Allegro barbaro Entstanden 1910/11 Erschienen 1919 BBO Tempo giusto, d = 76-84 96-104" y y v *) Aterativeoderzusiaice Angabenin Gra-_*)Alternatvesoratons in gre print comespond ‘hit entsprchenVaianten aus Baris teyaiants in artks authentic coring o 52, eferensaufnahme on523sehe Aufl alvosethe fit ntesfr th perfrmerinthe rake Hinvesein den Bemerkurgen. Comment *) Lesindcationssupplémentaresoulterativesen gis conespondent es variants lees dans Feaejsnementdenetrence elo par Baro en 1979; vor aus lesindcationsexcution dansles Bemerungenou Comment. [No prt ofthis pblication may be reproduced nay form, © 206 byG HenleVeay, MUnchen,and Eto Musica Budapest Editorial notes for the performer lecents and slurs Bartok’s recordings significantly differ from the printed music as far as these are concerned. For example in Bartok/ 1929 he added in M 14 £, 28 f. and catissimo on the 3° note but did not new accents and slurs may be under stood as a revision, crystallized after dozens of concert performances, and thus may give pianists new insights into how to accent the mu Basic tempo and tempo oscillation Instead of the J = 76-84 in UE oan in Bart6k/1929 the composer started 96-104 (BariGk/1935 is a little slower: 4 = 94— and played with slight changes apo. A measure-by-measure dia- (cf. Laiselé Somfai, Béla Bartok Composition, Concepts, and Auto graph Sources, Berkeley, 1996, p. 289) demonstrates that he played the sec- tions of the themes slightly slower the co scting repetitions and the diminuendo-ostinati faster (M 1— 33: J = ea, 94-105; M 43-100: 2 = ca, 86~110: M 101 ff: starts as slow as J= ca, 60; M 152 ff: J = ca. 108; M213 ff: J= ca. 115)Geerat “aigr ee