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{{short description|Six-volume progressive set of piano pieces by Bartók}}
{{italic title}}
{{italic title}}
[[File:Bartok Mikrokosmos Quartes for wikipedia.png|thumb|upright=2.0|The first 10 measures of No. 131, "Fourths"]]
[[Béla Bartók]]'s ''Mikrokosmos'' (in Hungarian, '''''Mikrokozmosz'''''; in German, ''Microcosm'') Sz. 107, BB 105 consists of 153 progressive [[piano]] [[piece (music)|pieces]] in six volumes written between 1926 and 1939. The individual pieces progress from very easy and simple beginner [[étude]]s to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the piece "appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works." Volumes one and two are dedicated to his son Péter, while volumes five and six are intended as professionally performable concert pieces.<ref>Carpenter, Alexander [{{Allmusic|class=work|id=c20599|pure_url=yes}} AllMusic.com: ''Mikrokosmos''], Retrieved 01:10, April 2, 2005 (UTC)</ref> Bartók also indicated that these pieces could also be played on other instruments; [[Huguette Dreyfus]] for example has recorded pieces from Books 3 through 6 on the [[harpsichord]].
[[Béla Bartók]]'s '''''Mikrokosmos''''' ({{Langx|hu|Mikrokozmosz|link=no}}) Sz. 107, BB 105 consists of 153 progressive [[piano]] pieces in six volumes, written between 1926 and 1939<ref>{{cite journal |last1=Suchoff |first1=Benjamin |title=History of Bela Bartok's Mikrokosmos |journal=Journal of Research in Music Education |date=1959 |volume=7 |issue=2 |page=185 |issn=00224294}}</ref> and published in 1940.<ref name="kube-reutter">{{cite book |editor1-last=Kube |editor2-last=Reutter |title=Sechs Tänze in Bulgarischem Rhythmus |date=2016 |publisher=Schott/Universal |location=Vienna, Austria |chapter=Preface |page=II |edition=1}}</ref> The individual pieces progress from very easy and simple beginner [[étude]]s to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the work "appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works." Volumes one and two are dedicated to his son Péter, while volumes five and six are intended as professionally performable concert pieces.<ref>{{AllMusic|last=Carpenter|first=Alexander|class=composition|id=mc0002361203|title=''Mikrokosmos''}}</ref>


In 1940, shortly before they emigrated to the United States, he arranged seven of the pieces for two pianos, to provide additional repertoire for himself and his wife [[Ditta Pásztory-Bartók]] to play.
Bartók also indicated that these pieces could also be played in different arrangements. In 1940, shortly before they emigrated to the United States, he arranged seven of the pieces for two pianos, to provide additional repertoire for himself and his wife [[Ditta Pásztory-Bartók]] to play. [[Tibor Serly]] transcribed six of the pieces for piano and string orchestra, arrangements which were first performed on the composer's 61st birthday in 1942.{{sfn|Suchoff|1959|p=194}} In 1969 [[Huguette Dreyfus]] recorded selected pieces from Books 3 to 6 on the [[harpsichord]].


The pieces are notable for their display of folk music influence, their unusual use of tonality, and their use of [[Additive rhythm and divisive rhythm|additive rhythms]]. Bartók travelled extensively during the period 1906–1936 to rural Hungary, Romania, Algeria and Turkey, transcribing folk songs and dances; that influence is especially apparent in the ''Six Dances in Bulgarian Rhythm'' at the end of Mikrokosmos, as well as in his (separate) set of [[Romanian Folk Dances]] (1915).{{sfn|Kube|Reutter|2016}}
== Structure ==


== Title ==
All of the six volumes progress in difficulty, namely:
The title ''Mikrokosmos'' comes from the Greek ''mikros kosmos'', meaning "little world", to reflect Bartók's aim that the pieces "deal not only with the rhythmic, but also with melodic, harmonic and pianistic problems."{{sfn|Suchoff|1959|pp=186-187}}


