:
777:
772:
771:
766:
765:
757:
756:
751:
750:
742:
741:
736:
735:
730:
729:
720:
719:
714:
713:
708:
707:
706:
705:
693:
692:
687:
686:
653:
652:
651:
650:
622:
621:
616:
615:
610:
609:
604:
603:
564:
563:
554:
553:
524:
523:
518:
517:
512:
511:
394:
393:
167:
159:
151:
104:
102:
68:
52:
30:
21:
2198:
2197:
2193:
2192:
2191:
2189:
2188:
2187:
2153:
2152:
2149:
2144:
2116:
2061:
2052:Bartók (crater)
2040:
2022:
1976:
1943:Ten Easy Pieces
1926:Slovakian Dance
1906:Rhapsody, Op. 1
1832:Allegro barbaro
1819:
1814:Cantata Profana
1801:
1767:String quartets
1731:
1684:
1660:Viola Concerto
1633:
1608:
1590:
1577:
1572:
1535:from the cycle
1503:
1312:
1304:. p. 288.
1295:
1274:
1269:
1264:
1260:
1255:
1251:
1246:
1242:
1237:
1233:
1228:
1224:
1220:Schneider, 116.
1219:
1215:
1210:
1206:
1201:
1197:
1192:
1188:
1183:
1179:
1174:
1170:
1165:
1161:
1156:
1152:
1147:
1143:
1138:
1134:
1129:
1125:
1120:
1116:
1107:
1103:
1098:
1094:
1089:
1085:
1080:
1076:
1071:
1067:
1062:
1058:
1053:
1049:
1044:
1037:
1025:
1021:
1016:
1012:
1007:
1003:
998:
994:
990:
969:Barbara Nissman
908:
900:
895:
878:
877:
872:
871:
866:
865:
860:
859:
851:
850:
842:
841:
833:
832:
827:
826:
821:
820:
815:
814:
809:
808:
803:
802:
797:
796:
791:
790:
785:
784:
775:
774:
769:
768:
763:
762:
754:
753:
748:
747:
739:
738:
733:
732:
727:
726:
717:
716:
711:
710:
704:
699:
698:
697:
696:
695:
690:
689:
684:
683:
649:
644:
643:
642:
641:
640:
629:
619:
618:
613:
612:
607:
606:
601:
600:
561:
560:
551:
550:
521:
520:
515:
514:
509:
508:
493:Bombina bombina
472:
464:Sostenuto pedal
425:
407:('drums') and (
391:
390:
332:
327:
294:
215:
191:"Barcarolla" –
175:
100:
98:
89:
55:
40:Piano music by
28:
23:
22:
15:
12:
11:
5:
2196:
2194:
2186:
2185:
2180:
2175:
2170:
2165:
2155:
2154:
2146:
2145:
2143:
2142:
2132:
2121:
2118:
2117:
2115:
2114:
2107:
2100:
2095:
2090:
2085:
2080:
2075:
2069:
2067:
2063:
2062:
2060:
2059:
2054:
2048:
2046:
2042:
2041:
2039:
2038:
2030:
2028:
2027:Collaborations
2024:
2023:
2021:
2020:
2017:Village Scenes
2013:
2006:
1999:
1992:
1984:
1982:
1978:
1977:
1975:
1974:
1967:
1960:
1953:
1946:
1939:
1934:
1929:
1922:
1915:
1908:
1903:
1898:
1891:
1884:
1877:
1870:
1863:
1856:
1849:
1842:
1835:
1827:
1825:
1821:
1820:
1818:
1817:
1809:
1807:
1803:
1802:
1800:
1799:
1793:
1788:
1783:
1778:
1773:
1764:
1759:
1754:
1747:
1739:
1737:
1733:
1732:
1730:
1729:
1722:
1715:
1708:
1703:
1698:
1692:
1690:
1686:
1685:
1683:
1682:
1680:Rhapsody No. 2
1677:
1675:Rhapsody No. 1
1672:
1667:
1662:
1657:
1652:
1647:
1641:
1639:
1635:
1634:
1632:
1631:
1624:
1616:
1614:
1610:
1609:
1607:
1606:
1598:
1596:
1592:
1591:
1589:
1588:
1582:
1579:
1578:
1573:
1571:
1570:
1563:
1556:
1548:
1542:
1541:
1528:
1509:
1502:
1501:External links
1499:
1498:
1497:
1475:
1468:
1454:
1440:
1401:
1387:
1373:
1359:
1355:
1341:
1338:
1324:
1310:
1293:
1273:
1270:
1268:
1267:
1258:
1249:
1240:
1231:
1222:
1213:
1204:
1195:
1186:
1177:
1168:
1159:
1150:
1141:
1132:
1123:
1114:
1101:
1099:Danchenka, 22.
