Bartók’s Compositions: Manuscripts, Primary Sources
A Guide to Research
Chronological list of the works according to the BB numbers
Early compositions 1890–1904 | Mature works 1904–1945 |
Appendix: Autograph sources of Bartók's transcriptions and cadenzas
ABBREVIATIONS OF COLLECTIONS AND PUBLISHERS
|
BB BBA BBjr BH B&H DD Ditta EMB FDD KZA Márta MK NLSE OSZK PB R Rv UE WSLB X, Y, Z ® |
work number in the forthcoming Béla Bartók Thematic Catalogue Budapest Bartók Archives (Bartók Archívum Budapest) Béla Bartók Junior’s collection (Budapest) "Bartók Hagyaték" (Bartók estate) in the BBA Boosey & Hawkes (and Hawkes & Son, Ltd.) (publisher) Dille–no. of the early compositions Ditta Pásztory, the composer’s second wife Editio Musica Budapest (Zeneműkiadó) (publisher) Bibliothèque Royale, Bruxelles, Fonds D. Dille Kodály Zoltán Archives (Budapest) Márta Ziegler, the composer’s first wife Magyar Kórus (publisher) National Library of Scotland, Edinburgh, Old and Rare Manuscripts Országos Széchényi Könyvtár (Széchényi National Library Budapest) Peter Bartók’s archive (Homosassa, FL), partially deposited in the Paul Sacher Stiftung Basel Rozsnyai (publisher) Rózsavölgyi (publisher) Universal Edition (publisher) Wiener Stadt- und Landesbibliothek Anonymous copyists of Bartók’s works next owner of a manuscript |
EARLY COMPOSITIONS 1890–1904
BB 1
Early piano pieces, opp. 1–31 (first opus numbering) (1890–1894) (=DD 1–31)
[Detailed description of the sources of the individual compositions from Bartók’s childhood see in Dille, Thematisches Verzeichnis der Jugendwerke Béla Bartóks 1890–1904 (Bp.: Akadémiai Kiadó, 1974), 53–76.]
Autogr. drafts of the child Bartók exist only from op.27 Loli Mazurka and op.29 Elza Polka (1894) (BBjr). The rest of the pieces, written down by Bartók’s mother, with additions by Bartók, in six small oblong-format school music copy-books (BBjr; BBA 180; PB Y1TVFC1 and Y4.7–911.13PFC1) and on one sheet (BBA BH1).
Autogr. fragments from c1894/5 (=DD B1–7) (BBA BH46/1, 7–8, 12a PB "Miscellaneous" C–27/25), and autogr. sketches from c1894/5 (=DD E6–22) (BBA BH46/9–10).
BB 2
First Sonata G minor, op.1 (second opus numbering) and Scherzo G minor, for piano (1894)
Mother’s fair copies (BBjr).
BB 3
Fantasia A minor, op.2, for piano (1895)
Mother’s fair copy (BBjr).
BB 4
Second Sonata F major, op.3, for piano (1895)
Sketch (BBA BH46/12a).
Mother’s fair copy with autogr. additions (BBA BH2).
BB 5
Capriccio B minor, op.4, for piano (1895)
Mother’s copy with autogr. additions (BBA BH3).
BB 6
Sonata for Violin and Piano C minor, op.5 (1895)
Sketches for Mov. I (=DD E35) in a small hand-ruled booklet (BBjr).
Mother’s copy, but the beginning Bartók’s autogr. (BBA BH4).
See also the autogr. fragment for vl. and piano, C major (=DD B8) (BBA BH46/12b).
BB 7
(=DD38–44 = opp. 6–12, lost works from 1895–1897)
Only one autogr. piano fragment, titled "III. Sonata op.6," exists (=DD 38) (BBA BH46/10a).
BB 8
Drei Klavierstücke, op.13 (1897)
Copy by unidentified hand, but mm. 11–35 of no. 3 is Bartók’s autogr. addition (BBA 178).
BB 9
(=DD 46–48 = opp. 14–16, lost works from 1897)
BB 10
Sonata for Violin and Piano A major, op.17 (1897)
Sketch in Bartók’s Greek textbook (BBA).
Autogr. copy written in pencil, in Mov. II only the vl. part is elaborated (BBA BH5; at the end of the MS a musical joke, fugue on the theme dach, =DD D1).
BB 11
Scherzo oder Fantasie B major, op.18, for piano (1897)
Sketch in Bartók’s Greek textbook "Odyssey" (BBA).
Autogr. copy (in pencil) (BBA BH6).
Mother’s fair copy with Bartók’s additions (BBA 179).
BB 12
Piano Sonata, op.19 („op. 1") (1898)
Sketches in Bartók’s Greek textbooks (Herodoti Epitome, Odysseia) (=DD E57–58, 64, 69–71) (BBA).
Autogr. fair copy, a dedication copy marked "Sonáta (op.1)" (third opus numbering) (New York Pierpont Morgan Library, Robert Owen Lehman Collection on deposit).
Revised form of Mov. III, autogr. fragment (=DD A12 (BBA BH48).
BB 13
Piano Quartet (C minor), op.20 (1898)
Sketches in Bartók’s Greek textbook Herodoti Epitome (=DD E59), and in school copy-books (BBA).
Autogr. fair copy of the score and the 3 string parts (BBA BH8).
BB 14
Drei Klavierstücke, op.21 (1898)
Sketch for no. 2 (=DD E60) in Bartók’s textbook Herodoti Epitome (BBA).
Autogr. fair copy marked "op.5" (BBA BH7).
BB 15
Drei Lieder, for voice and piano (1898)
Autogr. fair copy (BBA 4996).
An autogr. copy of no. 3 only, submitted to Prof. Koessler, in the MS complex "Dolgozatok II" [Exercises II] (BBA BH48).
BB 16
Scherzo B minor, for piano (1898)
Autogr. fair copy (BBA BH9).
BB 17
String Quartet F major (1898)
Autogr. fair copy of the score (BBA BH10).
BB 18
"Tiefblaue Veilchen", for voice and orchestra (1899)
Draft score in pencil (BBA BH 11a).
Autogr. copy of the score in ink (BBA BH11b).
BB 19
Studies in composition (1899–1901), submitted to and corrected by H. Koessler (=DD 58–61, 65, A1, 3–11, 13–5, B10–13):
(a) "Dolgozatok I" [Exercises I] MS complex from c1900, including choral harmonization, counterpoint exercises, fugues, and drafts (=DD E87–88, A15) (BBA BH47).
(b) "Dolgozatok II" MS complex from c1900, including choral harmonization, counterpoint and fugue exercises, furthermore sketches and fragments (=DD A3–14), and chorus pieces (=DD 61a–c) (BBA BH48).
