BELA BARTOK MIKROKOSMOS 153 Progressive Piano Pieces 153 Piéces de piano progressives 153 Klavierstiicke, vom allerersten Anfang an Zongoramuzsika a kezdet legkezdetétdl 6 Nos. 140-15373 Mlegpe, 1202 Mee ay Fasimle of the composer's MS showing « sipltied vision of No. 147 Le fami lu mamasent de comput sew version spe “Mare eprducel by pec o otrBarts Cf p40 [No.147 Marche (eprodtcavseapcamstinde Peer BaGh. Cl page Talal det Marskrips, nog dis Sick Ne t47. Match’ jn emer alae sctaineh ax Ind einttngy. et dab egyesecbh scien Foo UNacarask mur Eslavbns von Peter arts Siche auch ort artalmar Resin milo hwendas Bark Deer S40 hovdiraiavalcienh Lisdags dl. ir 140 14 142 143 144 145 146 147 148 ug 350 15 152 453 1 142 143 44 445 146 7 148 149 150 451 152 153 Contents VOLUME 6 Foreword to the Definitive Edition Preface by the Composer 6 Free Variations 10 Subject and Reflection 14 From the Diasy ofa Fly 17 Divided Arpeggios 21 Minor Seconds, Major Sevenths 24 Chromatic Invention (3) 28 Ostinato 34 March 40 Six Dances in Bulgarian Rhythm (2) Six Dances in Bulgarian Rhythm (2) Six Dances in Bulgarian Rhythm (3) Six Dances in Bulgarian Rhythm (4) Six Dances in Bulgarian Rhythm (5) Six Dances in Bulgarian Rhythm (6) Appendix: Notes 64 59 Inhalt weer 6 Vorwort zur revidierten Ausgabe 5 Vorwort des Komponisten Freie Variationen 10 Bild und Spiegelbild 14 ‘Aus dem Tagebuch einer Fliege 17 Geteilte Arpeggien 21 Kleine Sekunden, groBe Septimen 24 Chromatische Invention (3) 28 Ostinato 34 Marsch go ‘Sechs Tange in bulgorischen Rhythmen (1} Sechs Tanze in bulgarischen Rhythmen (2} Sechs Tanze in bulgarischen Rhythmen (3) Sechs Tanze in bulgarischen Rhythmen (4) Sechs Tanze in bulgarischen Rhythmen (5) Sechs Tinze in bulgarischen Rhythmen (6) Anhang: Anmerkungen 64 e a7 50 3 56 59) No. 140 1g 442 143 144 145 146 47 148 149 150 451 452 153 Nr. 140 1gt ya 143 144 145 146 7 148 149 150 151 152 153 Index 6t votuME Préface a 'édition définitive 4 Preface du compositeur 7 Variations libres 20 Image et refler 14 Cequelamouche raconte 17 Arpiges divisés 21 Secondes mineures, septiémes majeures Invention chromatique (3) 28 Ostinato 34 Marche 40 Six danses en rythme bulgare () ‘Six danses en rythme bulgare (2) 4 B a7 50 83 56 9 ‘Six danses en rythme bulgare (3) ‘Six danses en rythme bulgare (4} Six danses en rythme bulgare (5) Six danses en rythme bulgare (6) Appendice: notes 64 Tartalom 6. edaer El6s26 a gondosan javitort kiadéshoz 5 Figs, irtan szerz8 9 Szabad viltozatok 10 Tukrézddés 1g Mese akis légyrdl 17 Tare hangzatok viltakozva 21 Kis masod- Kromatikus invencié (3) Ostinato 34 Indulé 40 Hat téne bolgér ritmusban (1) Hat téne bolgar ritmusban (2) Hat tinc bolgar ritmusban (3) Hat ténc bolgér ritmusban (4) Hat tanc bolgar ritmusban (5) Hat tanc bolgar ritmusban (6) Fiiggelék: jegyzetek 64 s nagy hetedhangkizik 24 28 a a7 go 53 56 39.4 Foreword 70 THE DEFINITIVE EDITION OF ‘MIKROKOSMOS’ During the period when I knew him my father generally accepted only advanced piano students. Nevertheless, when Twas about nine years old (1933), he agreed to start teaching, me from the very beginning, His teaching programme did not follow an accepted ‘piano school technique, At firs was to sing only. Later, exercises were improvised, directed partly at the independent control of the fingers. In the course of our lessons he sometimes asked me to wait while he sat down at his desk, and 1 would hear only the scratching of his pen. In 9 few minutes he ‘would bring to the piano an exercise. or a shore piece, chat 1 was to decipher right away and then learn for our next lesson, Sa were born some of the easter pieces in these volumes However, he kept on producing others at a much faster rate than I could learn them. He wrote the little compositions as the ideas occurred to him, Soon there was a large collection 10 choose from, s0 I could learn those assigned to me from a {aie copy of the manuscripts Eventually my father arranged the pieces in a progressive order for publication, He explained his choice of ttle