Suite O. by Béla Bartók or Piano Solo Fingering by David Bollard Edited by Peter Billam Peter J Billam, 08 This score is oered under the Creative Commons Attribution.0 International licence; see creativecommons.org This edition November 08.
Suite or iano solo, Béla Bartók o., 96 The Suite, O. (Sz. 6, BB 70) is a iece or solo iano written by Béla Bartók. It was written in February 96, ublished in 98, and debuted by the comoser on Aril, 99, in Budaest. The Suite is one o Bartók s most signiicant works or iano, only comarable with his 96 Piano Sonata. Though much o Bartók s work makes requent use o Eastern Euroean olk music, this suite is one o the ew ieces without melodies o olk origin, though Romanian, Arabic, and North Arican rhythmic inluences can be ound in some movements. Originally intending the suite to be a ive-movement work, Bartók later discarded the second movement, Andante, which was ublished only osthumously in the October 9 issue o Új Zenei Szemle (New Musical Review). The 98 version, without the Andante, takes between 8 and 9 minutes to erorm and is layed in our movements: Allegretto (duration seciied by Bartók: c. min) Scherzo (c. min 0 s) Allegro molto (c. min s) Sostenuto (c. min s) "The Suite o. has no olk tunes. It is based entirely on original themes o my own invention. When this work was comosed I had in mind the reining o iano technique, the changing o iano technique, into a more transarent style. A style more o bone and muscle oosing the heavy chordal style o the late, latter romantic eriod, that is, unessential ornaments like broken chords and other igures are omitted and it is more a simler style." Béla Bartók, radio interview with David Levita, July, 9 According to Bartók, the Suite is art o a new trend in iano technique that he saw asa break rom his earlier Post-romantic writing. In 9, he claimed to have used only the most restricted means o iano technique in this work, "accentuating in some o its movements the ercussive character o the iano." Though Bartók does not quote rom olk melodies in this comosition, he makes extensive use o other olk-like elements, such as a Romanian Ardeleana rhythm in the irst movement. In addition, the third movement o this Suite shows Arabic inluence, the earliest Bartók work o its kind, and a North Arican inluence in its ostinato and scalar atterns. Throughout the iece, he uses exotic scale atterns, such as the Lydian and whole tone scales in the irst movement; in addition, there is a twelve-tone row in the second movement, which is robably the only one in Bartók s entire oeuvre. The ingering is based on that noted by David Bollard in 96 when he was in London studying with Ilona Kabos, and later with Louis Kentner. Thanks to David or allowing me to reroduce it here. Thanks also to wikiedia or the inormation on this age. Peter Billam,
Béla Bartók, 96 Suite or Piano, O. Allegretto ( cro = 0 ) semre 7 ochissimo rit 0 a temo m 0 m
Suite or Piano, O., Béla Bartók, 96 rit... quasi a temo ( cro = 0 ) 0 esr. oco marcato rit... 0.. molto.. oco a oco accel. al... Temo I. 6 s 60 ritenuto s
Suite or Piano, O., Béla Bartók, 96 oco a oco accel al Temo I. 6 70 oco a oco cresc R.H. sora 7 L.H. sora s s L.H. > R.H. meno mosso 80 cresc s s s dim... oco dim. stringendo.. 8
Suite or Piano, O., Béla Bartók, 96 Temo I. 90 leggerio 9 00 m m Meno mosso accel... oco m 0 Temo I. non legato... iù 0 m m Durée d exécution ca. 00" 8vab loc
Suite or Piano, O., Béla Bartók, 96 Scherzo ( min. = ). marcatissimo 0 0 cresc.. cresc.. 0 cresc.. cresc.. Tranquillo (min. = 0) giocoso s s
6 Suite or Piano, O., Béla Bartók, 96 0 s iù tranquillo 0 s m rit... Temo I. 60 marcatissimo.. 70 s s s
Suite or Piano, O., Béla Bartók, 96 7 s s s s s s s s 80 s R.H. s 90 s semre simile s oco rit. a temo 00 s s
8 Suite or Piano, O., Béla Bartók, 96 0 semre 0 marcatissimo ( ) 0 m 0 dim...... m m
Suite or Piano, O., Béla Bartók, 96 0 9 leggerio Ped * Ped * Ped * m Ped * Ped * Ped * Ped 60 oco rit al. Meno mosso (oco rubato) (min. = 9) * esressivo 70 dim... accel al Temo I. (temo giusto) 8va 8 m molto cresc s
0 Suite or Piano, O., Béla Bartók, 96 m cresc s s 90 Tranqillo (min. = 9) m s 99 s Temo I. 0 + + + 0 + marcatissimo + Durée d exécution ca. 0"
Suite or Piano, O., Béla Bartók, 96 Allegro molto ( min = ). non legato m 0 0
Suite or Piano, O., Béla Bartók, 96 dim... dim... 0 dim... m 0
Suite or Piano, O., Béla Bartók, 96 semre 0 oco allarg... 60 Poco iù mosso (min = 60) martellato R.H. sura 6
Suite or Piano, O., Béla Bartók, 96 70 7 s s s 80 oco a oco accel. al s s s s s s dim... R.H. Temo I. 8
Suite or Piano, O., Béla Bartók, 96 90 cresc.. dim.. 9 m semre simile 00 0 streitoso 09 8va + Loc.