(c) "Dolgozatok III" MS complex from c1900, including counterpoint exercises, chorus pieces, and exercises in writing "phrase," "sentence," "period," etc. (=DD E97–99) (BBA 1310).
(d) Scherzo in Sonatenform, for string quartet (1899/1900), autogr. score (BBA BH14).
(e) Scherzo B flat minor, for piano (c1900), autogr. copy (BBA BH12).
(f) Six dances, for piano; nos. 1–2 for orchestra too (c1900), autogr. draft (BBA BH18); no. 1 was written down again by Bartók and, with the title Danse orientale, reproduced in facsimile in Preßburger Zeitung1913.
(g) Scherzo B flat major, for orchestra (c1901), fragment, draft (with Trio) and autogr. score (Scherzo only) (BBA BH19); see also another "Scherzo-trio" in E flat, draft score (BBA BH13).
(h) Bartók’s orchestration of BEETHOVEN, C minor ("Pathétique") Sonata op.13, Mov. I,1–194, draft score (=DD A1, 1900?) (BBA BH51).
(i) Further fragments and sketches, including: three Piano quintet fragments (=DD B10, 12, c1899/1900), autogr. draft (BBA BH45).
BB 20
Liebeslieder, for voice and piano (1900)
Draft (BBA 3343).
Autogr. fair copy (BBA BH15; facsimile edition: Homosassa: Bartók Records, 2002).
BB 21
Scherzo (F.F.B.B.), for piano (1900)
Autogr. copy (BBA BH16).
BB 22
Variations, for piano (1900/01)
Draft (BBA 3330).
Autogr. copy, revised form (BBA BH17).
BB 23
Tempo di minuet, for piano (1901)
Autogr. copy, on 2 postcards (Institute for Musicology of the Hungarian Academy of Sciences Budapest Major/C–483).
BB 24
Four Songs (L. Pósa), for voice and piano (1902)
Autogr. copy of no. 4 (in A flat), 1 p. (BBA BH21a).
Mrs.Gruber’s (later Emma Kodály) copy of no. 3, 4 (in A flat), and 2, in a version different from the printed form (KZA Ms. mus. 779, pp. 58–61).
Copy of no. 1 by Sándor K., preliminary version (KZA Ms.mus.ext.7).
Corrected proof-sheets of the 1904 Bárd 1st edition (BBA BH21b).
Corrected copy of the 1st edition (PB 1VoPFC1).
BB 25
Symphony, for orchestra (1902) (fragment, except Mov. II: Scherzo)
Draft in piano short score form, Movements I–IV (Mov. I only up to the recapitulation; from Mov. II only the Scherzo part without Trio) (photocopy in BBA).
Score-draft fragment, mm. 1–62 of Mov. I, and sketches for Mov. IV (photocopy in BBA).
Mov. III, Scherzo, fragment of the score (BBA BH20e); the rest of the movement survived only in parts.
Orchestral parts (68 fascicles) of Mov. III for the Feb. 29, 1904 premiere (BBA BH54).
BB 26
Pieces for violin (1902): (a) Duo for two violins; (b) Andante A major, for violin and piano
(a) Duo: Autogr. draft and copy (BBA 3342).
Autogr. dedication copy presented to Adila Arányi, on a postcard (Sotheby & Co., London, May 16, 1967 auction no. 388; ® ?).
(b) Andante: Draft (BBA BH46/3).
Autogr. dedication copy presented to Adila Arányi, mailed as postcards (BBA 3341; facsimile edition EMB, 1980).
BB 27
Four Piano Pieces (1903)
Draft, no. 1 only, titled Szonáta (PB 6PS1).
Autogr. copy, no. 2 only, a version different from the printed form, dedicated to Mrs. Gruber (later Emma Kodály) (BBA 480; a copy of it, written by Copyist-Y, in private collection).
Copy by Mrs.Gruber (Emma Kodály) of no. 3 only (BBA 500).
Nos. 1, 3–4 only, corrected proof-sheets of the 1904 Bárd 797, 800, 801 1st editions (BBA BH22).
BB 28
Sonata for Violin and Piano (1903) (and a fragment, =DD B14)
Draft, Mov. III only (BBA BH23b).
Autogr. copy, complete (Bartók’s concert copy) (BBA BH23a, e).
Violin parts: (a) Mov. I, autogr. — (b) Mov. III, autogr., concert copy of the June 8, 1903 performance (BBA BH23c–d); — (c) Elza Bartók’s copy of Mov. I (in private collection in Belgium). — (d) complete, Mov. I copied by Elza, Mov. II in Bartók’s autogr., Mov. III copied by a Berlin copyist, the whole revised by Bartók, performing copy used in 1904 and 1905 (Vienna Österreichische Nationalbibliothek Mus.Hs.39549).
Autogr. fragment, an Andante for violin and piano (=DD B14) (BBA BH46/4).
BB 29
Evening, for voice and piano (1903)
Irmy Jurkovics’s copy (BBA BH25a); no autogr. MS is known.
BB 30
Evening, for male choir (1903)
Autogr. fragment, mm. 17–47 only (BBA BH25c).
Autogr. copy (BBA 481).
Copy by Mrs.Gruber, submitted to a competition (BBA BH25b).
BB 31
Kossuth, for orchestra (1903) (and Marche funèbre, for piano, 1903)
Sketches (BBA 3344a–b); the draft missing.
Autogr. score (PB 3FSFC1).
Copy of the score written by mother and Elza (BBjr).
Orchestral parts (75 fascicles) copied by Elza, Irma Voit, two professional copyists, and (additional parts) by two English copyists (BBA BH55).
Marche funèbre, for piano: no autogr. MS is known
Corrected proof-sheets of the 1905 1st edition in Magyar Lant 1905, fragment only (BBA BH24a, and BBA 1029).
BB 32
Four Songs, for voice and piano (1903) (lost)
BB 33
Piano Quintet (1903/04)
Sketches and the draft are missing.
Autogr. score with layers of later corrections (BBA 2002a).
Autogr. string parts with corrections (BBA 2002b1–4).
Copyist’s copy of the score (PB 7FSFC1), with string parts (PB 7PartsFC1).
BB 34
Székely Folksong ("Piros alma"), for voice and piano (1904)
No autogr. MS is known.
Mature works 1904–1945
FINAL OPUS NUMBERS
BB 35
Scherzo for Orchestra and Piano, op.2 (1904)
Sketches and the draft are missing.
Autogr. MS in 2-piano form, with preparatory notes for the orchestration (BBA BH29b).
Autogr. score (BBA BH29a).