thus “The Mikrokosmos is a eyele of 153 pieces for piano, written with a didactic purpose. That i, to give piano pieces which can be used from the very beginning, and then going fon, it is graded according 0 difficulties And the word Mikrokosmios may be interpreted as a series of pieces in ‘many different styles, representing a small world. Or it may. be interpreted as “world of the kiele ones, the children’ Ulnterview broadcast by wavxc, New York, in early 7945, 00 4 programme entitied Ask the Composer.) For the present edition (1987) all known manuscripe sources have been compared with the original printed versions (first published in London and New York in April 4940) and errors have been corrected in the effort to make this a definitive edition. 1 wish to record my thanks in particular to Eve Beglarian, for her work in comparing ‘onuscripts with the printed editions and determining the necessary corrections; to Gyérgy Sandor for offering suggestions and assistance in decding a number of musical problems; to Liszl6 Somfai, of the Budapest Bartok Archive, for making available copies of material in the Archive's possession, and to Jean-Marie Cassagne, Alliance Francaise de Miami, for partial revision of the French texts. The translations have been finally revised by Gale Garnett (English verses), Ellen L. Spiegel (French texts and verses) and Jorg Behrendt (German texts and verses). Perex Barrow Homosassa, Florida, 1987 © copurgt 9 by Boosey Hey Musi Pablabrs ad Préface A VEDITION DEFINITIVE DU “HIKROKOSMOS” Durant la période od j'ai connu mon pére il n‘acceptait que des étudiants de piano avaneés. Lorsque jeus 9 ans (en 1933) il consentt pourtant a m‘enseigner partir du debut. Son programme ne suivit point une méthode d'enseigne- ment des “oles de piano". Au début je chantais seulement. Plus tard, il improvisa des exercices pour développer en partie le contrile indépendant des doigts. A Focasion, Yattendsis durant nos legons pendant qu'il s'asseyait 8 son bureau et je nentendais que le grincement de sa plume. Quelques minutes plus ord il apportait au piano un exercice ‘ou une petite composition que je devais déchiffrer im- _médiatement et ensuite étudier pour notre prochaine legon. Crest ainsi que certains des morceaux facies de ces volumes sont nés. Cependant, il continuait 4 en inventer aurres plus vite que je ne pouvais les apprendre. Il éerivait ‘es petites compositions d'une facon spontanée. Bientét, ity feut toute une collection, et je pouvais ctudier les pitees qui mtaient assignées @ partir d’une bonne copie du manuserit Plus tard, lors de la publication, mon pire arrangea les pitces dans un ordre progressif. expliqua son choix du titre ainsi “Le Mikrokosmos est un eycle de 153 pices pour piano, écrit dans un but didacique. Cela veut dire qu’on commence avec des morceaux facile et on continue en progression plus dificil. Es le mot Mtkrokasmos peut ére interprété comme ume série de pigces de styles différents, représentant un petit monde, Ou on peut Je comprendre comme te ‘monde des petits, des enfancs’” [Entrevue dannée a la radio wc, Now York, au debut de 1945, lors d'une émission intitalée Demandez au Compositeur.] Pour la présente Glition (1987) toutes les sources de ‘manuscrit connues ont &é comparées avec les versions originales imprimées (parues pour la premiére fois Londres et 4 New York en Avril 2940}, et coutes les erreurs ont éré corrigées afin Warriver & cette dition definitive. Mes remerciements les plas sincéres vont & Eve Beglarian qui a comparé les enanuscrits avec les éditions imprimées et qui a ddécerming es cortections nécessaires; 4 Gyiirgy Siindor pour ses conseils et son assistance; a Laszl6 Somfai des Archives Bartk a Budapest pour les copies des docaments apparte- nant aux Archives, et & Jean-Marie Cassagne, Alliance Frangaise de Miami, qui a révisé partiellement les textes frangais. La révision finale des traductions est Vocuvre de Gale’ Garnett (paroles de chansons anglaises), Ellen L. Spiegel (paroles et textes francais) et