The works were first published with the subtitle "Progressive Pieces for Piano" to emphasise the collection's didactic structure. [[Ernst Roth]], as representative of the publisher [[Boosey & Hawkes]], initially suggested "Progressive Piano Pieces in Modern Idiom", but this was rejected by Bartok on the grounds that "in 20, or let us say in 40 years this work will cease to be 'modern.' And what does it mean 'modern'? This word has no definite sens {{sic}}, can be misinterpreted, misunderstood!"{{sfn|Suchoff|1959|pp=190-191}}
* Volumes I-II: Pieces 1–36 and 37–66, beginner level

* Volumes III-IV: Pieces 67–96 and 97–121, moderate to advanced level
== Volumes ==
* Volumes V-VI: 122–139 and 140–153, professional level
The pieces progress gradually in difficulty through the entire collection, from number 1 at the beginning of volume I to number 153 at the end of volume VI.

* Volumes I and II: Pieces 1–36 and 37–66, beginner level
* Volumes III and IV: Pieces 67–96 and 97–121, moderate to advanced level
* Volumes V and VI: Pieces 122–139 and 140–153, professional level


The list of pieces is as follows:
The list of pieces is as follows:
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|- valign ="top"
|- valign ="top"
|width=33%|
|width=33%|
: '''Volume I'''

# Six Unison Melodies (I)
* Book I
** ''Six Unison Melodies''
# (a) Six Unison Melodies (II)
*** 1. ''Six Unison Melodies (I)''
:: (b) Six Unison Melodies (II)
*** 2a. ''Six Unison Melodies (II)''
#<li value=3> Six Unison Melodies (III)
*** 2b. ''Six Unison Melodies (II)''
# Six Unison Melodies (IV)
*** 3. ''Six Unison Melodies (III)''
# Six Unison Melodies (V)
*** 4. ''Six Unison Melodies (IV)''
# Six Unison Melodies (VI)
# Dotted Notes
*** 5. ''Six Unison Melodies (V)''
# Repetition (1)
*** 6. ''Six Unison Melodies (VI)''
# Syncopation (I)
** 7. ''Dotted Notes''
# With Alternate Hands
** 8. ''Repetition (1)''
# Parallel Motion
** 9. ''Syncopation (I)''
# Reflection
** 10. ''With Alternate Hands''
# Change of Position
** 11. ''Parallel Motion''
# Question and Answer
** 12. ''Reflection''
# Village Song
** 13. ''Change of Position''
# Parallel Motion with Change of Position
** 14. ''Question and Answer''
# Contrary Motion
** 15. ''Village Song''
# Four Unison Melodies (I)
** 16. ''Parallel Motion with Change of Position''
# Four Unison Melodies (II)
** 17. ''Contrary Motion''
** ''Four Unison Melodies''
# Four Unison Melodies (III)
*** 18. ''Four Unison Melodies (I)''
# Four Unison Melodies (IV)
# Imitation and Counterpoint
*** 19. ''Four Unison Melodies (II)''
# Imitation and Inversion (I)
*** 20. ''Four Unison Melodies (III)''
# Pastorale
*** 21. ''Four Unison Melodies (IV)''
** 22. ''Imitation and Counterpoint''
# Imitation and Inversion (II)
# Repetition (II)
** 23. ''Imitation and Inversion (I)''
# Syncopation (II)
** 24. ''Pastorale''
# Canon at the Octave
** 25. ''Imitation and Inversion (II)''
# Imitation Reflected
** 26. ''Repetition (II)''
# Canon at the Lower Fifth
** 27. ''Syncopation (II)''
** 28. ''Canon at the Octave''
# Dance in Canon Form
# In Dorian Mode
** 29. ''Imitation Reflected''
# Slow Dance
** 30. ''Canon at the Lower Fifth''
# In Phrygian Mode
** 31. ''Dance in Canon Form''
# Chorale
** 32. ''In Dorian Mode''
# Free Canon
** 33. ''Slow Dance''
** 34. ''In Phrygian Mode''
** 35. ''Chorale''
** 36. ''Free Canon''