Copy of the orchestral parts (41 fascicles); one vlc., one cb., some of the woodwind, brass, percussion, and harp parts, all together 183 leaves, copied by Bartók (BBA BH30).
BB 36a
Rhapsody, op.1, for piano solo (1904)
Sketches and the draft are missing.
Autogr. fair copy (dated Oct.–Dec. 1904), dedicated to Mrs.Gruber (later Emma Kodály) (BBA 484).
Pages 1–10 copied by an unknown hand, revised by Bartók and used as the printer’s copy of the 1908 Rv 3199 edition of the "shortened form" (BBA BH26a)
Corrected proof-sheets of the "shortened form" Rv 3199 edition, with a revised printed copy (BBA BH26b–c); another revised copy of the "shortened form" (BBjr).
BB 36b
Rhapsody, op.1, for piano and orchestra (1905)
Two autogr. scores, originally both titled Morceau de Concert:
(1) Tthe original instrumentation, after revision the printer’s copy of the 1910 Rv edition (no plate no.; PB 8TFSS1).
(2) Autogr. copy of the score written for the 1905 Paris competition (BBA 35).
Revised printed copies of the 1st edition and the Rv 4154 new edition, with parts (BBA 2006.)
2-piano reduction:
Draft of the second piano only, printer’s copy of the 1910 Rv 3337 1st edition (PB 8TPPS1); discarded p. 1 of the autogr. copy (BBA BH28b).
Corrected proof-sheets of the Rv 3337 1st edition (former Freund/Milroy collection ® ?).
Revised copy of the 1st edition, marked "(II. Edition)," printer’s copy of the 1919 rev. edition (BBA BH28a).
Printed copy of the Rv rev. edition with autogr. notes (BBA 3346).
BB 37
Hungarian Popular Songs no. 1–4 (1st series), for voice and piano (c1904/05)
Draft, titled I. sorozat" [1st series], no. 4 incomplete (BBA BH46/13).
BB 38
Petits Morceaux, for piano (1905) (from BB 37/2 and BB 24/1)
Autogr. fair copy (BBA BH31b).
Copy written by an unknown hand (BBA BH31a).
BB 39
Suite no. 1, op.3, for orchestra (1905)
No sketches or short score exist (but 12 mm. partial sketches for Mov. V: BBA BH46/15).
Autogr. score with instructions for the engraver of the Rv 3531 edition (PB 10FSS1).
Corrected proof-sheets of the 1912 Rv score (BBA 2000).
Corrected printed copy, with cuts and revision, and with the text Zur Beachtung to the conductors (BBjr).
BB 40
Suite no. 2, op.4, for orchestra (1905–1907)
Sketches (incomplete): (1) fragmentary continuity sketches for Mov. I–II, and IV (PB, in 12FSS1ID1); — (2) partial sketches (BBA, in 2002a).
Autogr. score, originally titled Szerenád [Serenade], printer’s copy of the 1st edition by the composer (Selbstverlag B.B.), with a later revision of pp. 29–32 (PB 12FSS1ID1).
Revised copies of the 1st edition:
(1) Bartók’s personal copy (BBA BH32).
(2) Copy of the Budapest Philharmonic Society (BBA 2131).
(3) Printer’s copy of the 1921 2nd edition, UE 6981 (WSLB).
Slightly revised copy of the 2nd edition (BBjr).
MS orchestral parts, copyist’s work with Bartók’s autogr. corrections (heavily corrected, representing the text of the 1st and 2nd editions) (Budapest F.Liszt Academy of Music, deposited in BBA).
American revision:
(1) Copy of the UE edition with rewritten pages in Mov. IV, c1942 (photostat of the [missing?] MS pages) (PB 12FSFC1).
(2) Printer’s copy of the 1948 3rd edition, B&H 16160, marked revised 1943 edition (without Bartók’s hand) (PB 12FSFC3).
2-piano version: BB 122.
BB 41
Children Songs ("For the little ‘tót’"), for voice and piano (1905)
Autogr. dedication copy (private collection; photocopy in BBA).
BB 42
Hungarian Folksongs, for voice and piano (1906) (nos. 1–10: Bartók; nos. 11–20: Zoltán Kodály)
Drafts, including 3 unpublished songs (BBA 485 and PB 13VoPS1).
Autogr. fair copy, printer’s copy of the R 1906 1st edition (plate no. B.K.) (together with Kodály’s autogr.: BBA 485; facsimile edition EMB, 1970).
Corrected proof-sheets of the R 1st edition (BBA 1998).
Autogr. notation of the revised form of nos. 2, 1, and 4 only (photocopy: PB 13VoFC1).
Rewritten form of five songs (nos. 1, 2, 4a, 9, 8) see BB 97.
BB 43
Hungarian Folksongs (2nd series), for voice and piano (1906/07)
Draft (BBA 2013).
Nos. 1, 2, 5–6–7, 9 copied by Copyist-X (BBA 2014).
Autogr. rev. version of no. 1 (photocopy: PB 13VoFC1)
BB 44
Two Hungarian Folksongs, for voice and piano (1907)
Draft (BBA 486).
Mother’s copy (PB 70VoPFC1).
BB 45a
From Gyergyó, for recorder and piano (1907)
Draft (FDD; facsimile in Dille, Het werk van Bela Bartok, Antwerpen: Metropolis, 1979).
BB 45b
Three Hungarian Folksongs from Csík, for piano (1907) (from BB 45a)
No autogr. MS is known.
Corrected proof-sheets of the R 419 1st edition (BBjr).
BB 46
Four Slovak Folksongs, for voice and piano (c1907)
Draft, nos. 1–2 only (PB 13VoFC1).
Autogr. MS, no. 2 missing (BBA 491).
BB 47
Eight Hungarian Folksongs, for voice and piano (nos. 1–5: 1907, nos. 6–8: 1917)
Draft, nos. 2–3 missing (PB 17VoPS1).
Copy of nos. 1, 4, 5, 2, revised by Bartók (Bibliothèque Laloy in France).
Four MS copies, mostly written by Márta, revised by Bartók, represent new versions (PB 17VoPFC1, 17VoPID1).
Printer’s copy of the 1922 UE 7191 1st edition, written by Márta (PB 17VoPFC2).
Two ad hoc performing copies (nos. 8, 2, 6 and nos. 2, 4, 5, 3, partly in transposition), written by Ditta and Bartók (BBA 2003, and Bucharest Composer’s Society 2386/1959 I.20).
BB 48a
Violin Concerto, op.posth. ("no. 1", 1907–1908)
Sketches: (1) short memos (BBA BH39); — (2) on fol.1r in the Black Pocket-book (BBA BH206); — (3) continuity sketches in the Black Pocket-book, fol.2rff (BBA BH206), and on music papers (PB 12FSS1ID1); — (4) sketch to Mov. I (Stargardt, Basel 11 Oct. 2003. okt. 11. auction; →?).
