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Bartók's Romanian Folk Dances

Bartok wrote Romanian Folk Dances in 1915 for piano, originally titled "Romanian Folk Dances from Hungary". It was later orchestrated in 1917. The work is based on folk dances Bartok collected during fieldwork in Transylvania and Hungary. It consists of six short movements depicting different dance styles, including festive, cheerful, and passionate dances performed solo or in pairs. Bartok dedicated the piano version to his teacher and friend Janos Busitia.

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Maria Dori
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274 views9 pages

Bartók's Romanian Folk Dances

Bartok wrote Romanian Folk Dances in 1915 for piano, originally titled "Romanian Folk Dances from Hungary". It was later orchestrated in 1917. The work is based on folk dances Bartok collected during fieldwork in Transylvania and Hungary. It consists of six short movements depicting different dance styles, including festive, cheerful, and passionate dances performed solo or in pairs. Bartok dedicated the piano version to his teacher and friend Janos Busitia.

Uploaded by

Maria Dori
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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BARTOK

ROMANIAN FOLK
DANCES
LECTURE RECITAL PRESENTATION
ROMANIAN FOLK DANCES

Why I chose Romanian folk dances – my motivation

Why this name


- first name: Romanian folk dances from Hungary
-changed when Romania occupied Transylvania

Bartók with wax cylinder


recording machine
WHEN & FOR WHOM

Six short movements written


by Bartok in 1915 for piano
The orchestration was made 2
years later

premiere of the orchestration:


February 1918 in Budapest

Dedicated to his teacher &


friend Janos Busitia
• (perform)
2 famous arrangements: this one by his friend Zoltan zsekely in 1925
premiere: 25th of October Arhnem Netherlands.
Orchestra arrangement by Willner
Recording by Bartok & Joseph Szigeti in 1930
Bartok was expert of Eastern European folk music.
FIRST DANCE
- Festive & energetic
- Dance for a man includes
high kicks
- tempo 80 but they play in
100
- there is intro in arr.
- beg till 20 A dorian, after20
aeolian
SECOND DANCE
- Quick & cheerful
- Dancers are holding each
other’s waists
- Is played in faster tempo
- F# dorian mode
- added the high voice (the
repetition)
THIRD DANCE
- Dancers stay in one place
- Harmonics in the arr
- Performed faster by Szigeti
and in tempo by szekely
- small intervals, augumented
seconds Arabic infuences in
general is D aeolian
FOURTH DANCE
- Passion & vibrato
- rhythm: duple meter but in
the violin in triple
- in the arr the high passage
is extra
- myxolydian and Arabic color
key center of C (1-18)
A major in (19 till end)
FIFTH DANCE AND
LAST DANCE
- Fifth: Slower tempo by Sgizeti
lively Childeen dance
D lydian mode
-last: performed in couples
D major D lydian mode
second theme c center, c lydian
with key signature g major
bar 33 A myxolydian

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