BEL

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BARTOK

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MIKROKOSMOS
Piano Pieces 153 Pieces de piano progressives 153 Klavierstiicke, vom allerersten Anfang an Zongoramuzsika a kezdet legkezdetet81
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Contents
VOLUME

Index
6E VOLUME

6 4 No. 140 14 17 24 141 142 14) 144 145 146 147 43 47 148 149 150 151 152 153 28

Foreword to the Definitive Edition Preface by the Composer 6

Preface

a l'edition

definitive 7
10

4

Preface du eompositeur Variations libres Image et reflet Arpeges divises 14

10. 140
141 142 143 144 145 146 147 148 149 150 151 152 153

Free Variations

10

Subject and Reflection From the Diary of a Fly Divided Arpeggios 21

Ce que la mouehe raconte
21

17 24

Minor Seconds, Major Sevenths Chromatic Invention (3) Ostinato March 34 40

Seeondes mineures, septiernes majeures Invention chromatique Ostinato Marche 34 40 43 47 (3) 28

Six Dances in Bulgarian Rhythm {I} 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

Six dames en rythrne hulgare (1) Six danses en ryrhrne bulgare (2) Six danses en rythme bulgare (3) Six danses en rythme bulgare (4) Six danses en rythme bulgare (5) Six dames en ryrhme bulgare (6) Appendice: notes 64

50
53 56 59

50
53 56 59

Inhalt
HEFT

Tartalom
6.
FUZET

6

Vorwort zur revidierten Ausgabe Vorwort des Komponisten ~r. 140 141 142 143 144 145 146 147 148 149 150 151 152 153 Freie Variationen Bild und Spiegelbild Geteilte Arpeggien
10

5
Nr. 140

El8sz6 a gondosan javitott kiadashoz H5sz6, irta a szerzd Szabad valtozatok Tukrozddes 14 17
21

5

8 141 17 24

9
10

14 21 28

Aus dem Tagebuch einer Fliege Kleine Sekunden. groge Septimen Chromatisehe Invention (3) Ostinato Marsch 34 40

1:42 Mese a Ids legyrdl 144 145 146

1:43 Tort hangzatok valtakozva Krornatikus invenci6 Ostinato Indulo 34

Kis masod- es nagy hetedhangkozok

24

b)

28

147
43 47 148 :149

40
43 47

Seehs Tanze in bulgarisehen Rhyrhmen (1) Seehs Tanze in bulgarisehen Rhythmen (2) Seehs Tanze in bulgarischen Rhythmen (3) Seehs Tanze in bulgarisehen Rhythmen (4) Seehs Tanze in bulgarisehen Rhythmen (5) Seehs Tanze in huIgarisehen Rhythmen (6) Anhang: Anmerkungen 64

Hat tanc bolgar ritmusban (1) Hat tanc bolgar ritmusban (2)

50
53 56 59

:150 Hat tanc bolgar ritmushan (J)
15:1 Hat tanc bolgar ritmusban (4) 152 153 Hat tanc bolgar ritmusban (5) Hat tanc bolgar ritmusban (6) Fuggelek: jegyzetek 64

50
53 56 59

4

Foreword
TO THE DEFINITIVE EDITION OF 'MIKROKOSMOS'

Preface
A L'EDITION DEFINITIVE DU "MIKROKOSMOS"

During the period when I knew him my father generally accepted only advanced piano students. Nevertheless, when I was 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 first I 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 I would hear only the scratching of his pen. In a few minutes he would bring to the piano an exercise, or a short piece, that I was to decipher right away and then learn for our next lesson. So were born some of the easier 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 to choose from, so I could learn those assigned to me from a fair copy of the manuscripts. Eventually my father arranged the pieces in a progressive order for publication. He explained his choice of title 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 on, it is graded according to difficulties. And the word Mikrokosmos 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 little ones, the children".' [Interview broadcast by WNYC, New York, in early 1945, on a programme entitled Ask the Composer. J for the present edition (1987) ail known manuscript sources have been compared with the original printed versions (first published in London and New York in April 1940) and errors have been corrected in t he effort to make this a definitive edition. I 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; to Gyorgy Sandor for offering suggestions and assistance in deciding a number of musical problems; to Laszlo Somfai, of the Budapest Barrok Archive, for making available copies of material in the Archive's possession, and to lean-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 lorg Behrendt (German texts and verses).
PETER BART6K