Draft in vl.–piano short score form, Mov. II only (BBA 4130).
Vl.–piano short score, Mov. II only, copied by Copyist-Y (BBA 4131b).
Autogr. score (Paul Sacher Stiftung Basel.
Copies of the score, written by Copyist-Z and Copyist-X, corr. by Bartók: (a) Mov. I–II (BBA 4129); — (b) Mov. II only (BBA 4131a; Mov. I. cf. BB 48b: PB 16TFSID1).
Solo violin part in different versions, written by Bartók, his mother, and a copyist (BBA 4131a, c–f; PB 15VFC1; Paul Sacher Stiftung Basel).
Orchestral parts (1911), 40 fascicles; 13 pp. written and the full material revised by Bartók (BBA BH34).
BB 48b
Two Portraits, op.5 (1907–1911)
Mov. I (= Mov. I of BB 48a):
Score: written by Copyist-Z, revised by Bartók (PB 16TFSID1; the rest of the MS, i.e. Mov. II, cf. BB 48a: BBA 4131a).
Mov. II (= instrumentation of BB 50, Bagatelles no. 14):
Autogr. score (PB 16TFSID1), the printer’s copy of the 1911 R 767 1st edition.
Mov. I–II: a copy of the 1911 R 767 1st edition with Bartók’s corrections (BBjr).
BB 49
Two Elegies, op.8b, for piano (1908–1909)
Sketches: (1) on fol.8r of Black Pocket-book (BBA BH206); — (2) on one page (PB 21PS1).
Draft, the printer’s copy of the 1910 R 478 1st edition (BBA 489).
Corrected proof-sheets of the R 1st edition (1910; BBA 1995); another set of the proofs (former Freund/Milroy collection).
Corrected copy of the R 1st edition (BBjr).
BB 50
Fourteen Bagatelles, op.6, for piano (1908) (and fragments)
Sketches: (1) in the Black Pocket-book (BBA BH206), fol.8v–9r: nos. 8, 9, 13 (and a fragment), fol.33r–34r: no. 14 (further unrealized plans, fragments: fol.32r, 34v; a Fugue fragment: fol.9v–10r); (2) on one page (BBA 495b) no. 14 and the Fugue theme.
First draft: nos. 1–4 and 6 only (BBA 488a–e); no. 6 in Zoltán Kodály’s copy too (BBA 488f).
Complete draft, nos. 1–14 (PB 18PFC1).
Copy written by Copyist-Y, revised by Bartók, the printer’s copy of the 1908 R 338 1st edition (BBA BH35 and 2010).
Copy of the R 1st edition, revised in the 1940s (PB 18PFC2).
See also BB 48b.
BB 51
Ten Easy Piano Pieces (1908)
First draft, no. 8 and no. "0" [= Dedication] only (BBA 488 and PB 19PS1).
Draft, incomplete (no MS of no. 3 exists): "Dedication" and nos. 1–2, 4, 6–10 (PB 19PS2); no. 5 "Evening in Transylvania" (Budapest Institute for Musicology Fond 2/27). This draft was the printer’s copy of the 1908 R 293 1st edition.
Corrected proof-sheets of the R 1st edition (BBA BH36).
Corrected copy of the rev. 2nd (Rv) edition (PB 19PFC1).
Printer’s copy of nos. 1, 2, 3, 8, revised version, prepared for the 1937 album Young People at the Piano I–II (as no. 12 in vol. I and nos. 8–10 in vol. II) (Budapest OSZK Ms.Mus.3190).
See also BB 103.
BB 52
String Quartet No. 1, op.7 (1908–1909)
Sketches: (1) four memos on one page (BBA BH39); — (2) short memos and a short continuity sketch in the Black Pocket-book (BBA BH206), fol.9r, 11r, 12r, 31v, 32v; — (3) sketch of I, 1–17 (private collection, London); — (4) the first draft of I, 1–30 (private collection, London).
Draft score (PB 20FSS1).
Copy written by Copyist-X, revised by Bartók (BBA BH37), the printer’s copy of the 1909 Rv 3287 1st edition. Corrected proof-sheets (BBA BH38).
Corrected copy of the 1st edition (BBjr).
BB 53
For Children, for piano (1908–1909)
Hungarian (R) I–II = Vol. I of the rev. (B&H) edition:
First drafts: (1) no. 23 (BBA 487); — (2) nos. 13–18 numbered "I–VI". (PB 22PS1); — (3) a collection of the melodies for vol. II (BBA BH46/23).
Complete draft of I–II, the printer’s copy of the 1909 R 376–377 1st edition (PB 22PI.ID1).
Slovak (R) III–IV = Vol. II of the rev. (B&H) edition:
Drafts:
(1) Nos. 1–12, 14, 17–22, and 30–32, 42 (PB 22PII.ID1).
(2) Nos. 13, 15–16, 23–29, 35–41, 43, autogr. (BBA 487), together with Márta’s copy of nos. 30–32 (BBA 499), the printer’s copy of IV, R 728. (NB: Emma Kodály’s autogr. MS of her arrangements nos. 33–34).
Márta’s copy of III, nos. 1–22, with Bartók’s corrections, the printer’s copy of the 1910 R 634 1st edition (BBA 2015).
Corrected proof-sheets (former Freund/Milroy collection ® ?).
Revisions:
(1) Bartók’s copies of volumes R 376–377 with notes (on one page the preparations for the orchestration of BB 103/V; BBjr).
(2) Revised copies of the R edition, prepared for the 1937 Rv 6171–6172 album Young People at the Piano I–II (11 plus 7 pieces), the printer’s copy (Budapest OSZK Ms.Mus.3190).
1943 revised version [erroneously printed as rev. 1945]:
(1) Autogr. copy, 13 rewritten pieces (Vol. I, nos. 13–14, 17–19, 26, 31–32, 34–36and Vol. II, nos. 11, 16, 32–33, dated 1943 (PB 22PFC2, with 14 revised printed pages from the R 1st edition).
(2) Camera-ready printer’s copy for the B&H 15936–15937 rev. edition (Bartók’s autogr. revision partly covered by the preparation of the camera-ready form) (PB 22PFC1).
Ungarische Volksweisen (1926), J. SZIGETI’s arr. for vl. and piano:
Szigeti’s MS corrected by Bartók (Wiener Stadt- und Landesbibliothek MHc 14300).
See also BB 109.
BB 54
Seven Sketches, op.9b, for piano (1908–1910)
Drafts (nos. 1–2 missing): no. 3 with the draft of BB 58/III (PB 26PID1); nos. 4–7 (PB 23PID1); nos. 4–7 in the 1911 R 769 1st edition were engraved from this draft.
