|Three Hungarian Folktunes|
|by Béla Bartók|
|Native name||Három magyar népdal|
Three Hungarian Folksongs, Sz. 66, BB 80b (Hungarian : Három magyar népdal) is a collection of folksongs for piano by Hungarian composer Béla Bartók. It was composed between 1914 and 1918.
There is much speculation about when the set was composed, but some of the most reliable sources point to it being composed somewhere between 1914 and 1918, in a period where Bartók felt very fascinated with folk music from Romania and his native Hungary. Many of the small compositions he wrote when collecting folk music all around these countries was either lost or revamped into later works, and some would never see the light of publication.
This set was presumably revised three decades later, between 1941 and 1942. After moving to the United States, Bartók lived in near-poverty, due to the lack of money his music could make him. However, one of his main sources of income was to publish old manuscripts. The set was published by Boosey & Hawkes in 1942.
The set consists of three short folk tunes. It has a duration of 4 minutes, each movement lasting for about 1 minute. The movement list is as follows:
This composition was also presumably arranged for recorder and piano by Bartók himself.
Béla Viktor János Bartók was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.
Béla Bartók's Piano Concerto No. 3 in E major, Sz. 119, BB 127 is a musical composition for piano and orchestra. Bartók composed the piece in 1945 during the final months of his life, as a surprise birthday present for his second wife Ditta Pásztory-Bartók. It consists of three movements.
Sonatina, Sz. 55, BB. 69 is a piece for solo piano written in 1915 by Hungarian composer Béla Bartók. Initially entitled Sonatina on Romanian folk tunes, it is based on folk tunes Bartók collected in his neighbour country Romania, which, even though he proclaimed Hungarian folk music was clearly superior, was a direct source of inspiration all along his active years.
Romanian Folk Dances, Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76.
The Sonata for Solo Cello is an unaccompanied cello sonata written by György Ligeti between 1948 and 1953. The piece was initially received poorly by the Soviet-run Composer's Union and was not allowed to be published or performed. However, in the 1980s and 90s, after over a quarter century in repose, the piece reemerged and has since become a well-known part of the standard cello repertoire. The Sonata comprises two disjunct movements:
The Suite, Op. 14, Sz. 62, BB 70 is a piece for solo piano written by Béla Bartók. It was written in February 1916, published in 1918, and debuted by the composer on April 21, 1919, in Budapest. The Suite is one of Bartók's most significant works for piano, only comparable with his 1926 Piano Sonata. Though much of Bartók's work makes frequent use of Eastern European folk music, this suite is one of the few pieces without melodies of folk origin. However, Romanian, Arabic, and North African rhythmic influences can still be found in some movements. Originally intending the suite to be a five-movement work, Bartók later decided against the idea and discarded the second movement, the Andante, which was published only posthumously in the October 1955 issue of Új Zenei Szemle.
Slovak Dance, sometimes also incorrectly referred to as Slovakian Dance, is a piece for solo piano by Hungarian composer Béla Bartók. It was presumably composed in 1923, but it was not published until 1999.
Eight Improvisations on Hungarian Peasant Songs, Op. 20, Sz. 74, BB 83, also known as Improvisations on Hungarian Peasant Songs or simply as Improvisations, is a composition for solo piano by Hungarian composer Béla Bartók. It was finished in 1920.
Fifteen Hungarian Peasant Songs, Sz. 71, BB 79 is a collection of short folk melodies arranged for piano by Hungarian composer Béla Bartók. It was composed between 1914 and 1918.
Mátraszentimrei dalok is a collection of songs after Hungarian folk tunes by Hungarian composer György Ligeti. They are strongly influenced by fellow composer Béla Bartók, who also used Hungarian folk songs as his basis for some of his compositions.
Lakodalmas, commonly translated into English as Wedding Dance, is an early vocal composition by Hungarian composer György Ligeti. It was completed in 1950, before he finished his musical studies.
Haj, ifjuság!, also referred to in English as Oh, Youth!, Hey, Youth!, and simply Youth!, is an early vocal composition by Hungarian composer György Ligeti. It was finished in 1952 and published in 1999.
Three Rondos on Slovak Folk Tunes, Sz. 84, BB 92, also referred to as Rondos on Folk Tunes, is a collection of three small pieces for piano by Hungarian composer Béla Bartók.
Four Dirges, Op. 9a, Sz. 45, BB 58 is a short collection of dirges by Hungarian composer Béla Bartók.
Ten Easy Pieces, Sz. 39, BB 51 is a collection of short pieces for piano by Hungarian composer Béla Bartók. It was composed in 1908.
Three Burlesques, Op. 8c, Sz. 47, BB 55 is a set of burlesques for piano by Hungarian composer Béla Bartók. It was composed between 1908 and 1911.
Hungarian Pictures, sometimes also referred to as Hungarian Sketches, Sz. 97, BB 103 is a suite for orchestra by Hungarian composer Béla Bartók finished in 1931. The suite consists of orchestrations of earlier short pieces for piano composed between 1908 and 1911.
14 Bagatelles, Sz.38, BB 50; 3rd Set, Op. 6, by Hungarian composer Béla Bartók is a set of pieces for solo piano, written in the spring of 1908 and first performed by the composer June 29, 1908, in Berlin. The work was published the following year in Budapest by Rozsnyai Károly. Composed the same year as Ten Easy Pieces, 14 Bagatelles was experimental and signified Bartók's departure from the tonality of 19th century composition. The work borders on atonality, and Bartók adopted some techniques of Debussy and Schoenberg.