Jeg Behrendt (paroles ‘et textes allemands). Perer Bantox Homosassa, Floride, 1987Preface The first four volumes of Mikrokosmos were written to provide study material for the beginner pianist ~ young or adult and ave intended tv cover, as far as possible, most of the simple technical problems likely tobe encountered in the early stages. The material in volumes t~3 has been designed to be sufficient in itself for the first o frst and second. year of study, These three books differ [roma onventional ‘piano ‘method’ in that technical and theoretical instructions have been cmuted, in the belief thas these are more appropriately left for the teacher t@ explain 10 the student. in. many instances a number of pieces are provided which relate to simular specific problems; teachersand students thus have an ‘opportunity 10 make their own selection. In any ease itis neither necessary, nor perhaps even possible or permissible, forevery student to learn all ninety-six pieces. To facilitate the teacher's task, exercises are included in an ppendis to each vf the first four volumes. The numbers in parentheses next to each exercise-puimber indicate the pices containing problems 1a which the exercise relates. Some- times the same technical problem is deals with in mote than fone exercise. Again, the teacher should make a selection according 10 the student's ability, giving the more difficult exercises to the more able student and the easier ones 10 those with less skill. These exercises should be studied some time in advance of, and not immediately before, attempting talearn the pieces containing the related problems. It will be obvious that na really elementary exercises have been included, e.g, five-inger exercises, ‘thumb-under’, simple broken triads, etc.; in this respeet too, there has been a departure from the customary ‘piane method! approach. In any event, every teacher will be familiar with suitable exercises at this level, and will be able to judge sshat the student can play. ‘The progressive sequence of she pieces anvl exercises as to technical and snusical difficulty is only an approximation: the teacher may modify the given order taking account, a8 appropriate, of the stadent’s ability. The metzoname marke ings and indicated duration should be regarded only as a aide, particularly in volumes 1-3; the fest few dozen pieces nay be played ata faster or slower fempo as ciccumstances dictate, As progeess is made, the tempi should be considered as Tess variable, and in volumes 5 and 6 tenipo indications sust he adhered to. An asterisk (*} next to the number of a Piece means that a corresponding explanatory nore will be found in the Appendix to the volume, A second piana-part has been provided for four pigces ~ Nos. 43, 44, 55 and 68. JF is important that students begin censemble-playing st the earliest possible stage. OF course the pieces written for two pianos can only be used in a classroom teaching situation whereas they should be— two Pianos are available. Four other pieces ~ Nos. 65,74. 95 and 427 ~ are written as songs with piano accornpaniment, All instrumental study or training should really commence with the stadent singing, Where this hus been she ease, the perfurinance of pieces for voice and piano should not be hard to accomplish. Such pieces offer very useful practice in reading three staves instead of two, the student singing while playing the accompaniment at the sime time. To make things easier, solo piano versions of Nos. 74 and gs have also been supplied. This version should be learned frst, and only afterwards should the student turn to the version for voice and piana, Various performance possibilities for No. 45 will bbe found in the Appendix to volume 2 Work on volume 4 may — indeed should ~ be combined with the study of other compositions suck as the Note Book for Anna Magdalena Bach by |.S. Bach, appropriate studies bby Ceerny, ete, Transposition of the simpler pieces and ‘exercises into other keys is recommended. Even transcrip tion of suitable