6 Suite or Piano, O., Béla Bartók, 96 semre iù mosso 0 s s s 0 s ritardano... lunga attaca Durée ca. "
Suite or Piano, O., Béla Bartók, 96. 7 Sostenuto ( qua = 00 ) 6 8 dolce 6 8 dolce esr. 0 oco cresc... dolce.. dim... erdendosi 0 ritard.. al esr. molto esr.
8 Suite or Piano, O., Béla Bartók, 96 Più sostenuto ( qua = 00 ) 9 8 dolcissimo 9 8 6 8 oco stringendo... 9 8 oco rit... dim... 6 8 9 8 dolcissimo Temo I. 6 8 dolce... 6 8 dolce.. 0 semre dim... semre iù tranquillo
Peter Billam was born in London in 98, studied iano, and lived in Switzerland rom 97 to 98, where he studied comosition, classical guitar, lute and voice, worked as Musical Director o the Théâtre Poulaire Romand, and as recording engineer, record roducer and comuter rogrammer. Hemoved totasmania in 98, and lectured in comosition at the Conservatorium. He ounded, becoming the irst comoser to sell scores on-line, taking scores rom Comoser to Perormer in one immediate ste. Www.jb.com.au oers a new aroach to music ublishing. These ieces are written to be read, made to be layed! Comositions at include: Five Short Pieces, guitar, 979; Divisions on an Italian Ground, lute and guitar, 980; De Proundis and Nacht, on oems by Lama Anagarika Govinda, voice and iano, 980; Fün Bagatellen, iano, 980; Five Rounds, choir, 986; Go Forth and Multily, choir, 986; Three Violin Duets, 987; Fable, or iano, 987; To Erich Jantsch, SAATTB recorders, 988; A Suite o Curves, trombone (or horn) and iano, 990; Two Recorder Duets, alto recorders, or other melody instruments, 99; Trombone Quintet, trombone, lute, iano, bass, and ercussion, 99; Three Songs, on oems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and iano (only the irst and third o these are available), 99; Piano Study, iano, 99; Four Dances, various ensembles including recorder quartet, string quartet, 99; The Poet in the Clouds, on a oem by S. T. Coleridge, SATB choir, 99; Tres Casidas del Diván del Tamarit, on oems by Federico García Lorca, voice and iano, 997; Three Suites, or the solo line, iano, and iano and a solo line, 000; Die Zeiten, on oems by Kästner, Bachman and Jünger, choir (only the second and third o these are available), 000; Three Duets or lutes, 00; ForFour Hands or iano our hands, 00; Three Preludes or iano, 00; Second Solo Suite or lute, violin, viola or cello, 00; Guitar Duet or two guitars, 006; We Who Mourn or choir, 007; Trio With Guitar or guitar and two clarinets or two recorders or two violas, 008; Canons or two- and our-hand iano, 009; Flute Trio, 0; Twenty Studies or iano, 0-; Music or Strings and Two Encores or Strings or vln, vla, vlc, 0; Album or Choir, 0; Eight Pieces or Guitar, 07. Arrangements include: By J. S. Bach: Trio BWV 6, iano and lute; Vordeinen Thron BWV 668, iano; Fugue in F minor BWV 689, SATBrecorders; Four Duets BWV 80-, keyboard; Six Preludes and Fugues rom Book I, keyboard; Flute Sonata BWV 0 in G major or alto recorder and keyboard; Flute Sonata BWV 0 comleted by Peter Billam or lute and keyboard, also in C major or alto recorder, and in G major or descant; Ricercare a o the Musikalisches Oer or keyboard; Ricercare a 6, or ssatbg recorders, or strings, or two keyboards; and Fuga Canonica; rom the Art o Fugue: Contrauncti, and 9 or keyboard, and Contraunctus as comleted by D. F. Tovey, or keyboard, or or SATB recorders, or or strings; Passacaglia and Fugue in c or iano our hands; Chorales with Descant or melody instrument and iano; Cello Suites I, II and III or lute or alto recorder, Forty Chorales or iano, Der Geist hilt or SATB-SATB recorders. By Bartók: Suite o. or iano. By Brahms: Fugue in Ab minor or organ, or SATB recorders and gamba, in A minor; Choralvorsiele or organ lus settings by Isaac, Bach, Praetorius, recorders. John Carr, Divisions on an Italian Ground, lute or recorder and guitar. Franz Liszt, Late iano ieces, G.F. Händel: Concerto Grosso in A minor o 6 no, harsichord and recorders; Recorder Sonata in Bb no, in G or tenor recorder and keyboard. Claudio Monteverdi, Ecco Mormorar l Onde, SSATB recorders. Arnold Schoenberg: Verklärte Nacht or iano. Franz Schubert: Four Songs, voice and guitar; Dances, recorders and guitar, Dances, iano hands. Scriabin, Two Preludes o.67; Five Preludes o.7, iano. Telemann, Twelve Flute Fantasias, recorder. Wilbye, Draw on sweet Night, SSATTB recorders, and or lute choir. Twelve Italian Songs and Seven English Songs, voice and guitar; Folk Guitar Solos; Fourteen Folk Dance Tunes, recorder and guitar; Bushband Dances, violin, accordeon and banjo; Easy Classical Pieces, Bbtrumet and iano; Famous Beginnings, or iano. These ieces are under the Creative Commons Attribution.0 licence. Very briely: You may coy and redistribute the material in any medium or ormat. You may transorm and build uon the material or any urose. cc You must give aroriate credit, and indicate i changes were made. BY Feel ree to visit...