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[[File:Bartok Mikrokosmos Quartes for wikipedia.png|thumb|upright=2.0|The first 10 measures of No. 131, "Fourths"]]
[[File:Bartok Mikrokosmos Quartes for wikipedia.png|thumb|upright=2.0|The first 10 measures of No. 131, "Fourths"]]
[[Béla Bartók]]'s '''''Mikrokosmos''''' ({{Lang-hu|Mikrokozmosz|link=no}}) Sz. 107, BB 105 consists of 153 progressive [[piano]] pieces in six volumes written between 1926–1939 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> 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''''' ({{Lang-hu|Mikrokozmosz|link=no}}) Sz. 107, BB 105 consists of 153 progressive [[piano]] pieces in six volumes written between 1926–1939<ref>{{cite journal |last1=Suchoff |first1=Benjamin |title=History of Bela Bartok's Mikrokosmos |journal=Journal of Research in Music Education |date=Autumn 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> 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]].


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.
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.

Revision as of 15:11, 10 May 2023

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

Béla Bartók's Mikrokosmos (Template:Lang-hu) Sz. 107, BB 105 consists of 153 progressive piano pieces in six volumes written between 1926–1939[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 on other instruments; Huguette Dreyfus, for example, has recorded pieces from Books 3 through 6 on the harpsichord.

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.

The pieces are notable for their display of folk music influence, in their unusual tonality and additive rhythms. Barktók travelled extensively during the period 1906–1936 to rural Hungary, Romania, Algeria and Turkey, transcribing folk songs and dances; this is especially apparent in the final pieces of Mikrokosmos, Six Dances in Bulgarian Rhythm, as well as his Romanian Folk Dances (1915).[4]

Volumes

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

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:[5]

{ \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).

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.[6]

References

  1. ^ Suchoff, Benjamin (Autumn 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. ^ Kube & Reutter 2016.
  5. ^ 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.
  6. ^ Suchoff, Benjamin. Béla Bartók: A Celebration, p. 83 (Scarecrow Press, 2004).
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