Dedication copy of no. 2, noted down by Bartók on spiral-form hand-ruled staves (PB 23PFC2).
Printer’s copy of nos. 1–3, written by Copyist-X (no. 1) and Márta, revised by Bartók (BBA 2011).
Corrected proof-sheets (BBA 1997).
Copy of the R 1st edition revised in the 1940s (PB 23PFC1).
BB 55
Three Burlesques, op.8c, for piano (1908–1911)
Sketch for no. 1 in the Black Pocket-book (BBA BH206), fol.10r–v.
Draft, no. 1 only (PB 24PS1); no autogr. MS of nos. 2–3 is known.
A mixed copy of no. 1, written by Márta (pp. 1–2) and Bartók (pp. 2–4) (PB 24PID1), printer’s copy of the 1912 Rv 3237 1st edition.
Two sets of corrected proof-sheets (July and Dec.1911; Edinburgh National Library, and BBA 1999).
Copy of the Rv 1st edition (PB 24PFC1): (a) preparatory notes for the orchestration of no. 2 (BB 103/IV); — (b) a revision of the whole work, 1944.
BB 56
Two Romanian Dances, op.8a, for piano (1909–1910)
Draft, printer’s copy of the 1910 Rv 3333 1st edition (BBA 490; facsimile edition: EMB, 1974).
Copy of no. 1 written by Márta (PB 25PID1).
Corrected proof-sheets of the 1st edition, July 1910 (former Freund/Milroy collection ® ?).
Revised copies of the 1st edition: (1) (BBjr); — (2) printer’s copy of the 2nd Rv edition (BBA BH70); — (3) an American revision (with rewritten sections in no. 2) for the planned E .B.Marks edition (PB 25PFC1).
See also BB 61.
BB 57
Two Romanian Folksongs, for female choir (c1909)
Draft (PB 39SAS1).
BB 58
Four Dirges, op.9a, for piano (c1909–1910)
Sketches, nos. 1 and 3 in the Black Pocket-book (BBA BH206), fol.11r, 12r.
Draft, nos. 1–4 (with the draft of BB 54/III, and Márta’s copy of no. 1; PB 26PID1); printer’s copy missing.
Corrected proof-sheets of the 1911 Rv 3438 1st edition (Edinburgh National Library); the printer’s copy of the revised 1945 Elkan edition missing.
See also BB 103.
BB 59
Two Pictures, op.10, for orchestra (1910)
Sketches: fol.12r–13v in the Black Pocket-book (BBA BH206); The draft short score is missing.
Autogr. score (PB 27FSS1), printer’s copy of the 1912 Rv 3557 edition of the full score.
Sample pages of a fair copy of the score, 4 pp., written by Márta (BBA 2018).
Corrected proof-sheets, three sets (BBA 1993).
Piano reduction:
Draft, a mixed-form autogr. MS (PB 27TPS1), partly the printer’s copy of the 1912 Rv 3558 piano reduction.
Corrected proof-sheets of the piano reduction, incomplete (BBA 2019).
BB 60
Four Old Hungarian Folksongs, for male choir (1910, rev. c1926)
Draft (1910) (BBA 117).
Copy (dated Dec.1910), revised by Bartók (BBA 2016).
Draft or the new version (1926) (PB 30TBS1).
Autogr. copy, printer’s copy of the 1927 UE 8891 edition (PB 30TBFC1).
BB 61
Romanian Dance, for orchestra (1911), (from BB 56/I)
Autogr. score (PB 25TFSS1).
Parts (Budapest F. Liszt Academy of Music). [The EMB Z.4692 posth. 1st. edition was based on these MS orchestral parts.]
BB 62
Duke Bluebeard’s Castle, op.11, opera in one act (1911)
Sketch: one theme on fol.12v of the Black Pocket-book (BBA BH206); neither further sketches nor a complete draft have survived.
Autograph in vocal score form, with variants of the ending (BBA 492; with Emma Kodály’s unpublished German translation).
Autogr. score, with inserted new ending (PB 28FSS1).
Copy of the score, written by Márta, Bartók (pp. 31–36, 143–149 etc.), and a professional copyist (pp. 105–128) (probably the 1911 competition copy) (PB 28FSFC2); Márta’s copy of an earlier ending, pp. 195–200: PB 28FSID1).
Copy of the score, written for the Budapest Opera House by a professional copyist (BBA 2156).
Vocal parts for the first performers, dated 1917 and 1936 (BBA 2157).
Copy of the score for UE (c1922), written by a Viennese copyist (PB 28FSFC1).
Vocal score:
Copy written by Márta, revised by Bartók, the printer’s copy of the UE 7026 1st ed. (PB 28VoSFC1).
Corrected proof-sheets, Oct.1921 (PB 28VoSFC2).
Corrected copy of the 1st ed. (BBjr).
BB 63
Allegro barbaro, for piano (1911)
Draft (BBA 176); an autogr. MS probably missing.
Copy written by Copyist-X (the original missing); (a) reprinted in facsimile in Nyugat (1913); — (b) revised copy of the facsimile edition (Wiener Stadt- und Landesbibliothek MH14293c), used as the printer’s copy of the 1919 Musikblätter des Anbruch edition and the UE 5904 1st edition (©1918, printed in 1919).
Copy of the 1939 Hawkes 15190 print with Bartók’s corrections (PB 29PFC1).
BB 64
Four Pieces for Orchestra, op.12 (1912, orchestration 1921)
Sketches: two ideas possibly connected with Mov. II, in a Pocket-book of folksong collection (BBA BH110, fol.34r).
Autogr. in 2-piano form (partly first draft, partly rewritten from a lost form [?] for 2 pianos; with preparatory notes for the orchestration) (PB 31TPPS1; the beginning of Mov. III in Márta’s copy too).
Autogr. score, corrections partly in Márta’s hand (with authorization of performances of movements I–II or IV–III–II too; London British Library).
Márta’s copy of the score, with Bartók’s additions, printer’s copy of the 1923 UE 7270 edition (PB 31FSFC1).
BB 65
Nine Romanian Folksongs, for voice and piano (c1912)
Draft; no. 8 also in a fragmentary new version, written in America (in the MS collection Félretett dalok[Reserved songs], PB 40VoPS1).
BB 66
BARTÓK–RESCHOFSKY, Piano Method (1913); First Term at the Piano (1929)
(No autogr. MS of the 48 pieces written by Bartók for the Piano Method and the 18 pieces which he re-edited separately under the title First Term at the Piano exist.)
Revised copy of the Piano Method for a planned new edition (BBjr).