|width=33%|
|width=33%|


* Book II
: '''Volume II'''
** 37. ''In Lydian Mode''
#<li value=37> In Lydian Mode
** 38. ''Staccato and Legato (I)''
# Staccato and Legato (I)
** 39. ''Staccato and Legato (Canon)''
# Staccato and Legato (Canon)
** 40. ''In Yugoslav Style''
# In Yugoslav Style
** 41. ''Melody with Accompaniment''
# Melody with Accompaniment
** 42. ''Accompaniment in Broken Triads''
# Accompaniment in Broken Triads
** 43a. ''In Hungarian Style'' (for two pianos)
# (a) In Hungarian Style (for two pianos)
** 43b. ''In Hungarian Style''
:: (b) In Hungarian Style
** 44. ''Contrary Motion (2)'' (for two pianos)
#<li value=44> Contrary Motion (2) (for two pianos)
** 45. ''Meditation''
# Meditation
** 46. ''Increasing-Diminishing''
# Increasing-Diminishing
** 47. ''County Fair''
# County Fair
** 48. ''In Mixolydian Mode''
# In Mixolydian Mode
** 49. ''Crescendo-Diminuendo''
# Crescendo-Diminuendo
** 50. ''Minuetto''
# Minuetto
** 51. ''Waves''
# Waves
** 52. ''Unison Divided''
# Unison Divided
** 53. ''In Transylvanian Style''
# In Transylvanian Style
** 54. ''Chromatics''
# Chromatics
** 55. ''Triplets in Lydian Mode'' (for two pianos)
# Triplets in Lydian Mode (for two pianos)
** 56. ''Melody in Tenths''
# Melody in Tenths
** 57. ''Accents''
# Accents
** 58. ''In Oriental Style''
# In Oriental Style
** 59. ''Major and Minor''
# Major and Minor
** 60. ''Canon with Sustained Notes
# Canon with Sustained Notes
** 61. ''Pentatonic Melody''
# Pentatonic Melody
** 62. ''Minor Sixths in Parallel Motion''
# Minor Sixths in Parallel Motion
** 63. ''Buzzing''
# Buzzing
** 64a. ''Line against Point''
# (a) Line against Point
** 64b. ''Line against Point''
:: (b) Line against Point
** 65. ''Dialogue'' (with voice)
#<li value=65> Dialogue (with voice)
** 66. ''Melody Divided''
# Melody Divided


|width=33%|
|width=33%|


* Book III
: '''Volume III'''
** 67. ''Thirds against a Single Voice''
#<li value=67> Thirds against a Single Voice
** 68. ''Hungarian Dance'' (for two pianos)
# Hungarian Dance (for two pianos)
** 69. ''Study in Chords''
# Study in Chords
** 70. ''Melody against Double Notes''
# Melody against Double Notes
** 71. ''Thirds''
# Thirds
** 72. ''Dragons' Dance''
# Dragons' Dance
** 73. ''Sixths and Triads''
# Sixths and Triads
** 74a. ''Hungarian Matchmaking Song''
# (a) Hungarian Matchmaking Song
** 74b. ''Hungarian Matchmaking Song'' (with voice)
:: (b) Hungarian Matchmaking Song (with voice)
** 75. ''Triplets''
#<li value=75> Triplets
** 76. ''In Three Parts''
# In Three Parts
** 77. ''Little Study''
# Little Study
** 78. ''Five-Tone Scale''
# Five-Tone Scale
** 79. ''Hommage à Johann Sebastian Bach''
# Hommage à Johann Sebastian Bach
** 80. ''Hommage à Robert Schumann''
# Hommage à Robert Schumann
** 81. ''Wandering''
# Wandering
** 82. ''Scherzo''
# Scherzo
** 83. ''Melody with Interruptions''
# Melody with Interruptions
** 84. ''Merriment''
# Merriment
** 85. ''Broken Chords'
# Broken Chords
** 86. ''Two Major Pentachords''
# Two Major Pentachords
** 87. ''Variations''
# Variations
** 88. ''Duet for Pipes''
# Duet for Pipes
** 89. ''In Four Parts (I)''
# In Four Parts (I)
** 90. ''In Russian Style''
# In Russian Style
** 91. ''Chromatic Invention (I)''
# Chromatic Invention (I)
** 92. ''Chromatic Invention (II)''
# Chromatic Invention (II)
** 93. ''In Four Parts (II)''
# In Four Parts (II)
** 94. ''Once Upon a Time...''
# Once Upon a Time...
** 95a. ''Fox Song''
# (a) Fox Song
** 95b. ''Fox Song'' (with voice)
:: (b) Fox Song (with voice)
** 96. ''Jolts''
#<li value=96> Jolts
|}
|}


