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B​é​la Bart​ó​k: For Children, Sz. 42, revised edition

by Robert von Heeren

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about

This doublealbum is the third in the series "Demanding pianomusic for children andf students".
Listen to track 1 first, an introduction to this Part I of the Double Album, spoken by Robert von Heeren.

Béla Bartók was a Hungarian composer, pianist and music ethnologist. In addition to composing, Bartók spent almost his entire life systematically collecting and recording folk songs. He composed his collection "For Children" in 1908/1909 at the beginning of his teaching career as professor for piano at the Franz Liszt Academy of Music in Budapest. The first edition of this collection published in 1909 contained 85 piano pieces. Shortly before his death he revised this cycle: he made many changes, added metronome and duration information to each piece and removed six pieces whose origin he was not sure of. His “revised edition” from 1945 thus contains 79 compositions for solo piano, divided into two sub-cycles: Volume 1 contains 40 pieces based on Hungarian children and folk songs, Volume 2 contains 39 pieces whose melodies stem from Slovakian folk songs. On this double CD you’ll find these 79 pieces of the revised version and the six removed pieces, which were included in the first edition.

Whether Bartók consciously took up Schumann's idea of his Album for the Young op. 68 with his "For Children"-pieces is not known to me. But I’m sure that he knew Schumann's album. In contrast to Schumann, whose musical material is mainly based on his own ideas, Bartók follows a different, but no less brilliant path: each piece is based on a Hungarian or Slovakian folk song (he had the lyrics appended in the printed score), whose melody he artfully and ingeniously underscores with an accompaniment and develops it into a perfect piano composition. The melody always plays the leading role and keeps its original form. In almost all works it appears at least twice: The first time he presents it with a simple, restrained and more conventional accompaniment, the second time the accompaniment is more elaborate and unconventional in terms of harmony, rhythm and articulation. Particularly fascinating to me is that he then manages to give the melody more depth by using unexpected harmonic twists, while at the same time leading the piece to a worthy and original conclusion - and all this within just a few bars! It is as if Bartók wants to show that there is more to the simplicity than it appears. This sophistication often leads the listener to believe that she/he is hearing something completely new. In fact, only the context in which the melody is embedded has changed, not the melody itself! It is only in the longer, more complex pieces towards the end of the two volumes that he sometimes varies the pitch, rhythm, tempo, articulation or adds additional motives. By the way: In contrast to Schumann there are very few repetition signs. Bartók’s compositional technique always aims at the continuous development. Only in two pieces (Volume 1, No. 21 and Volume 2, No. 13) does he have the whole piece played through twice.

Bartók's pieces for children are a wonderful enrichment of the genre. As different as the musical and compositional styles of Schumann and Bartók's cycles are, there are also some similarities between them: In both cycles, the tension build up from piece to piece and lead the player to wonderfully elaborated compositions at the end of the cycles, which are quasi a "freestyle" and climax. The whole cycle with its 79 pieces poses an enormous learning curve for the piano beginner. Especially the Swineherd Dance (Volume I, No. 40) and the Rhapsody (Volume II, Nos. 36-37, the piece consists of two pieces that Bartók merged into one) form wonderful and difficult highlights and can be considered as little "showpieces".

credits

released December 22, 2023

Cover-Art by Manuela Buechler, AI Design, Switzerland.

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Robert von Heeren Essenbach, Germany

Robert von Heeren, 1964, studied for eight years (1983-1991) classical music with classical guitar and piano at the Berufsfachschule für Musik in Plattling and the Richard Strauss Konservatorium Munich in Bavaria, Germany. In 1990 he passed the 1st state examination as a state-certified music teacher and as best of his class. ... more

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