Durant la periode ou j'ai cormu man pere il n'acceprait que des etudiants de piano avances. Lorsque reus 9 ans (en 1933), il consentit pourtant a m' enseigner a partir du debut. Son programme ne suivit point une methode d'enseignement des "eccles de piano". Au debut je chantais seulemenr, plus tard, il improvisa des exercices pour developper en partie le contrdle independent des doigts. A l'occasion. j'attendais durant nos lecons pendant qu'il s'asseyait a son bureau er je n'entendais que le grincement de sa plume. Quelques minutes plus tard il apporrair au piano un exercice au unc petite composition que je devais dechiffrer imrnediatement et ensuire etudier pour notre prochaine lecon. C'esr ainsi que certains des morceaux faciles de ces volumes sont nes, Cependanr, il continuait a en inventer d'autres plus vite que je ne pouvais les apprendre. II ecrivair ces petites compositions d'une fa~on spontanee. Bientot, iI y eut toute une collection, et je pouvais erudier les pieces qui metaienr assignees a partir d'une bonne copie du manuscrit. Plus tard, lars de la publication, man perc arrangea les pieces dans un ordre progressif. II expliqua son choix du titre ainsi: "Le Mikrokosmos est un cycle de 153 pieces pour piano, ecrit dans un but didactique. Cela veut dire qu'on commence avec des morceaux faeiles et on continue en progression plus difficile. Et le mot Mikrokosmos peut etre interprete cornme une serie de pieces de styles differenrs, representant un petit monde. Ou on peut [e comprendre comme le 'monde des petits, des enfants." [Entrevue don nee a la radio WN YC, New York, au debut de 1945, lars d'une emission intitulee

Demandez au Compositeur.]
Pour la presente edition (1987) routes les sources de manuscrit connues ont ete cornparees avec les versions originales imprirnees [parues pour la premiere fois a Londres et a New Yor k en Avril 1940), et tou tes les erreu rs on tete corrigees afin d'arriver a cerre edition definitive. Mes rernerciernents les plus sinceres vont a Eve Beglarian qui a compare les rnanuscrirs avec les editions imprimees et qui a determine les corrections necessaires: a Gyorgy Sandor pour scs conseils et son assistance; a Laszlo Somfai des Archives Bartok a Budapest pour [es copies des documents apparrenant aux Archives, et a lean-Marie Cassagne, Alliance Francaise de Miami, qui a revise partiellement les textes franca is. La revision fi nail' des traduction s est I'oeu vre de Gale Garnett (paroles de chansons anglaiscs], Ellen L. Spiegel (paroles et textes francais) et Iorg Behrendt (paroles et textes allemands).
PETER BARTOK