Line 136: Line 141:
|width=33%|
|width=33%|


* Book IV
: '''Volume IV'''
** 97. ''Notturno''
#<li value=97> Notturno
** 98. ''Thumbs Under''
# Thumbs Under
** 99. ''Hands Crossing''
# Hands Crossing
** 100. ''In Folk Song Style''
# In Folk Song Style
** 101. ''Diminished Fifth''
# Diminished Fifth
** 102. ''Harmonics''
# Harmonics
** 103. ''Minor and Major''
# Minor and Major
** 104a. ''Wandering through the Keys''
# (a) Wandering through the Keys
** 104b. ''Wandering through the Keys''
:: (b) Wandering through the Keys
** 105. ''Game (with Two Five-Tone Scales)''
#<li value=105> Game (with Two Five-Tone Scales)
** 106. ''Children's Song''
# Children's Song
** 107. ''Melody in the Mist
# Melody in the Mist
** 108. ''Wrestling''
# Wrestling
** 109. ''From the Island of Bali''
# From the Island of Bali
** 110. ''And the Sounds Clash and Clang...''
# And the Sounds Clash and Clang...
** 111. ''Intermezzo''
# Intermezzo
** 112. ''Variations on a Folk Tune''
# Variations on a Folk Tune
** 113. ''Bulgarian Rhythm (I)''
# Bulgarian Rhythm (I)
** 114. ''Theme and Inversion''
# Theme and Inversion
** 115. ''Bulgarian Rhythm (II)''
# Bulgarian Rhythm (II)
** 116. ''Song''
# Song
** 117. ''Bourrée''
# Bourrée
** 118. ''Triplets in {{music|time|9|8}} Time''
# Triplets in {{music|time|9|8}} Time
** 119. ''Dance in {{music|time|3|4}} Time''
# Dance in {{music|time|3|4}} Time
** 120. ''Triads''
# Triads
** 121. ''Two-Part Study''
# Two-Part Study


|width=33%|
|width=33%|


: '''Volume V'''
* Book V
** 122. ''Chords Together and in Opposition''
#<li value=122> Chords Together and in Opposition
** 123a. ''Staccato and Legato (II)''
# (a) Staccato and Legato (II)
** 123b. ''Staccato and Legato (II)''
:: (b) Staccato and Legato (II)
** 124. ''Staccato''
#<li value=124> Staccato
** 125. ''Boating''
# Boating
** 126. ''Change of Time''
# Change of Time
** 127. ''New Hungarian Folk Song'' (with voice)
# New Hungarian Folk Song (with voice)
** 128. ''Stamping Dance''
# Stamping Dance
** 129. ''Alternating Thirds''
# Alternating Thirds
** 130. ''Village Joke''
# Village Joke
** 131. ''Fourths''
# Fourths
** 132. ''Major Seconds Broken and Together''
# Major Seconds Broken and Together
** 133. ''Syncopation (III)''
# Syncopation (III)
** 134a. ''Studies in Double Notes''
# (a) Studies in Double Notes
** 134b. ''Studies in Double Notes''
:: (b) Studies in Double Notes
** 134c. ''Studies in Double Notes''
:: (c) Studies in Double Notes
** 135. ''Perpetuum mobile''
#<li value=135> Perpetuum mobile
** 136. ''Whole-Tone Scales''
# Whole-Tone Scales
** 137. ''Unison''
# Unison
** 138. ''Bagpipe Music''
# Bagpipe Music
** 139. ''Merry Andrew''
# Merry Andrew


