While these pieces for piano are named Romanian Dances, they are not exactly authentic Romanian tunes, as one might expect from Bartók, the collector of Eastern European folk music; rather, they are based, more or less, on themes of Bartók's own invention. Late in 1908, Bartók traveled to Transylvania, and began notating folk melodies. The following year, the year of the Romanian Dances, found Bartók again in Romania, where he collected hundreds of melodies. Bartók, influenced by the Romanian folk dance idioms, composed some of his own "folk melodies." While he asserted the originality of his thematic material in these two Dances, it is important to note that the second in the set does contain part of an actual Romanian folk melody in its main theme. The first dance is an Allegro vivace. Its tune is very similar in character to a true folk tune, and Bartók uses rhythmic motives associated with the music of the Romanian jew's harp. The composer also includes certain musical effects suggesting the jew's harp, including drones, which also suggest the peasant bagpipes. This first dance makes use of whole tone scales and Bartókian polymodes--that is, pitches from two modes combined to make a single scale. The second dance uses a melody borrowed from a folk song, rather than an instrumental dance piece. This borrowed folk material is incorporated into Bartók's second dance as the second theme. Harmonically, this second piece includes instances of pentatonicism, polymodality, and whole tone scales. Bartók's shaping of his material is very straightforward, even somewhat rigid: each motive fills a single bar, and bars are grouped into units of four, connected by varied episodic material. Motives and phrases are repeated, but Bartók continuously changes the harmonization of the tune, to avoid boring repetition and stasis. Each of the two dances has a definite tonal orientation, despite Bartók's modal chromaticism: the first piece is in the key of C minor, the second in G major. Key integrity is maintained through the use of pedal points and ostinati, which form the foundation of the work's essentially simple harmonic structure. Like much of Bartók's piano music, these pieces are decidedly percussive timbrally and are full of vigorous rhythms, and like many of Bartók's early folk-inspired works, there is very little of his usual contrapuntal writing. (AllMusic)
This is like rock music for Classical music lovers - hard driving, big contrasts, dance elements, virtuosic and strong emotions including humor! While both were phenomenally played, the second one was particularly staggering - absolutely fantastic!
chazinko; Well, yes, actually. The late great classical rock pianist Keith Emerson, was a fan of Bartok's music, and paraphrased some of Bartok's work in his rock creations. I'm sure you would love the albums of 'Emerson, Lake and Palmer', perhaps particulary 'Trilogy'.
Thank you very much for uploading all these Bartok's recording from Kocsis, I'm discovering a lot of pieces from him and it's really amazing. I've played the first one, and at first I did not like it at all, but then I ended up liking it, and Bartok is a really fascinating character that I will enjoy discover during my life ! :)
This is a classical piece by Bartok which is so full of character and life, and it truly depicts an imagery of a Romanian dance. However, the piano arrangement of this masterpiece looks so montrous!! It really takes lots of skills to play this.
Bartók himself plays it that way too (the first iteration of the theme in octaves then the second in unison). ruclips.net/video/R8UX7bzU_rc/видео.html There is a later edition of the piece you unfortunately can’t find on the internet that corrects it.
I'm now studying the piece, the differing notes of the Editio Musica Budapest brought me here. So... that's the one to get if you want the new version! (And in the meanwhile, cries in pianist who had the 'old' midsection almost up to tempo...)
Obviously not. Much of Bartók's music is only inspired by Romanian music, which means that there are also many elements of the modern academic school of composition.
While these pieces for piano are named Romanian Dances, they are not exactly authentic Romanian tunes, as one might expect from Bartók, the collector of Eastern European folk music; rather, they are based, more or less, on themes of Bartók's own invention. Late in 1908, Bartók traveled to Transylvania, and began notating folk melodies. The following year, the year of the Romanian Dances, found Bartók again in Romania, where he collected hundreds of melodies. Bartók, influenced by the Romanian folk dance idioms, composed some of his own "folk melodies." While he asserted the originality of his thematic material in these two Dances, it is important to note that the second in the set does contain part of an actual Romanian folk melody in its main theme.
