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Alegre, §= 92 “VY Facsimile of de camposer's MS shown 2 sped won of No 147 "Mach (sprotucal by permis eter Baste CX p40 Talaimie des Manssptn gt dn Scick Ner47, Match’ ia ence ‘ecinicher Foroa (Nacrack mi Eas vr Peter art Siche ach S40 ‘fo ” (4s*) Le farcml€ du moment du compoaneur monte ue version spied [No.147 Marche leprodtcavslapermstinde Peer adh. l pages Folssimle scifneh az Indl cendingy ssmoy danas egy wilt tnelmant Kesatecl (meet krreatine Wnck. Der hovdiraiavalcienh Lisdags dlo. ir 140 14 142 143 a4 145 146 7 148 49 150 15 152 453 140 uy 13 44 145 146 147 148 149 150 451 152 153 Contents VOLUME 6 Foreword to the Definitive Edition Preface by the Composer 6 Free Variations 20 Subject and Reflection 24 From the Diary ofa Fly 27 Divided Arpeggios 21 Minor Seconds, Mejor Sevenths 24 Chromatic Invention (3) 28 Ostinato 34 March 40 Six Dances in Bulgarian Rhythm (2) 43 Six Dances in Bulgarian Rhythm (2) Six Dances in Bulgarian Rhythm (5) Six Dances in Bulgarian Rhythm (4) 53 Six Dances in Bulgarian Rhythm (5) 56 Six Dances in Bulgarian Rhythm (6) 59 Appendix: Notes 64 Inhalt meer 6 Vorwortzur revidierten Ausgabe 5 Vorwort des Komponisten 8 Freie Variationen 10 Bild und Spiegelbild 14 ‘Aus dem Tagebuch einer Fliege 27 Gereilte Arpeggien 21 Kleine Sekunden, groBe Septimen 24 Chromatische Invention (3) 28 Ostinato 34 Marsch 0 Sechs Tainze in bulgorischen Rhythmen (1) Sechs Tanze in bulgerischen Rhythmen (2) Sechs Tanze in bulgarischen Rhythmen (3) Sechs Tainze in bulgarischen Rhythmen (4) Sechs Tanze in bulgarischen Rhythmen (5) Sechs Tanze in bulgarischen Rhythmen (6) Anhang: Anmerkungen 64 4B a7 so 3 56 59. No. 140 ag 342 143 144 45 7 148 49 450 351 352 153 140 aan 142 143 14 145 147 18 149 150 a5 152 153 Index 6t votuME Preface a l'édition définitive 4 Prétace du compositeur 7 Variations libres 10 Image et reflet 14 Ce que la mouche raconte 27 Arpiges divisés 21 Secondes mincures, septiémes majeures 24 Invention chromatique (3) 2 Ostinato 34 Marche 40 Six danses en rythme bulgare (x) 43 Six danses en rythme bulgare (2) 47 Six danses en rythme bulgare(3) 50 Six danses en rythme bulgare (4) 53 Six danses en rythme bulgare (5) 56 Six danses en rythme bulgare (6) 59 Appendice: notes 64 Tartalom 6. eiaer Eldsz6 a gondosan javitott kiadéshoz 5 Flds26, irtaa szerz8 9 Szabad valtozatok 10 Tikrdzddés 14 Mesea kis kfgyr6l 17 Tarehangzatok valtakozva 21 Kis mésod- és napy hetedhangkzok 24 Kromatikus invencié (3) 28 Ostinato 34 Indulé 40 Har tine bolgar ritmusban (1) 43 Hat tane bolgér ritmusban (2) 47 Hat tine bolgar ritmusban (3) 50 Hat tincbolgér ritmusban (4) 53 Hat tanc bolgar ritmusban (5) 56 Hat tanc bolgir ritmusban (6) 59 Fliggelék: jegyzetek 64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 {was about nine years old (2933), he agreed to stare teaching re from the very beginning, His teaching progratnme did not follow an accepted ‘piano school’ technique. At first I was to sing only. Later, exercises ‘were improvised, directed partly atthe independent control of the fingers. In the eaurse of our lessons he sometimes asked me to wait while he sat down ar his desk, and I would hear only the scratching of his pen. In a few minutes he would bring tothe piano an exercise, ora shore piece, that | was to decipher right away and then learn for our next lesson So were born some of the easter pieces in these volumes However, he kept on producing others at a much faster rate than J could learn them, He wrote the litle compositions as the ideas occurred to him. Soon there was a large collection 10 choose from, 50 I could learn those assigned to me from a faic copy of the manuscripts. Eventually my father arranged the pieces in a