Homosassa, Florida, 1987

Homosassa, Fioride, 1987

© Copyright,

987 by Boo,ey & Hawke, M",i( Publisher« Ltd

6

Preface
BY THE COMPOSER

The first fou r volumes of MikrokOSllIos were written to provide study material for the beginner pianist - young or adult - and are intended to cover, as far as possible, most of the simple technical problems likely to be encountered in the early stages. The material in volumes 1-3 has been designed to be sufficient in itself for the first, or first and second, year of study. These three books differ from a conventional 'piano method' in that technical and theoretical instructions have been omitted, in the belief that these are more appropriately left for the teacher to explain to the student. In many instances a nu rnbcr of pieces are provided which relate to similar specific problems; teachers and students thus have <In opportunity to make their own selection. In any case it is neither necessary, nor perhaps even possible or permissible, for every student to learn all ninety-six pieces. To facilitate the teacher' s task, exercises are included in an appendix to each of the first four volumes. The numbers in parentheses next to each exercise-number indicate the pieces containing problems to which the exercise relates. Sometimes the same technical problem is dealt with in more than one exercise. Again, the teacher should make a selection according to the student's ability, giving the more difficult exercises to the more able student and the easier ones to those wi th less skill. These exercises should be studied some time in advance of, and not immediately before, attempting to lea rn the pieces containing the related problems. It will be obvious that no really elementary exercises have been included, e. g. five-finger exercises, 'thumb-under', simple broken t ri ads, etc.: in t his respect too, there has been a departure from the customary 'piano method' approach. In any event, every teacher will be familiar with suitable exercises at this level, and will be able to judge what the student can play. The progressive sequence of the pieces and exercises as to technical and musical difficulty is only an approximation; the teacher may modify the given order taking account, as appropriate, of the student' 5 ability. The metronome markings and indicated duration should be regarded only as a guide, pa rticu la rly in volu mes 1- 3; the fi rs t few dozen pieces may be played at a faster or slower tempo as circumstances dictate. As progress is made, the tempi should be considered as less variable, and in volumes 5 and 6 tempo indications must be adhered to. An asterisk (~) next to the number of a piece means that a corresponding explanatory note will be found in the Appendix to the volume. A second piano-pa rt has been provided for four pieces Nos. 43, 44, 55 and 68. 1 t is important that students begin ensemble-playing at the earliest possible stage. Of course the pieces written for two pianos can only be used in a classroom teaching situation where ~ as they should be - two pianos arc available. Four other pieces - Nos. 65,74,95 and 127 - arc written as songs with piano accompaniment. All instrumental study or training should really commence with the student singing. Where this has been the case, the performance of pieces for voice and piano should not be hard

accomplish. Such pieces offer very useful practice in reading three staves instead of two, the student singing while pla ying the accorn pa ni men tat the sa m e time . To make things easier, solo piano versions of Nos. 74 and 95 have also been supplied. This version should be learned first, and only afterwards should the student turn to the version for voice and piano. Various performance possibilities for No. 65 will be found in the Appendix to volume 2. Work on volume 4 may - indeed should - be combined with the study of other compositions such as the Note Book for Anl1rl Mrlsdalcl1rl Bach by J. S. Bach, appropriate studies by Czerny. etc Transposition of the simpler pieces and exercises into other keys is recommended. Even transcription of suitable pieces frum volumes 1-3 may be attempted. Only 'strict' transcription is implied here, for instance at first doubling octaves as on a 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 attempted such as simplifying the accompaniment to No. 69 (volume 3):
to

etc.. though the adaptation of bars lO-II, 14-15, 22-23, 26-27, 30 and 32-33 may call for a fair amount of mental agility. Many more opportunities exist in this area: their proper solution should be dictated by the teacher's or the more resourceful students' ingenu ity. And wh ile on the su b j ect of transcri ptions. it rna y be no ted that some pieces - among easier ones Nos. 76,77,78,79,92 and l04b; among the more difficult Nos. 117, "118, 12) and 145 - are suitable for playing on the harpsichord. On this instrument, doubling octaves is achieved by registration. Finally, attention is drawn to another application of MikrokoslllOs: more advanced students may find the pieces useful as sight-reading material.

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~# J = 160 # #_ "Ouch! a cobweb!"!' - ~ .. ( I t 0 poco 0 cresco ~ t - 0 - 0 -. . -4f. . mp 0 ....... - iii ri L v "If: motto I ----- agitato e lamentoso I <. -" 0 0 Agitato.._ 0 0 .. 0 >. 0 '-" > ....__ ... < ~ t I ~ t. I'~' " 0 0 I ~ f7i - - - I 1 v 0 - LJ v I ...:. 0 0 .... I 0 11 ... 0 o~ 0 0 ~ 0 0 o~ "4 sopra t S 0 ~ _1 ... ... .0 0 0 0 " 1 . 0 0 5 >- --0 0 0 .. -I 0 0 - 0 - 2 I~4_______ sopra - 2 0 Jt - -_ > 0 III":' !--------. _ 0 0 0 ~~J~_~l~ " y 0 0 0 " ~1~ I ~ _ _~1 -. I 0 0 I I r 0 0 0 1 I I1 . - • ~ .. S I ... une toile d' araignee!" "0 Weh! Spinnennetz!" "Jaj. 2 / 0 0 0 0 0 >----- --II II!' 0 > o... 0 I 0 15 1I 0 poco string. -P~ ~ 0 poco a " I ~ ~ 0 . I~ \ to - - I' - - ... -. \ to L v L v " 5 1 1) "Oh... 0 j)"! 0 .1 l - ... _ sott0 0 1 0 0 0 '--' .. - 0 ~~ s t ~ rri H L v . . 0 0 on 5 o ..- v ~ t_. S I 0 2 0 sotto _ o - - - -- -- r 2 1 ..--. 3 ~ ~~~ ~ S . S o 5 5 fl 0 . pokhalo l!" .1 -2 1. " _..18 I. sf : ._... 0 0 I 0 I tJ . 1.