1092:
1083:
1074:
1065:
1056:
1047:
1035:
1019:
1010:
1001:
991:
989:
986:
985:
984:
966:
951:Murray Perahia
948:
922:
912:
907:
904:
899:
896:
894:
891:
884:
883:
856:
847:
838:
759:
744:
700:
672:
671:
668:
645:
633:cluster chords
628:
625:
567:
566:
540:
534:
471:
468:
424:
421:
338:The folk song
331:
328:
326:
323:
293:
290:
214:
211:
210:
209:
206:
199:
196:
189:
174:
171:
124:
123:
120:
116:
115:
110:
106:
105:
95:
91:
90:
88:
87:
84:
77:
75:
71:
70:
61:
57:
56:
53:
45:
44:
37:
36:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2195:
2184:
2181:
2179:
2176:
2174:
2171:
2169:
2166:
2164:
2161:
2160:
2158:
2151:
2141:
2137:
2133:
2131:
2123:
2122:
2119:
2113:
2112:
2108:
2106:
2105:
2101:
2099:
2096:
2094:
2091:
2089:
2088:Neoclassicism
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2070:
2068:
2064:
2058:
2055:
2053:
2050:
2049:
2047:
2043:
2037:
2036:
2032:
2031:
2029:
2025:
2019:
2018:
2014:
2012:
2011:
2007:
2005:
2004:
2000:
1998:
1997:
1993:
1991:
1990:
1986:
1985:
1983:
1979:
1973:
1972:
1968:
1966:
1965:
1961:
1959:
1958:
1954:
1952:
1951:
1947:
1945:
1944:
1940:
1938:
1937:Suite, Op. 14
1935:
1933:
1930:
1928:
1927:
1923:
1921:
1920:
1916:
1914:
1913:
1909:
1907:
1904:
1902:
1899:
1897:
1896:
1892:
1890:
1889:
1885:
1883:
1882:
1878:
1876:
1875:
1871:
1869:
1868:
1864:
1862:
1861:
1857:
1855:
1854:
1850:
1848:
1847:
1843:
1841:
1840:
1836:
1834:
1833:
1829:
1828:
1826:
1822:
1816:
1815:
1811:
1810:
1808:
1804:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1779:
1777:
1774:
1772:
1768:
1765:
1763:
1760:
1758:
1755:
1753:
1752:
1748:
1746:
1745:
1741:
1740:
1738:
1734:
1728:
1727:
1723:
1721:
1720:
1716:
1714:
1713:
1709:
1707:
1704:
1702:
1699:
1697:
1694:
1693:
1691:
1687:
1681:
1678:
1676:
1673:
1671:
1668:
1666:
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1643:
1642:
1640:
1636:
1630:
1629:
1625:
1623:
1622:
1618:
1617:
1615:
1611:
1605:
1604:
1600:
1599:
1597:
1593:
1587:
1584:
1583:
1580:
1576:
1569:
1564:
1562:
1557:
1555:
1550:
1549:
1546:
1540:
1538:
1534:
1529:
1526:
1522:
1521:Movements 4–5
1518:
1517:Movements 1–3
1514:
1510:
1508:
1505:
1504:
1500:
1496:
1495:0-253-21383-5
1492:
1488:
1487:0-253-31006-7
1484:
1480:
1476:
1473:
1469:
1467:
1463:
1459:
1455:
1453:
1449:
1445:
1441:
1438:
1437:0-931340-75-6
1434:
1430:
1429:0-931340-74-8
1426:
1422:
1421:0-571-15331-3
1418:
1414:
1413:0-571-15330-5
1410:
1406:
1402:
1400:
1396:
1392:
1388:
1386:
1382:
1378:
1374:
1372:
1371:0-8108-4301-3
1368:
1364:
1360:
1356:
1354:
1350:
1346:
1342:
1339:
1337:
1333:
1329:
1325:
1321:
1317:
1313:
1311:0-571-10120-8
1307:
1303:
1299:
1294:
1292:
1288:
1284:
1280:
1276:
1275:
1271:
1262:
1259:
1253:
1250:
1244:
1241:
1235:
1232:
1226:
1223:
1217:
1214:
1208:
1205:
1199:
1196:
1190:
1187:
1181:
1178:
1172:
1169:
1163:
1160:
1154:
1151:
1148:Yeomans, 110.