progressive order for publication. He explained his choice of tite thus “The Mikrokosmos is a cycle of 153 pieces for piano, written with a didactic purpose. That is, to give piano pieces Which can be used from: the very beginning, and then going fon, it i graded according co difficulties” And the word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing small world. Or itmay be interpreted as “world of the hittle ones, the children” [Interview broadcast by wavyc, New York, in early 1945, on 4 programme entitled Ask the Composer.) For the present edition (1987) all known manuscript sourees have been compared with the original printed versions (first published in London and New York in April 3940) 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 ‘manuscripts with the printed editions and determining the necessary corrections; t0 Gyérgy Sandor for offering suggestions and assistance in deciding a number of musical problems; to Liszlo Somfai, ofthe Budapest Bartdk Archive, for making available copics of material in the Archive's possession, and to Jean-Marie Cassagne, Alliance Frangaise de Miami, for partial revision of the French cexts. 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), Peter Barrox 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 pare il n‘acceptait que des étudiants de piano avancés. Lorsque j/eus 9 ans (en 1933) jIconsentt pourtantdm‘enseigner 3 parti du début. Son programme ne suivit point une méthode d’enseigne- -ment des “écolesde piano”, Au début e chantais seulement. Plus tard, il improvisa des exercices pour développer en partic le contrdle indépendant des doigts. A Voccasion, fattendais durant nos legons pendant qu'il s'aseyait 3 son bureau et je n’entendais que le grinecment de sa plume. Quelques minutes plus tard il apporeat au piano un exercice ‘ou_une petite composition que je devais déchiffrer im _meédiatement et ensuite étudier pour notre prochaine legon. Crest ainsi que certains des morceaux faciles de ces volumes sont nés. Cependant, il continuait 4 en inventer autees plus vite que je ne ponvais les apprendre. Il écrivait ‘2s petites compositions d'une fagon spontanée. Bientdt, ily feut toute une collection, et je pouvais étudlier les pices qui m’étaient ossignées & partir d’une bonne copie du manvserit Plus tard, lors de la publication, mon pave arrangea les pices dans un ordre progressif. 1expliqua son choix du titre “Le Mikrokosmos est un eyele de 153 pidces pour piano, > a = Meno mosso, ¢ = 160 4 st Vivacissimo, 4 = 164 a ay ey ley fa?16 — py Pit mosso, 4 = 158 7 iFrom the Diary of a Fly v7 Ce que la mouche raconte ‘Aus dem Tagebuch einer Fliege Mese a kis légyrdl Allegro, 4+ 10 sopra 142 PP ——— See Sotto18 - __ Agitato, J:180 * A A 7 souehtacobwebi™® a bd od iS mf; molto ogitato ¢ lamentoso y mor egian ean > > 41> > > a tempo . poco rit -Se. Tempo I. (d = 168) (non ace.) 2 —_ =~ - Ss sempre’ rR __pace allang. : : > [2 min, 5 see]March Marche Marsch Indulé Allegro, 4 : 182 uae f -cemgre sin i F i sonora(min, 45 sec)148* Six Dances in Bulgarian Rhythm B Six danses en rythme bulgare Sechs Tanze in bulgarischen Rhythmen Hat tanc bolgér ritmusban Dedicated to Miss Harriet Cohen (de s50 ddd. 0) mfMeno vivo, 2. 20 poco a poco accelerando - 2 eo = le = =‘poco allang. . aa oT 8 i——— > min, 506)15 2 (sim)7 —= al J a = ae 7 t~ v v sie 212 hat i = 7 pif pleeg. ep et ? 2241 ys ss 1 ie te vee ae poor 2 6 ee ee : SS cerese. molto f a — A —== Pp : : ™ ae : ~ a al ob ; | |b ad Ta. pd |.emer : pock rit. - = atempo eg54te fae Meno mosso, @: 12 y oo Tempo I. poco allarg, -poco rit rm atempo [1 min. 25 se. (5) Allegro molto, od: « 6 3 0 5 t t ww | |5758 U1 min, 1356)153* simile be: 5960 gs 212524 strepitoso 2182121= | gf marcatissimoae a v {I min, 40 sec