BB 67
Romanian Christmas Songs, Series I–II, for piano (1915)
Draft, on pp. 1–5 and 13–19 of a MS complex (PB 36–37–38PS1). (The printer’s copy of the 1918 UE 5890 1st edition missing.)
Revised copy of the UE 1st edition (PB 38PFC2).
Autogr. of the Änderungen für den Konzertvortrag, Jan.1936 (PB 38PFC1).
BB 68
Romanian Folk Dances, for piano (1915)
Draft, on pp. 5–9 of a MS complex, with a discarded first dance (PB 36–37–38PS1). (The printer’s copy of the 1918 UE 5802 1st edition missing.)
Revised copy of the 1st edition, used by UE in Nov.1934 for the correction of a new print (BBjr).
Revised copy of a B&H print (PB 37PFC1).
NB: no printer’s copies of the authorized transcriptions are known: (a) for Salonorchester by WILKE (1922, new version 1928); — (b) for vl. and piano by SZÉKELY (1925); — (c) for string orch. by WILLNER (1928).
Revised copy of the 1926 UE 8474 1st edition of Székely’s transcription, with Bartók’s corrections (BBjr).
See also BB 76.
BB 69
Sonatina, for piano (1915)
Draft, on pp. 9–12 and 19 of a MS complex (PB 36–37–38PS1). (The printer’s copy of the 1918 Rv 3919 1st edition missing.)
Corrected proof-sheets of the Rv 1st edition (BBA 1994).
Revised copy of the 1st edition, used by Rv for the corrected new print (BBjr).
See also BB 102a–b.
BB 70
Suite, op.14, for piano (1916)
Draft (5-movement form with a "II." Andante) (PB 43PS1).
Printer’s copy of the 1918 UE 5891 1st edition, I–III and the Andante (as no. 2) written by Márta, IV by Bartók (PB 43PFC2).
Copy of the 5-movement form written by a pupil, Irén Egri, with Bartók’s additions (BBA 5412).
Copy of IV by Márta, with Bartók’s additions: BBA 2009).
Corrected proof-sheets of the UE 1st edition, Aug.1918 (BBA 1995).
Revised copy of a B&H print, American revision with the new timings (PB 43PFC1).
BB 71
Five Songs, op.15, for voice and piano (1916)
Drafts:
(1) No. 3 (in F sharp), and nos. 4, 2, 5, 1 (in the MS collection Félretett dalok [Reserved songs], PB 41VoPS1).
(2) No. 3 (in G sharp) (PB 41VoPID1).
Copy of nos. 1–3, written by Bartók and Márta, printer’s copy of the planned Drei Lieder UE edition (1918–1923) (PB 41VoPFC1).
Márta’s copy of no. 4–5 (BBA 2027a–b).
End of no. 1 in Bartók’s handwriting, reproduced in facsimile in Ma 1917.
Autogr. copy of no. 1 (together with BB 73), in 1922 dedicated to M. Calvocoressi (PB 41Calvo).
BB 72
Five Songs (E. Ady), op. 16, for voice and piano (1916)
Draft (nos. 1–5), and the beginning of a fair copy of no. 1 (PB 44VoPS1).
Copy, nos. 1–4 written by Márta and Bartók, no. 5 by Emma Kodály (no. 1–4 revised by Bartók; no. 5 with notes by Zoltán Kodály; PB 44VoPID1FC2), nos. 1–4: the printer’s copy of the 1923 UE 6934 1st edition. — Missing is the printer’s copy of no. 5 that was reproduced in facsimile in Ma 1917, and printed in Musikblätter des Anbruch 1921; furthermore the autogr. fair copy of no. 1 reproduced in facsimile in Nyugat1919.
Autogr. vocal part of nos. 1–2 with Emma Kodály’s German text (BBA 493).
Corrected proof-sheets of the UE 1st edition, two sets (BBA 1988).
Corrected copy of the UE 1st edition with new German text (PB 44VoPFC1).
BB 73
Slovak Folksong ("Krutí Tono vretena"), for voice and piano (1916)
Draft (BBA 2004).
Márta’s copy, Hungarian and German text added by Bartók (BBA 2028).
Autogr. copy (together with BB 71/I) (dated "1916.I."), in 1922 dedicated to M. Calvocoressi (PB 41Calvo).
BB 74
The Wooden Prince, op.13, ballet in one act (1914–1917)
Sketches: (1) on fol.13v–14v of the Black Pocket-book (BBA BH206); — (2) memo sketches, plan of a scene and on extra pages notes about instruments (BBA BH222, 2016).
Draft in piano short score form: (1) from p. 4 onwards, a mixed-form MS with later additions, partly in Márta’s hand (PB 33PS1.PFC1); — (2) pp. 1–2, 2bis, 7–8, the beginning of the draft, incomplete (on Dec.21, 1915, dedicated to "Sándor Mikinek") (NLSE, Kodály collection Ms 21579).
Autogr. score, with additions by Márta’s hand (PB 33FSFC3).
Copy of the score for the Budapest Opera House, mostly Márta’s handwriting with Bartók’s additions (BBA 2158, with discarded pages: BBA 2017).
Bartók’s personal copy of the 1924 UE 6638 lithographed full score, with corrections, cuts, versions (BBjr).
Verzeichniss der Kürzungen [1932], autogr. text and music (PB 33FSFC1.FSFC2).
Piano reduction:
Copy written by Bartók, Márta, and Emma Kodály, printer’s copy of the 1921 UE 6635 1st edition (PB 33PFC2).
Corrected copy of the UE 1st edition, with preparatory notes for a seven-part Suite (BBjr).
Suite versions:
(1) "Small suite": three dances, „Waldtanz", „Wellentanz", „Tanz der Prinzessin mit der Holzpuppe" (see Bartók’s letters of Jan.16, 1921, June 22, 1925 to UE), 3 pp. autogr. draft (PB 33TFSID1); and 4 pp. autogr. fair copy (FDD; photostat: BBjr).
(2) Seven-movement Suite 1932, „Preludium," „Die Prinzessin," „Der Wald," „Arbeitslied des Prinzen," „Der Bach," „Tanz des holzgeschnitzten Prinzen," „Postludium," 2 pp. autogr. instructions (PB 33FSFC1), and a revised copy of the UE lithographed full score, with one page tissue-proof (PB 33TFSFC2).
BB 75
String Quartet No. 2, op.17, (1914–1917)
Sketches: (1) fol. 13v in the Black Pocket-book (BBA BH206); — (2) continuity sketches for Mov. III (BBA 494a).