|width=33%|
|width=33%|


* Book VI
: '''Volume VI'''
** 140. ''Free Variations''
#<li value=140> Free Variations
** 141. ''Subject and Reflection''
# Subject and Reflection
** 142. ''From the Diary of a Fly''
# From the Diary of a Fly
** 143. ''Divided Arpeggios''
# Divided Arpeggios
** 144. ''Minor Seconds, Major Sevenths''
# Minor Seconds, Major Sevenths
** 145a. ''Chromatic Invention (III)''
# (a) Chromatic Invention (III)
** 145b. ''Chromatic Invention (III)''
:: (b) Chromatic Invention (III)
** 146. ''Ostinato''
#<li value=146> Ostinato
** 147. ''March''
# March
** ''Six Dances in Bulgarian Rhythm''
# Six Dances in Bulgarian Rhythm (I)
*** 148. ''Six Dances in Bulgarian Rhythm (I)''
# Six Dances in Bulgarian Rhythm (II)
*** 149. ''Six Dances in Bulgarian Rhythm (II)''
# Six Dances in Bulgarian Rhythm (III)
*** 150. ''Six Dances in Bulgarian Rhythm (III)''
# Six Dances in Bulgarian Rhythm (IV)
*** 151. ''Six Dances in Bulgarian Rhythm (IV)''
# Six Dances in Bulgarian Rhythm (V)
*** 152. ''Six Dances in Bulgarian Rhythm (V)''
# Six Dances in Bulgarian Rhythm (VI)
*** 153. ''Six Dances in Bulgarian Rhythm (VI)''
|}
|}


== Music ==
The opening (mm. 1–76) of "Boating" (V, 125) is typical of the modernist compositional techniques used in the later volumes, featuring the [[bimodality|bimodal]] use of the [[pentatonic scale|pentatonic collection]] on E{{music|flat}} in the right hand and either G [[mixolydian]] or [[dorian mode|dorian]] collections in the left:
The opening (mm. 1–76) of "Boating" (V, 125) is typical of the modernist compositional techniques used in the later volumes, featuring the [[bimodality|bimodal]] use of the [[pentatonic scale|pentatonic collection]] on E{{music|flat}} in the right hand and either G [[mixolydian]] or [[dorian mode|dorian]] collections in the left:<ref>Stein, Deborah (2005). "Introduction to Musical Ambiguity" in ''Engaging Music: Essays in Music Analysis'', pp. 82–83. New York: Oxford University Press. {{ISBN|0-19-517010-5}}.</ref>


:<score sound="1"> {
[[Image:Bartok's Boating RH and LH pitch collections.png|thumb|center|400px|Bartók's "Boating" RH and LH pitch collections.<ref>Stein, Deborah (2005). "Introduction to Musical Ambiguity" in ''Engaging Music: Essays in Music Analysis'', p.82–83. New York: Oxford University Press. {{ISBN|0-19-517010-5}}.</ref>]]
\override Score.TimeSignature #'stencil = ##f
\relative c' {
\set Score.tempoHideNote = ##t \tempo 4 = 120
\clef treble
\time 5/4
es^\markup {RH} ges aes bes des \bar "||"
\clef bass
\time 6/4 \hide Staff.TimeSignature
g,,,^\markup {LH} a c d e f \bar "||"
}
}
</score>


Volume VI contains the "Six Dances In Bulgarian Rhythm", dedicated to the English pianist [[Harriet Cohen]]. Bulgarian rhythm is one in which the beats in each bar are of unequal length. For example, the first dance (148) is grouped into 4+2+3 [[Eighth note|quavers]] in each bar, and the final dance (153) is grouped into 3+3+2 [[Eighth note|quavers]] in each bar.
Volume VI contains the "Six Dances In Bulgarian Rhythm", dedicated to the English pianist [[Harriet Cohen]]. Bulgarian folk music is characterized by additive rhythm, that is, rhythm where the beats in each bar are of unequal length. For example, the first dance (148) is grouped into {{music|time|4+2+3|8}} (nine [[Eighth note|quavers]] in each bar), and the final dance (153) is grouped into {{music|time|3+3+2|8}} (eight in each bar).