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- I) (dim. .___:_ .~ ..--:::::::::~~J~~.- 5_..:._ .-- _____ 1 ~~ -.... IJ 1".. - - 11 ~ .r: -1 4_ 8 4 ~ \ (-..!4 <. - at _ tempo /1. .. .22 \) " I f1 - -~Tqp. . mf ._.. I ..2 ..- ( espr: ... ~ .. - ace......'f.~ .._ -"l...-- ..... 1 ~ cresco .. IJ f2--- 1~ __......:: ~ ~ ~~ :--- -....::I .. k_ 1--- r J [prri 11 II. 8 5 - •. fl - 5~~11)~5_ ~ ( ... II dim.. t 1 . t ...J I) .-2 - . ....... TI - - -----.... a tempo_ _---2/ . ~ 5 - ---5 sotto 5 1/" ~ 4 p sopra I) < \ f1 ~ 8.. -' .~....

. k..r r'L ... [2 min.( t.. ~.:» : J~. 5 sec. IJ L ~ ~~iL ] ~- ~ .J I fI fl ... r~r . .. - - ~ - 5 - 5 ~ .~ J TT - - .. a6~ L ~ ~ I . < -u. - f. ~r~ < ~ t.> r-.. 6_ ~ . 11 5 23 I ) fI ~..1 a -= ~ ~ f I · · .."""--"--- r-... .] .\ ~.l~ cresco ~ .J ~. ~r~ II ~.~ · I· .. . - 1\ _____ 5 #1__/ /t ~ f.. .. II - - • - • 11 - - ~.. tJ -- v "5 ~-~~. ... v . r p 1 ~ . 5~· . -rr ~k...

.es nagy hetedhangkozok Molto adagio ..~ ~~~ .n t _ "'I ...mesto . : LJ r _ ~ "-' =- ~ 1'1 .ft1~.. F:1. • '7". 'fj p (sempre simile) '- 'L::J . _ . .. . I ~ . .8. septiernes majeures Kleine Sekunden.L 0 - poco I S:lj ..J ....~ _-.-. I ~ .J = 56 I 144* . r--1 1 lioj .. . " I .. _ ~ ===- I. . al tempo . grolse Septimen Kis masod. Major Sevenths Secondes mineures._ :rl . ..' poco string-..24 Minor Seconds.. I ~ . ~J _ -~ ~.o.. ~ I:.:j_ . tornando ~ .j .. I ~ _p:-. I .J ... r.. I ~ . I ~ l~ I t .. t. .... .~ I Ti .. - ..

.-' 1iIi=". tJ~f 6 "11.. rr . .--:---.. j~ }- -~ I j ~ t..T 1-----intensMo.. Jr 11 <:»: .._ ... - ___!_empre piii grave IT' ..#~r 7. ~ r r 7... 't: 9:. ...) Lasd a fuggelekben az idevonatkoz6 rnegjegyzest (a kiad6 megjegyzese) . __ . ..:.. 1) Voir I'Appendice (Note du redacteur) Siehe Anhang (Anm.... .: - ~~ n - ft ~ - n - - Lu--- ---y__ --- --- u- --- see Appendix (Editor)!' ..-__ 1~#'6- e cresa . ---=-- 25 !. c.#~ 0 I!F" -~ .:. . .. 1 . Hrsg.. -- : 1 -1 --I' I 1 ... ~ -I I' ~ Ult.. ~ ( I ~~ ~ . 1 £ntenso ~rf: I~ ~ ._. 7... accelerando: #E ---'-'" -11 --.... ~ ~ - - ~ - '"'i n 4...'6---poco ~ ---a poco _.. 1 ._ .. _..-_.... I~#~ r.~q4~J pp u6 la ee~J pp 6 intenso 4. #0 iT ---~ -f n j9- ..1~ n . .t.. I ...I ..--...._ tornando _ _ al _ ~ 10 _ tempo(un'lpoco_mosso)J: 66 ~ \ / . 1---._.:. r.. 1 . 1 I Ir1..-. d.... r ~ I F' \ ) / fl ~ fl . intenso ..-------------i'--... - ~ dim.._ 1"""" ...:. ... ~ 'I .