Score draft and copy, a MS complex (PB 42FSS1): (1) draft of I –II; — (2) Márta’s copy of II, corrected; — (3) autogr. fair copy of III. (The printer’s copy of the 1920 UE 6371 1st edition missing; the missing draft of Mov. III presumably was part of the printer’s copy.)
Revision from the 1940s, unfinished, in a copy of the UE 1st edition (PB 42FSFC1).
BB 76
Romanian Folk Dances, for small orchestra (1917) (from BB 68)
Autogr. score (BB 37TFSFC1), printer’s copy of the UE 6545 1st edition.
BB 77 (olim BB 78)
Four Slovak Folksongs, for mixed choir and piano (1916)
Draft (PB 47SATBPS1). (The printer’s copy of the 1924 UE 7595 1st edition missing.)
BB 78 (olim BB 77)
Slovak Folksongs, for male choir (1917)
Draft (PB 46TBS1). (The printer’s copy of the 1918 UE 6101 1st edition missing.)
BB 79
Fifteen Hungarian Peasant Songs, for piano (1914–1918)
Draft:
(1914 layer) Nos. 2, 4, 7–15, with BB 80a, and three unpublished pieces.
(1918 layer) Nos. 1, 3, 5–6, with BB 80b/II–III, and three unpublished pieces (the whole MS complex: A. Fassett’s collection, ® PB 34PS1).
Printer’s copy of the 1920 UE 6370 1st edition, written by Márta, corrected by Bartók: nos. 1–4 (with BB 80a, crossed, as the planned "no. 1"), "nos. 5–6" (discarded pieces), nos. 7–15 (PB 34PFC1).
Márta’s other copy of BB 80a, nos. 3, 2, and "no. 6" (PB 34PFC2).
See also BB 107.
BB 80a, 80b
(a) "Leszállott a páva," for piano (1914); (b) Three Hungarian Folktunes, for piano (1914–1918)
(80a):
Draft: see BB 79.
Autogr. fair copy (old form of 80b/I): the orig. missing; facsimile reproduction in Periszkóp 1925.
(80b):
Printer’s copy of the 1942 B&H edition in the Homage to Paderewski album, written in 1941 by Ditta, with Bartók’s additions (PB 35PFC1).
Corrected copy of the 1942 B&H 1st edition (PB 35PFC2).
BB 81
Three Studies, op.18, for piano (1918) (and fragments)
Draft: (1) Nos. 1–3 (PB 48PS1); — (2) fragment of a planned piece (PB miscell.C–26/6); a sketch probably meant an Etude, on the cover of the MS complex of String Quartet No. 2 (PB 42FFS1).
Printer’s copy of the 1920 UE 6498 1st edition, Márta’s copy with Bartók’s corrections (PB 48PFC1).
Copy of the 1st edition with timings (BBjr).
BB 82
The Miraculous Mandarin, op.19, pantomime in one act (1918/19, orchestration 1924)
Continuity sketches (from the "pursuit" scene till the end): fol.15r–24v in the Black Pocket-book (BBA BH206).
Draft in piano short score form (partly with additional preparatory notes for the orchestration); variant endings, partial sketches for the orchestration; PB 49PS1).
Autogr. score, with the concert-suite ending, new ending (draft and fair copy) (PB 49FSFC1–2).
Copy for the Budapest Opera House, written by Ditta and Márta, with Bartók’s additions (BBA 2165).
Copy for the Budapest Opera House, written by copyist O. Chamouk 1925, with the 1931 ending too (BBA 2154).
Corrected copy of the 1927 UE 8909 lithographed full score of the Suite (BBjr).
Piano 2-hand repetiteur copy for the Budapest Opera House, written by Bartók (pp. 1–2) and Márta, with additions by Ditta, corrected by Bartók (BBA 2155B).
Piano 4-hand reduction:
Autogr. copy (partly used for the preparations of the orchestration too) (PB 49TPPS1).
Autogr. copy of 2 sample pages, printed in facsimile in Nyugat 1923 (the MS missing).
Copy written by Ditta and Márta, with Bartók’s additions, c1923; the printer’s copy of the 1925 UE 7706 1st edition ( PB 49TPPFC1).
Bartók’s corrected copy of the UE 1st edition, with one page autogr. ending of the Suite (for 4-hand performance), with preparation for the new ending (BBjr).
BB 83
Improvisations on Hungarian Peasant Songs, op. 20, for piano (1920)
Sketch for no. 1 (on the cover of String Quartet No. 2 BB 75: PB 42FSS1).
Draft in three layers, with revisions, no. 2 in two versions (PB 50PS1).
Nos. 1, 5, 2, 7, 4 copied by Emma Kodály as "I–V" (BBA 501).
Márta’s copy revised by Bartók, the printer’s copy of the 1922 UE 7079 1st edition: Zwei Klavierstücke (= nos. 2, 8) (PB 50PID1); — 8 impromptus zongorára (but nos. 1, 3–7 only) (PB 50PFC2).
Corrected copy of the UE 1st edition (BBA BH69).
Revised B&H print from the 1940s (PB 50PFC1).
BB 84
Sonata for Violin and Piano no. 1 ("op. 21") (1921)
Sketches: Black Pocket-book (BBA BH206), fol.24v–27r.
Draft (PB 51VPS1).
Concert copy (with vl. part), Márta’s copy revised by Bartók, marked as "op. 21" (BBA 1987).
Márta’s copy revised by Bartók, printer’s copy of the 1923 UE 7247 1st edition (with vl. part) (PB 51VPFC2 and VFC2).
Corrected copy of the UE 1st edition (with vl. part; PB 51VPFC1 and VFC1).
BB 85
Sonata for Violin and Piano no. 2 (1922)
Sketches: Black Pocket-book (BBA BH206), fol.27v–30v.
Draft (PB 52VPS1).
Autogr. copy of the first page (orig. missing; in facsimile reproduced in Az Est Hármaskönyve 1923).
Autogr. copy of the vl. part, with Márta’s additions (PB 52VS1), concert copy and the printer’s copy of UE 7295a vl. part.
Márta’s copy revised by Bartók, the printer’s copy of the 1923 UE 7295 1st edition (PB 52VPFC2).
Corrected copy of the 1st edition (vl. part too) (PB 52VPFC1 and VFC1).
BB 86
Dance Suite, for orchestra (1923), and for piano (1925)
Sketch to the ritornello theme (together with partial sketches for BB 82: p. 48 in PB 49PS1).
Draft in piano short score form, with one discarded movement between Mov. II and III (on 3 additional pages: partial sketches for the orchestration; PB 53PS1; further partial sketches: BBA BH92, BH213, 495b).
Autogr. score (dedication copy) ( Budapest Történeti Múzeum).