Some pieces utilize [[Piano extended techniques|extended technique]], such as stomping or tapping in piece 9, holding down keys silently in piece 102, or singing in pieces 14, 65, and 127.
Pianists who have recorded all six volumes include [[György Sándor]], [[Edith Farnadi]], [[Homero Francesch]], [[Zoltán Kocsis]], [[Dezső Ránki]], [[Jenő Jandó]], [[Claude Helffer]], and [[Georges Solchany]]. Bartók himself was the first to publicly perform pieces from ''Mikrokosmos'', on February 9, 1937 in [[London]].<ref>Suchoff, Benjamin. [https://books.google.com/books?id=lCgfhRsJIFIC&pg=PA83 Béla Bartók: A Celebration], p. 83 (Scarecrow Press, 2004).</ref>

Pianists who have recorded all six volumes include [[György Sándor]], [[Edith Farnadi]], [[Homero Francesch]], [[Zoltán Kocsis]], [[Dezső Ránki]], [[Jenő Jandó]], [[Claude Helffer]], and {{ill|Georges Solchany|ru|Сольчаньи, Дьёрдь}}. Bartók himself was the first to publicly perform pieces from ''Mikrokosmos'', on February 9, 1937 in London.<ref>Suchoff, Benjamin. [https://books.google.com/books?id=lCgfhRsJIFIC&pg=PA83 Béla Bartók: A Celebration], p. 83 (Scarecrow Press, 2004).</ref>


==References==
==References==
Line 222: Line 241:


==External links==
==External links==
*{{IMSLP2|work=Mikrokosmos,_Sz.107_(Bartók,_Béla)|name=Mikrokosmos}}
*{{IMSLP|work=Mikrokosmos, Sz.107 (Bartók, Béla)|cname=''Mikrokosmos''}}

{{Béla Bartók}}
{{Béla Bartók}}
{{Portal bar|Classical music}}
{{authority control}}

{{DEFAULTSORT:Mikrokosmos (Bartok)}}
{{DEFAULTSORT:Mikrokosmos (Bartok)}}
[[Category:Compositions by Béla Bartók]]
[[Category:Solo piano compositions by Béla Bartók]]
[[Category:Solo piano pieces]]
[[Category:Piano études]]

Latest revision as of 17:33, 2 November 2024

The first 10 measures of No. 131, "Fourths"

Béla Bartók's Mikrokosmos (Hungarian: Mikrokozmosz) Sz. 107, BB 105 consists of 153 progressive piano pieces in six volumes, written between 1926 and 1939[1] and published in 1940.[2] The individual pieces progress from very easy and simple beginner études to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the work "appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works." Volumes one and two are dedicated to his son Péter, while volumes five and six are intended as professionally performable concert pieces.[3]

Bartók also indicated that these pieces could also be played in different arrangements. In 1940, shortly before they emigrated to the United States, he arranged seven of the pieces for two pianos, to provide additional repertoire for himself and his wife Ditta Pásztory-Bartók to play. Tibor Serly transcribed six of the pieces for piano and string orchestra, arrangements which were first performed on the composer's 61st birthday in 1942.[4] In 1969 Huguette Dreyfus recorded selected pieces from Books 3 to 6 on the harpsichord.

The pieces are notable for their display of folk music influence, their unusual use of tonality, and their use of additive rhythms. Bartók travelled extensively during the period 1906–1936 to rural Hungary, Romania, Algeria and Turkey, transcribing folk songs and dances; that influence is especially apparent in the Six Dances in Bulgarian Rhythm at the end of Mikrokosmos, as well as in his (separate) set of Romanian Folk Dances (1915).[5]

Title

[edit]

The title Mikrokosmos comes from the Greek mikros kosmos, meaning "little world", to reflect Bartók's aim that the pieces "deal not only with the rhythmic, but also with melodic, harmonic and pianistic problems."[6]

The works were first published with the subtitle "Progressive Pieces for Piano" to emphasise the collection's didactic structure. Ernst Roth, as representative of the publisher Boosey & Hawkes, initially suggested "Progressive Piano Pieces in Modern Idiom", but this was rejected by Bartok on the grounds that "in 20, or let us say in 40 years this work will cease to be 'modern.' And what does it mean 'modern'? This word has no definite sens [sic], can be misinterpreted, misunderstood!"[7]

Volumes

[edit]

The pieces progress gradually in difficulty through the entire collection, from number 1 at the beginning of volume I to number 153 at the end of volume VI.