1145:
1142:
1136:
1133:
1130:Yeomans, 106.
1127:
1124:
1118:
1115:
1111:
1105:
1102:
1096:
1093:
1087:
1084:
1078:
1075:
1069:
1066:
1060:
1057:
1051:
1048:
1042:
1040:
1036:
1032:
1028:
1023:
1020:
1014:
1011:
1005:
1002:
996:
993:
987:
982:
978:
974:
970:
967:
964:
960:
956:
952:
949:
946:
942:
938:
934:
930:
926:
925:Zoltán Kocsis
923:
920:
916:
915:György Sándor
913:
910:
909:
905:
903:
897:
892:
890:
887:
857:
848:
839:
782:
760:
745:
724:
723:
722:
703:
682:chord of F, G
681:
677:
669:
666:
665:
664:
662:
661:
655:
648:
638:
634:
626:
624:
598:
597:cluster chord
594:
590:
584:
579:
577:
571:
558:
548:
544:
541:
538:
535:
532:
530:
506:
503:
502:
498:
494:
491:
486:
482:
479:
476:
467:
465:
461:
457:
452:
450:
446:
442:
438:
434:
430:
422:
420:
418:
414:
410:
406:
402:
396:
386:
381:
377:
374:
371:
367:
365:
361:
357:
349:
345:
341:
336:
329:
324:
322:
320:
316:
310:
308:
303:
299:
291:
289:
287:
282:
280:
274:
270:
268:
264:
260:
259:
254:
253:
248:
244:
240:
236:
232:
228:
224:
220:
212:
207:
204:
200:
197:
194:
190:
187:
183:
182:
181:
179:
172:
170:
168:
166:
160:
158:
152:
150:
144:
140:
136:
132:
131:
121:
117:
114:
111:
107:
96:
92:
85:
82:
79:
78:
76:
72:
69:
67:
62:
58:
51:
46:
43:
38:
35:
31:
19:
2150:
2109:
2102:
2078:Magyar Rádió
2033:
2015:
2008:
2001:
1994:
1987:
1969:
1962:
1955:
1948:
1941:
1924:
1917:
1910:
1901:Piano Sonata
1895:Petite Suite
1893:
1888:Out of Doors
1887:
1886:
1879:
1872:
1865:
1858:
1853:For Children
1851:
1844:
1837:
1830:
1812:
1749:
1742:
1724:
1717:
1710:
1626:
1619:
1601:
1537:Out of doors
1536:
1532:
1513:Out of Doors
1512:
1478:
1471:
1457:
1443:
1404:
1390:
1376:
1362:
1344:
1327:
1297:
1278:
1261:
1252:
1243:
1234:
1225:
1216:
1207:
1198:
1189:
1180:
1171:
1162:
1153:
1144:
1135:
1126:
1117:
1109:
1104:
1095:
1086:
1077:
1068:
1059:
1050:
1030:
1022:
1013:
1004:
995:
977:Out of Doors
976:
973:Out of Doors
972:
963:Out of Doors
962:
958:
954:
944:
940:
936:
933:Out of Doors
932:
928:
918:
901:
888:
885:
779:, E (in two
701:
678:arpeggiated
673:
658:
656:
646:
630:
586:
581:
575:
572:
568:
542:
536:
528:
504:
496:
492:
480:
477:
473:
459:
455:
453:
448:
447:of Bartók's
444:
440:
426:
397:
388:
383:
379:
375:
372:
369:
363:
359:
355:
353:
347:
343:
339:
315:Piano Sonata
311:
307:Out of Doors
306:
295:
283:
276:
272:
256:
252:Le Rossignol
250:
238:
231:Piano Sonata
227:Out of Doors
226:
216:
205:. 4 min 40 s
195:. 2 min 17 s
178:Out of Doors
177:
176:
165:En Plein Air
162:
154:
146:
145:(Hungarian:
143:Out of Doors
142:
130:Out of Doors
129:
128:
127:
63:
34:Out of Doors
33:
18:Out of Doors
2093:Night music
1874:Mikrokosmos
1860:Four Dirges
1701:Dance Suite
1638:Concertante
1575:Béla Bartók
975:. Bartók's
781:quadruplets
627:"The Chase"
547:Dorian mode
419:('pipes').