pieces from volumes 2=; may be attempted. (Only ‘strict’ transcription isinoplicd here, for instanceat frst doubling octaves as on 3 harpsichord. Additionally, certain pieces could be played on two pianos, an octave apart, e.g Nos, 45, 51, 56 etc, More adventurous modifications might be atzempred suck as simplifying che accompaniment to No. 69 (volume 3) 3 etc,, though the adaptation of bars to-13, 14-15, 22-23, 36-27, 30 and 52-33 may eal for a faie amount of mental agility. Many more opportunities exist in this area: sheie proper solution should be dictared by the teacher’s or the more resourceful students’ ingenuity, ‘And while on the subject of ansctiprions, ir may be meted that some pieces ~ among easier ones Nos. 76,77, 78, 79, 92 ‘and 104b; among the more diffcule Nos, 117,118, 125 and 145 ~ are suitable for playing on the harpsichord. On this instrument, doubling actaves is achieved by registration Finally, attention is drawn to another application of Mikrokosiios: mote advanced stadems may find the picocs useful as sight-reading materia. Béta Bartox140 Free Variations Variations libres Freie Variationen Szabad valtozatok Allegro molto, J=160 , ‘, t2, sempre leggero12 Zi dogpio pit lento, aooel. - Ec 7 7 7 2 : _ dso Molto pit calmo, lugubre, d)- 102 . ‘ fs intenso4 i “Tin 400s}14 Subject and Reflection Image et reflet Bild und Spiegelbild Tikrézédés Allegro, 4 = 136-144 4 141 Sf, ben ritmato Pit mosso, ¢ = 156 KY Vivacissimo, d = 164 pe 21 1Meno mosso, d = 160 1 ft Vivacissimo, ¢ = 164 5 ty iy fa ty 216 pif “Tiga i J. 0 Pik mosso, ¢ = 156 1 | ~tmin. 16sec]From the Diary of a Fly Ce que la mouche raconte ‘Aus dem Tagebuch einer Fliege Mese a kis légyrdl Allegro, 4:46 seer rP 1718 poco string. sotto, 8 _ Agitato, J: 180 A “Ouch! acobweb!" ¥°Oh, une tile araignée! *OWeh! Spinnennetz!” Tj kl”con gioia, leggero 1% Sopra 42 Be A Oe of fi dim) - sotto 7 7 ite 3 . 3 3 sotto 220 ——— [H min. 35sec]Divided Arpeggios Arpages divisés Geteilte Arpeggien Tort hangzatok valtakozva Andante, d- ca se 143 ater ‘mexea voce un poco stentato 21rallentando - [2min. 5 se.24 Minor Seconds, Major Sevenths Secondes mineures, septiémes majeures Kleine Sekunden, groRe Septimen Kis masod- és nagy hetedhangkézik Molto adagio, mesto, ¢:58 5 = = = (sempre simile) poco string... tornando al tempo poco string.- = tornando. . al. . tempo(un, poco moss) poco a poco accelerando. - - . . . Se eo = > nt sempre|piir gravel ¢ orese. te fe - = = a i sce Appendix (Editor) => = - - -movimento Doppio | Tempo I. 2 Voie Appendic (Note du rédocteur) Siehe Anhang (Anm. d Hrsg.) Lind figgekben az idevonatkons megjegyzést (ends megiegyzése)26 un poco pittintenso Pitt andante, d-r2 intenso —~ poco string. Aa |pit intenso grave e poco a poco. - crescendo. bepoco U a poco - = accelerando - i by ae ‘2 [3 min. 25sec]145* Chromatic Invention (3) Invention chromatique (3) Chromatische Invention (3) Kromatikus invencid (3) a) Allegro, d:16424 erese « A A 4 i 2 4ee ee ee coin al fine con Bad Hp). con 8(ad lib) {min 15 se}145* b) Allegro, J. 14 5 te 2 St TF 3132 acceterandosin al fine 13 fe 2 3 [1 min, 15 se] 3334 Ostinato Ostinato Ostinato Ostinato Vivacissimo, 4 : 170-108 146 SP eee a o . e = a 2 . aMeno vivo, d= 144 4 fr ‘ FP (sub.fo. . eR ei 2 2. RSM ef 2 Le Tempo I. (d = 188) (non aco.) 2 - ee sempre f rRpace allang. : : » [2 min, 5 see]March Marche Marsch Indulé Allegro, 4 = 1x2 7* tfsengre sn 4 F ' sonora(min, 45sec)148* Six Dances in Bulgarian Rhythm 48 Six danses en rythme bulgare Sechs Tanze in bulgarischen Rhythmen Hat tanc bolgér ritmusban Dedicated to Miss Harriet Cohen (1) od 80 (ddd a9) mf44 aed bo some | ee fersempre f° Sta cipooo allarg. Giteae 4. «. es a es rm Tempol. = > i) fiteeesy , sempre f _ye- mare. co rit, Tempo I. (min, $06)149*we fe ee eeerese molto -54wo 1% Tempo I. poco allarg, -poco rit : Pp atenpo cf [1 min. 25s.)5758 [1 min, 13566]153* simile simile be: 5960 S21 52121 52182124 zi strepitoso A a2 A | cee tr rire Ce Cera (en CEP ter~ | Qf marcatissimo-# a rininn Sf, a oo v [I min, 40 ec