  • Volumes I and II: Pieces 1–36 and 37–66, beginner level
  • Volumes III and IV: Pieces 67–96 and 97–121, moderate to advanced level
  • Volumes V and VI: Pieces 122–139 and 140–153, professional level

The list of pieces is as follows:

Volume I
  1. Six Unison Melodies (I)
  2. (a) Six Unison Melodies (II)
(b) Six Unison Melodies (II)
  2. Six Unison Melodies (III)
  3. Six Unison Melodies (IV)
  4. Six Unison Melodies (V)
  5. Six Unison Melodies (VI)
  6. Dotted Notes
  7. Repetition (1)
  8. Syncopation (I)
  9. With Alternate Hands
  10. Parallel Motion
  11. Reflection
  12. Change of Position
  13. Question and Answer
  14. Village Song
  15. Parallel Motion with Change of Position
  16. Contrary Motion
  17. Four Unison Melodies (I)
  18. Four Unison Melodies (II)
  19. Four Unison Melodies (III)
  20. Four Unison Melodies (IV)
  21. Imitation and Counterpoint
  22. Imitation and Inversion (I)
  23. Pastorale
  24. Imitation and Inversion (II)
  25. Repetition (II)
  26. Syncopation (II)
  27. Canon at the Octave
  28. Imitation Reflected
  29. Canon at the Lower Fifth
  30. Dance in Canon Form
  31. In Dorian Mode
  32. Slow Dance
  33. In Phrygian Mode
  34. Chorale
  35. Free Canon
Volume II
  2. In Lydian Mode
  3. Staccato and Legato (I)
  4. Staccato and Legato (Canon)
  5. In Yugoslav Style
  6. Melody with Accompaniment
  7. Accompaniment in Broken Triads
  8. (a) In Hungarian Style (for two pianos)
(b) In Hungarian Style
  2. Contrary Motion (2) (for two pianos)
  3. Meditation
  4. Increasing-Diminishing
  5. County Fair
  6. In Mixolydian Mode
  7. Crescendo-Diminuendo
  8. Minuetto
  9. Waves
  10. Unison Divided
  11. In Transylvanian Style
  12. Chromatics
  13. Triplets in Lydian Mode (for two pianos)
  14. Melody in Tenths
  15. Accents
  16. In Oriental Style
  17. Major and Minor
  18. Canon with Sustained Notes
  19. Pentatonic Melody
  20. Minor Sixths in Parallel Motion
  21. Buzzing
  22. (a) Line against Point
(b) Line against Point
  2. Dialogue (with voice)
  3. Melody Divided
Volume III
  2. Thirds against a Single Voice
  3. Hungarian Dance (for two pianos)
  4. Study in Chords
  5. Melody against Double Notes
  6. Thirds
  7. Dragons' Dance
  8. Sixths and Triads
  9. (a) Hungarian Matchmaking Song
(b) Hungarian Matchmaking Song (with voice)
  2. Triplets
  3. In Three Parts
  4. Little Study
  5. Five-Tone Scale
  6. Hommage à Johann Sebastian Bach
  7. Hommage à Robert Schumann
  8. Wandering
  9. Scherzo
  10. Melody with Interruptions
  11. Merriment
  12. Broken Chords
  13. Two Major Pentachords
  14. Variations
  15. Duet for Pipes
  16. In Four Parts (I)
  17. In Russian Style
  18. Chromatic Invention (I)
  19. Chromatic Invention (II)
  20. In Four Parts (II)
  21. Once Upon a Time...
  22. (a) Fox Song
(b) Fox Song (with voice)
  2. Jolts
Volume IV
  2. Notturno
  3. Thumbs Under
  4. Hands Crossing
  5. In Folk Song Style
  6. Diminished Fifth
  7. Harmonics
  8. Minor and Major
  9. (a) Wandering through the Keys
(b) Wandering through the Keys
  2. Game (with Two Five-Tone Scales)
  3. Children's Song
  4. Melody in the Mist
  5. Wrestling
  6. From the Island of Bali
  7. And the Sounds Clash and Clang...
  8. Intermezzo
  9. Variations on a Folk Tune
  10. Bulgarian Rhythm (I)
  11. Theme and Inversion
  12. Bulgarian Rhythm (II)
  13. Song
  14. Bourrée
  15. Triplets in 9
    8     Time
  16. Dance in 3
    4     Time
  17. Triads
  18. Two-Part Study
Volume V
  2. Chords Together and in Opposition
  3. (a) Staccato and Legato (II)
(b) Staccato and Legato (II)
  2. Staccato
  3. Boating
  4. Change of Time
  5. New Hungarian Folk Song (with voice)
  6. Stamping Dance
  7. Alternating Thirds
  8. Village Joke
  9. Fourths
  10. Major Seconds Broken and Together
  11. Syncopation (III)
  12. (a) Studies in Double Notes
(b) Studies in Double Notes
(c) Studies in Double Notes
  2. Perpetuum mobile
  3. Whole-Tone Scales
  4. Unison
  5. Bagpipe Music
  6. Merry Andrew
Volume VI
  2. Free Variations
  3. Subject and Reflection
  4. From the Diary of a Fly
  5. Divided Arpeggios
  6. Minor Seconds, Major Sevenths
  7. (a) Chromatic Invention (III)
(b) Chromatic Invention (III)
  2. Ostinato
  3. March
  4. Six Dances in Bulgarian Rhythm (I)
  5. Six Dances in Bulgarian Rhythm (II)
  6. Six Dances in Bulgarian Rhythm (III)
  7. Six Dances in Bulgarian Rhythm (IV)
  8. Six Dances in Bulgarian Rhythm (V)
  9. Six Dances in Bulgarian Rhythm (VI)