219:World War I
188:. 1 min 45s
139:Béla Bartók
60:Native name
42:Béla Bartók
2157:Categories
1689:Orchestral
957:. Sonata;
813:; and G, A
680:quintuplet
654:measure).
593:grace note
527:Hungarian
445:Tambourine
423:"Musettes"
405:gran cassa
243:Stravinsky
161:, French:
153:, German:
109:Dedication
2045:Namesakes
1751:Contrasts
1415:(cloth),
945:The Chase
939:, BB 56;
935:, BB 89;
870:, E, F, G
589:arpeggios
417:trombones
302:arch form
258:Petrushka
157:Im Freien
149:Szabadban
141:in 1926.
119:Movements
74:Catalogue
66:Szabadban
2130:Category
2111:Triptych
1932:Sonatina
1431:(cloth)
1320:60900461
879:♯
873:♯
867:♯
861:♯
852:♯
843:♯
834:♯
828:♯
822:♯
816:♯
810:♯
804:♯
798:♯
792:♯
786:♯
776:♯
770:♯
764:♯
755:♯
749:♯
743:, B, E).
740:♯
734:♯
728:♯
718:♯
712:♯
691:♯
685:♯
676:ostinato
620:♭
614:♭
608:♯
602:♯
562:♯
552:♯
522:♯
516:♯
510:♯
437:Couperin
413:bassoons
392:♯
94:Composed
2066:Related
1736:Chamber
1719:Kossuth
1613:Ballets
1272:Sources
983:, 2014.
637:duplets
599:E, F, F
559:apart C
557:tritone
433:bagpipe
429:musette
401:timpani
279:Baroque
223:Hungary
203:andante
193:Andante
186:Pesante
99: (
1806:Choral
1527:format
1493:
1485:
1464:
1450:
1435:
1427:
1419:
1411:
1397:
1383:
1369:
1351:
1334:
1318:
1308:
1289:
876:, B, C
864:, B, C
767:, F, G
737:, F, G
688:, B, C
611:, A, B
605:, G, G
409:double
237:, and
233:, his
217:After
173:Pieces
2140:Audio
1981:Songs
1824:Piano
1796:No. 6
1791:No. 5
1786:No. 4
1781:No. 3
1776:No. 2
1771:No. 1
1595:Opera
1439:(pbk)
988:Notes
898:Score
583:like.
298:suite
265:as a
263:piano
249:(and
86:BB 89
1519:and
1491:ISBN
1483:ISBN
1462:ISBN
1448:ISBN
1433:ISBN
1425:ISBN
1417:ISBN
1409:ISBN
1395:ISBN
1381:ISBN
1367:ISBN
1349:ISBN
1332:ISBN
1316:OCLC
1306:ISBN
1287:ISBN
882:, E.
591:and
549:on C
531:frog
529:unka
519:,G,G
488:The
443:and
415:and
403:and
255:and
101:1926
97:1926
1525:MP3
831:, C
807:, C
795:, C
773:, C
752:, C
715:, C
639:in
617:, C
245:'s
135:Sz.
81:Sz.
2159::
1515::
1314:.
1281:.
1038:^
971::
953::
927::
917::
513:,F
411:)-
321:.
83:81
1798:)
1769:(
1567:e
1560:t
1553:v
1322:.
1033:.
947:.
702:8
647:8
543:C
537:B
505:A
458:(
122:5
103:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