- . . I I I_I ~. - ~ ~ ~ ~ . I I ..Ja 1- ~ . / . I I ~~ ~ ..' . ~. I !. Is intense 1-1 I 1 ~r. intense 81 J:72 I I fJ t. I -f ttc... - iR-'_.:.~ p'lu'mtenso Mosso /~~J 1- t grave e 2 'I~--- " poco ~ ~ a poco_ ~~ .26 un poco piu intenso Pill andante.' ~~ crescendo _ .'~'. I .. ---.i - .'. ~! I ~ ~ F- ~. _ - :: - - "'I.#~ dim. if ::. p'lU'ln t enso 11 ~ t. ~#~ s 1 ~#! - - -If· - .~ 2 • ~~ -* "'I. I poco string. ._ s I 1 \) ~ .ft. .

. I f'-'"" < \ I ~ I L _HQ - 11. ~ ~ r· -* [3 min.._.. . ~ ~ - ... - _- -f pp . ...- ~ . ......- I~ . _ Ho 1-"--". - . 27 - ~ ~ - ~ /n t. I!!!!ri . I'~ -.. -_. _tornando .~~ - - p pp ~ 'LI l' .-.. _ Ho.-* ~- 5 ( t: \ I ~~ - _l J... < \ .. I fl ~ I~ . _ acceterando : 1~ 1 . l~ _ al _ Tempo I.0.. .] . - ~ ... 25 sec.. _H. - - I 'LI - .. I 1 1. t... I ~n - t: cresCo - - - ~ ~ - - - - - - - - - - - r. M':' - -- • - ~ - ~ Pll - 1'0:" ..

_ ~-: if~ 1 TI ~. . . sf 3 . 4 ~~. 1 ~ 2 2 J t · I.. ~..sf \. ~ 1 - \. 10. · t.. 8 I \ ) t \.~~ sfif ~ 1 1 ...8 I I sf if .. . 2 --fI'TI T 4 4 8 . I T "l - Sf ~ ~ ~ 1 ~.~~..28 Chromatic Invention (3) Invention chromatique (3) Chromatische Invention (3) Kromatikus invenci6 (3) 3 145* f ~~ t. t / -i- 2~ 10.. . ~~ ( : .u4 '- - ~ 'lJ 8 @ 11 5 v fI'- menof T · · ~~ 8 !: ~~~ 2 :~ ~!: '8 fI'- T5 r . sf fI'- . 2 11 · · ~ .. I H" ". 2 ~ ) t l / '.~ . .1if~ •~ j~ ..... : 11 ..._~~.. .

-.... ....______ .. 8 · · · ·-- "~ r It -v-v. • 2 8 . \ / t: - ~ ... 8 . cresco _ 11 - - - - - - - r It - 1...u 4 ~........-..."...... 5 2 29 - - - menof 2 . :> ~. ~ . I.-f I "'- -. ... 2 T 2 1 :> ..--.. 8 -r:: 2 :> 2@ 5 2 :> 2 :> 1 1 2 ... - ... - 1fW' - " - - - - 11'_ - - " T - - - - -r - -- -. . ..T'" 2 accelerando _ I ._._' r TT..1 - - - . 8 ... :> .... --r . - :> 5 ~-#!_... .. fl 2 2 1 ~ ~ . fJ ':: 2 t....: ~ ~ ~ l· · j - - 4 . ........- - 8 ... 8 fl @ 1 1 1_ 1 ~~ t....- " - iii ..... ftcresco _ :> :> 1 #~. H.