Music

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The opening (mm. 1–76) of "Boating" (V, 125) is typical of the modernist compositional techniques used in the later volumes, featuring the bimodal use of the pentatonic collection on E♭ in the right hand and either G mixolydian or dorian collections in the left:[8]

{ \override Score.TimeSignature #'stencil = ##f \relative c' { \set Score.tempoHideNote = ##t \tempo 4 = 120 \clef treble \time 5/4 es^\markup {RH} ges aes bes des \bar "||" \clef bass \time 6/4 \hide Staff.TimeSignature g,,,^\markup {LH} a c d e f \bar "||" } }

Volume VI contains the "Six Dances In Bulgarian Rhythm", dedicated to the English pianist Harriet Cohen. Bulgarian folk music is characterized by additive rhythm, that is, rhythm where the beats in each bar are of unequal length. For example, the first dance (148) is grouped into 4+2+3
8 (nine quavers in each bar), and the final dance (153) is grouped into 3+3+2
8 (eight in each bar).

Some pieces utilize extended technique, such as stomping or tapping in piece 9, holding down keys silently in piece 102, or singing in pieces 14, 65, and 127.

Pianists who have recorded all six volumes include György Sándor, Edith Farnadi, Homero Francesch, Zoltán Kocsis, Dezső Ránki, Jenő Jandó, Claude Helffer, and Georges Solchany [ru]. Bartók himself was the first to publicly perform pieces from Mikrokosmos, on February 9, 1937 in London.[9]

References

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  1. ^ Suchoff, Benjamin (1959). "History of Bela Bartok's Mikrokosmos". Journal of Research in Music Education. 7 (2): 185. ISSN 0022-4294.
  2. ^ Kube; Reutter, eds. (2016). "Preface". Sechs Tänze in Bulgarischem Rhythmus (1 ed.). Vienna, Austria: Schott/Universal. p. II.
  3. ^ Carpenter, Alexander. Mikrokosmos at AllMusic
  4. ^ Suchoff 1959, p. 194.
  5. ^ Kube & Reutter 2016.
  6. ^ Suchoff 1959, pp. 186–187.
  7. ^ Suchoff 1959, pp. 190–191.
  8. ^ Stein, Deborah (2005). "Introduction to Musical Ambiguity" in Engaging Music: Essays in Music Analysis, pp. 82–83. New York: Oxford University Press. ISBN 0-19-517010-5.
  9. ^ Suchoff, Benjamin. Béla Bartók: A Celebration, p. 83 (Scarecrow Press, 2004).
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