The first dance is an Allegro vivace. Its tune is very similar in character to a true folk tune, and Bartók uses rhythmic motives associated with the music of the Romanian jew's harp. The composer also includes certain musical effects suggesting the jew's harp, including drones, which also suggest the peasant bagpipes. This first dance makes use of whole tone scales and Bartókian polymodes--that is, pitches from two modes combined to make a single scale. The second dance uses a melody borrowed from a folk song, rather than an instrumental dance piece. This borrowed folk material is incorporated into Bartók's second dance as the second theme. Harmonically, this second piece includes instances of pentatonicism, polymodality, and whole tone scales.
Bartók's shaping of his material is very straightforward, even somewhat rigid: each motive fills a single bar, and bars are grouped into units of four, connected by varied episodic material. Motives and phrases are repeated, but Bartók continuously changes the harmonization of the tune, to avoid boring repetition and stasis. Each of the two dances has a definite tonal orientation, despite Bartók's modal chromaticism: the first piece is in the key of C minor, the second in G major. Key integrity is maintained through the use of pedal points and ostinati, which form the foundation of the work's essentially simple harmonic structure. Like much of Bartók's piano music, these pieces are decidedly percussive timbrally and are full of vigorous rhythms, and like many of Bartók's early folk-inspired works, there is very little of his usual contrapuntal writing.
(AllMusic)
Hi, thank you very much for those informations !
Ok
I misread the title as "Two Romantic Dances". You can imagine my surprise :)
Me too 😂
@@user-cc2ze3wh9l a pleasant one, I hope...
Depends on which culture. These are very romantic!❤
It may have been a stormy affair, Avril!
This is like rock music for Classical music lovers - hard driving, big contrasts, dance elements, virtuosic and strong emotions including humor! While both were phenomenally played, the second one was particularly staggering - absolutely fantastic!
chazinko; Well, yes, actually. The late great classical rock pianist Keith Emerson, was a fan of Bartok's music, and paraphrased some of Bartok's work in his rock creations. I'm sure you would love the albums of 'Emerson, Lake and Palmer', perhaps particulary 'Trilogy'.
never heard these before. beastly difficult, but they made me laugh.
wonderful music.
Thank you very much for uploading all these Bartok's recording from Kocsis, I'm discovering a lot of pieces from him and it's really amazing. I've played the first one, and at first I did not like it at all, but then I ended up liking it, and Bartok is a really fascinating character that I will enjoy discover during my life ! :)
Béla Bartók, my idol.
y el mio
Bartok were literally a genius
4:53 godzilla theme!
This is a classical piece by Bartok which is so full of character and life, and it truly depicts an imagery of a Romanian dance. However, the piano arrangement of this masterpiece looks so montrous!! It really takes lots of skills to play this.
No kiddin?
Perhaps I can learn this🤔🤔🤔 Please do share more Bartok’s pieces!!
Cheer you!!!! Those are really hard.
Thank you sheep
Slight deviations from the written score, such as the middle section of the first dance.
Bartók himself plays it that way too (the first iteration of the theme in octaves then the second in unison). ruclips.net/video/R8UX7bzU_rc/видео.html There is a later edition of the piece you unfortunately can’t find on the internet that corrects it.
I'm now studying the piece, the differing notes of the Editio Musica Budapest brought me here.
So... that's the one to get if you want the new version!
(And in the meanwhile, cries in pianist who had the 'old' midsection almost up to tempo...)
Nice
Bartok is funny i Like it
Its no cocteau twins but its not bad
😂thanks to the Pagan Gods it ain't
Romanian dances
Sounds a lot like Enescu.
I’m Romanian like 99% Romanian and this sounds nothing like Romanian music
Small parts of it do, but like only 5% of the whole song
Check the pinned comment
Obviously not. Much of Bartók's music is only inspired by Romanian music, which means that there are also many elements of the modern academic school of composition.
@@matu-7203 oh my gosh i made this comment 2 years ago i dont even remember posting it
too fast. flawless performance - but too fast.
Its the best speed for this piece, this tempo can show the character the best