BB 68, Sz.56 Román népi táncok/Romanian Folk Dances (1915, arr. 1925)
Béla Bartók (born Bartók Béla Viktor János) (1881-1945) is one of the most important composers of the earlier half of the 20th century. His works can be divided roughly into four periods, each with unique colors. The first period is reminiscent of Strauss and Wagner, in a late romantic idiom. The second period utilizes folk music and modern harmonies reminiscent of Schoenberg and Debussy. The third is characterized by mathematical elements and conquest for unique harmony. The last period is characterized by the simplification of textures. His best-known works include the second violin concerto, six string quartets, second piano concerto, concerto for orchestra, and music for strings, percussion, and celesta.
Zoltán Székely (1903-2001) was a Hungarian violinist, who kept a close relationship with Bartók. The second rhapsody and second violin concerto were dedicated to him.
We cannot talk about the Romanian Folk Dances without mentioning this arrangement. This transcription by Zoltán Székely is perhaps the best known transcription of this piece, and in my opinion, it makes the original piano version shine even more. Székely changed the tonalities of some pieces, and made the melody part more suited to the violin.
(0:00) No.1 Bot tánc / Jocul cu bâtă (Stick Dance) - Nothing is changed very much, except there are some double stops here and there
(1:18) No.2 Brâul (Sash Dance) - The tonality changed to F# min, but other than that, not much change.
(1:47) No.3 Topogó / Pe loc (In One Spot) - This is probably the one reason I can say “it makes the original version shines even more”. Using artificial harmonics, it creates a sound very similar to a flute, which is impossible to create on a traditional piano, and creates an even more vivid scene than the original. (Tonality changed to D minor, too)
(2:56) No.4 Bucsumí tánc / Buciumeana (Dance from Bucsum) - Not much change from the original, maybe except the transcription also takes on the repeat that is not present on the original score (but which Bartók added during performances and recordings).
(4:25) No.5 Román polka / Poarga Românească (Romanian Polka) - Using much double stops and sounds on the G string, this piece became more rhythmic and lively.
(4:53) No.6 Aprózó / Mărunțel (Fast Dance) - Along with the 3rd, this is probably the highlight of this transcription. There is lively/rhythmic mood from the double stops, and the folk-like flavor produced through utilization of open E and A strings.
(5:40) No.1 Source
(5:43) No.2 Source
(5:46) No.3 Source
(5:49) No.4 Source
(5:52) No.5 Source
(5:55) No.6 Source
Source: English/Hungarian Wikipedia, prefaces from Henle Critical editions, Vera Lampert - Folk Music in Bartók's Compositions, original research
Recording by Henryk Szeryng, Tasso Janopoulo ([ Ссылка ])
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