. .. -"'- _...] ..... 15 sec......... I t ·" · ....... .... I · · -- •• 1 ..._sin at fine 30 -jJ' @ 2 1 8 2 1 con 8(ad IfbJ con 8(ad : ta: ..... . ::> 1 2 I 'IJ It.. I 2 1 _ J = 200 5 1 [1 min.. ~!" It...- 107- .... L ....~ #!" ~t 1 ~~ ! .~ 2 - -8 1 It..... 1 8 2 4............

. 145* · (· ) f #._ I 1 . 4 .- Lo a :. ..b) Allegro..2 r . Jl. - . . I2 1. 1 8 . I ) · · ~..fI..... ..~~ . 8 ( ) - 8 5 ~I .... ~ 1 h~ 4 ~b~ ~ m~f 5 .if Lif_.... 1- r fl ' .____ 2 ~. ~~. f s . 3 I t: 1 fl ..... .. sf L . sf I .. 3 ._" if . if.~ 5 J : 144 1 L ~ 1 3 - - ~- - - 31 · I· Tt~ · · ~~#~ ~ 4 L_ 5 T L _lol_ 1 L _101 ~. 8 r. ._ 101_ 1... ~-!" I I ""---I 1 8 · · ~.(L 2 . ~ 2 4 ) ( I tJ ~T qT .. L ~ l 1 1 fl · · r4t q~ 1 11- . if ~ if.

....... accelerando -s ~ .J - - - - - s - - S ~~____. : A L A 2 u........ 2 - " ~----- - 2 1 5 1 fl > " @" I> ::!. 5~ _ > _ A _ 2 A ~~u~~_~·~~_~~~·~~r~~~~~~~~EI~~~~~~~~~~~"~..--~ I :. - f " #~ 11 "! ~ #. cresco ~~. > ...T ...... - - - - - - 2 - " 1 1'> 2 \ ) / fl 2 A_ L_ bb... 4 #T____.... - -.. 8 . > U >• .. cresCo @- • r ~~ S 1 8 S..'>. '~. ~ 4... 1 " ._ ) \u L= 1 1 - 1 - - . _. >. 11 L ..... ..j....E fl n . ~ · · - 4..... 2 r · · ... " 1 -~.. "! "!" 2" fl L _1.32 ) ( fl t- 2 I m~of .....T .. L. 1 - r - - t '----I · - - . A tu - - 11''' .LI.. . 4... -....... \ ) ~ / ! .L_ ~. > S 8 ..

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!/" - i " :....168 · · 11... ". e~~~ 5 : ~ --- - j ~ ~ \..i f . · · " - - - -- --- - u -- -Ll _ "- ~..I 11 .._. if.s _JI 5 5 ~"..I - -- f~ 11 _ - -- ~. -- -* . / II . "'L-w ~ 5 f. S---J> . p \ ) · · --- 11 S r'\ ffi.. · · T -- - L...~ - -- . 11 __ " L.I''"' III _ - f ..L - T -- - u -- '"'~ . : - - - l! _ Ll _ 1_ Io~ 1 - - -- Ll - - ~ ....1 ~.j~ - 11 * to ~ ~~ .L - -- -. · _ k .34 Ostinato Ostinato Ostinato Ostinato Vivacissimo. 146 \) t · · J = 176 .j f. o/:::j I~ -T '~kJ ~~~ ) ~ ~fJ I . · · · · Ll ~..- ) t:r_. .( ~ ..

*~.35 ~. - * f . 3 2 dim. 3 2 * ~.

~. • b~J " • '~"~ .:t ~~#~~~~F'" Ll.__.u ~ 'i.u ..... . * 4. "'_' \) t / . tJ ~ 'oil fl _ _.l • 1 • #t":1 ~. ~%t t _ "'- . Meno vivo.144 5 1 n - \) t / tJ .36 ~. -(*-\ . • J._ . F tJ fl u . fl 5 J ."'r"-'II . . ff #~":I #~. ~~JI!: _ . JI!: "'::-"'>.

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. .. ... ...) .. .' .. . ~" .t:--..~ 11 .::::_ ~ .....-r'. r.. • ~~ (.... .. * ~.:I jj ~ ~ f_ ~ t.. • -r: '..... (J = 168) I II (non ace. ~... ~ ~ till ~ ~ j ~ - r---- r--- * ~. • --w ~ ft... ~~ 1.. -I I'I . . T ..38 fl t ~ t...--..._. ~ I 1 1. . 2_ ~ . ..... . supra r 'L' ~.JI! J _.... * ~ 1 Tempo I. -. .:::: .0.11 • ....-.... * ./ isempref ~ ~~~~#t: ~#t • f j ~ . ........ ~ ~ <:» -...-. ...' I "'....L~" .. .

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.J #.... - -.42 ) ( n1'-. fI' '-. ...u:: I cresCo I - ~- u I 1.u /r"-__- p~ " ~ I I ~~ if"". '-'" I ..!f_ u ft .. ~..t#. ft- n . .. ------ ~ ~ - "'""fi" ------...~ - 1...... . . J. .] . ~ r ....9 1 • - -.. >- J . mf ~!..If_ ft- T! ~ _ · ~ ~ .-. stm.1I ... ---..1 - - -jJj . #~ ~ v I · _Tl n ._ . ._.u. . .-.:. ---~Tl. .""i~ .:...! r f'. to [ 'TTl · 14'-.. #~ ~= :! ~ hi ~~ [1 min..._..:!.J 1 L1 l v: .J~}./ - 'TT ~ ~t':'-~ ~ ~a /... #= . '1 t )..: <z. ft!. .f · ....I..u ~. l' si'(U..ff. qe- .... ._ I-- ~n ~~ L1 • L • .~"- >- ~ rD" ) ~ ) " / ~ ~ .· .u ---!. 45 sec.:::: ---- ) ~ ) / n 4 A ...' r" L -f ~ ~ . 'l) r #''Iff sf.

~ ~ • ~~ T....~ -4 -4 __~. -- ~.89) - t 148* I · mf '--' ~ • ~~ .Six Dances in Bulgarian Rhythm Six danses en rythme bulgare Sechs Tanze in bulgarischen Rhythmen Hat tanc bolgar ritmusban Dedicated to Miss Harriet Cohen (1) ). . 1· . . : 850 43 (J J J. ~JI.' ) ( · · bJl.

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. I I I I --. k-------.--:J · I ::> r v · j~ ./ · · ~ ~J~J-J~J-:J~J____J..._ il = 80) t.50 I 150* (3) (J J...• .marc. I ·.~ . - . ··· I I I r-... I - .~ • ff* I • ~-' .. · . p. ... . -...1 I r.. • •• · . fl tJ (j ~J--J.-.I_.leggero fl t.. .~ . · - .ff* "ff*" . t 11 3 2 5~ ~ • L I . ~ · r · -.I~ · sf f.-. I~... · ~i r ~r r . .. 1 5 I"" 2 I (9z·m..... · . I I ~ .. r.. • •• .J p. r r· · · 11ff . 1\ 1'111 r · I · r· r L1ft r r I ...-' C": . ...~ -..~~r - • • ... ...-==---n --..- 1 ... 1_____ I . . « 1\ tJ TIl ffi' T ~..... r · l../ I J~:J-.._. · · I .. i· fl tJ (j tJ -~-----~ ~ I . ... #~~ I ..I ._...-.... ...I~I '--- · _____ I~hl~. 7. 1\ r · · ... I · .-... .. · .. ~ ..--.__..hl~hl ... .J~J~. . · · . . I . n!f j#- dim.) fl tJ 3~ ... I I -'I · ~ . I ~I l' fX-. v ~ . ~ C*· .___. . . " • r ... ..legg: ~ r C": · · · • ••. r--.... -- fl---.

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./ mf ft· -:tt' 1 2 #___ 1 · ·· · p #t~' 1 2 1 2 1 ft· • #~1' 1 2 #7' ~TI #:~I ". ....... tr~ ...... tr..I ~ t.. allarg.Up . .. Tempo I..._· . 290 tr- Pl. _ tr. ft· n r ~ .... #~ #~' sf ~ t. ..~ . . L ..J'. \ 1 2 1 1 2 .... -r .. .... ... I 55 fl ~ ( ~. 8 Meno mosso...

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