Copy of the score written by Márta, revised by Bartók (with E. Dohnányi’s retouches), printer’s copy of the 1924 UE 7545 full score (PB 53FSFC1).
Revised copies of the 1st edition of the UE full score: (1) Bartók’s copy (BBjr); — (2) printer’s copy of the W.Ph.V. 200 pocket score 1st edition (WSLB MHc14299).
Corrected copies of the W.Ph.V. pocket score (BBA BH91; BBjr).
Piano solo version:
Autogr. copy (with changes), printer’s copy of the 1925 UE 8397 1st edition (PB 53TPFC1).
Corrected copy of the UE 1st edition, with timings and new MM numbers (BBjr; György Sándor’s copy with Bartók’s revision: photocopy in BBA).
BB 87a
Five Village Scenes, for voice and piano (1924)
Draft; no. 1 in two versions; nos. 4, 3, 5 as "I–II–III" (PB 54VoPS1).
Autogr. copy (but no. 3 Ditta’s copy with Bartók’s additions), printer’s copy of the 1927 UE 8712 1st edition (PB 54VoPFC2).
Corrected copy of the UE 1st edition with timings (PB 54VoPFC1).
BB 87b
Three Village Scenes, for 4 or 8 women voices and orchestra (1926) (from BB 87a/III–V)
Autogr. score (PB 54TFSS1).
Revised copy of the score, written by Ditta and a copyist, with Bartók’s additions, printer’s copy of the 1927 UE 8714 lithographed full score, then as a dedication copy sent to The League of Composers in New York (Washington Library of Congress ML 30.3c3.83).
Vocal score:
Autogr. copy, the printer’s copy of the 1927 UE 8713 1st edition (PB 54VoSFC2).
Revised copy written by Ditta and a copyist, with Bartók’s corrections (PB 54TVoSFC1).
BB 88
Sonata, for piano (1926)
Sketches: (1) thematic memos for Mov. III (p. 33b of PB 58PPS1); — (2) continuity sketch to Mov. I (BBA BH214).
First draft in a MS complex of BB 88–89, Mov. I on pp. 21–24, Mov. III and II on pp. 12–19 (PB 55PS1).
Second draft (the urform of BB 89/III still an episode in Mov. III of the Sonata), with side sketches for the revision of III (OSZK Ms.Mus.998; facsimile edition: EMB, 1980 ).
Autogr. copy, printer’s copy of the 1927 UE 8772 1st edition (PB 55PFC2).
Corrected copy of a 1939 B&H print with timings (PB 55PFC1).
BB 89
Outdoors, five piano pieces (1926)
Sketches: (1) continuity sketch of no. 1 and thematic memo for no. 2 (–1981: Ditta Bartók’s collection; photocopy in BBA); — (2) theme for no. 4 (together with sketches of Piano Concerto No. 1, PB 58PPS1, p. 37).
First draft in a MS complex of BB 88–89: nos. 1–2 on pp. 9–12, nos. 4–5 on pp. 3–7 (no. 3 see BB 88/III; PB 56PS1).
Second draft, nos. 1–2 and 4 (as "I–II–III") and no. 5 (without number) (PB 56PFC1).
Autogr. copy, the printer’s copy of the 1927 UE 8892 one-volume 1st edition, written in sequence II–V, I (PB 56PFC2).
Changes and corrections in copies of the UE 1st edition (BBA BH62c; BBjr); timing for II and IV (BBjr).
No. 1 for orchestra, fragment (mm. 1–31 only) (BBA BH46/17).
BB 90
Nine Little Piano Pieces (1926) (and fragments)
Sketch of no. 5 (on p.10 of PB 56PS1, see BB 89).
Continuity sketches and drafts, nos. 1, 9/I, 6, 3, 5, 4, 7, 2 (and BB 105 no. 146 and no. 137) (PB 57PS1).
Second autogr. MS, nos. 1, 9, 7, 3, 2, 4, 6, 5, 8. (and BB 105 no. 81) (PB 57PID1).
Autogr. copy, the printer’s copy of the 1927 UE 8920–8921–8922 1st edition, written in sequence nos. 1–4, 8, 5–7, 9 (PB 57PFC2).
Autogr. dedication copy of no. 1 (and the beginning of no. 9) for Ditta (BBA BH215).
Corrected copies of Vols. I and III of the UE 1st edition (PB 57PFC1).
Piano pieces, fragments, c1926 (?): (1) (c34 mm., cf. PB 58PPS1, p. 36); — (2) two Hungarian folksongs (33+21 mm) (BBA BH46/5); see also BB 93.
BB 91
Piano Concerto no. 1 (1926)
Sketches: (1) memo for Mov. I (in the MS complex of BB 88–89, PB 55–56PS1, p.10); — (2) memos and unrealized continuity sketches for I–II–III (cf. PB 58PPS1, pp. 5, 25a–b, 33a–b, 34); — (3) memo sketches perhaps connected with the concerto (BBA BH214, on the back of the page, cf. BB 88).
Draft in 2-piano form (with sketches; PB 58PPS1).
Autogr. score draft (Bartók’s personal copy) (PB 58FSS1).
Autogr. copy of the score, the printer’s copy of the 1927 UE 8777 full score 1st edition (PB 58FSFC1).
Revised copy of the 1st edition of the full score, printer’s copy of the 1929 UE (unmarked) 2nd edition (BBA BH41); — two slightly corrected copies of the 1st edition (BBA BH67, PB 58FSFC2).
Corrected copy of the 2nd edition (BBjr).
2-piano reduction:
Autogr. copy with revision (PB 58TPPFC1).
Copy written by Bartók (pp. 1–23) and an unknown hand, the printer’s copy of the 1927 UE 8779 1st edition (PB 58TPPFC2).
Corrected proof-sheets of the UE 1st edition, Apr. 1927 (BBA 6679).
Corrected copy of the 1st edition (BBjr).
BB 92
Three Rondos on Folktunes, for piano (1916–1927)
No. 1 [c1916 version: three separate Slovak folksong arrangements; the autogr. draft missing; — c1927 version: re-composition in one movement].
Dedication copies of the 1st episode only: (1) autogr. fair copy, dedicated to E. Hertzka, Sept. 1925, titled Tót népdal (New York Pierpont Morgan Library R.O.Lehman deposit); — (2) another autogr. fair copy, titled Tót népdal, dated 1916 (but presumably written down later) (Budapest Institute for Musicology Fond 2/32; in facsimile reproduced in Zenei Szemle 1928).
Printer’s copy, Márta’s copy of the three original folksong arrangements, the rondo couplets and the re-composition in Bartók’s handwriting (PB 45PFC2).
Copy written by Ditta (BBjr)
Nos. 2–3 (1927):
Draft, titled 2 (3) kis rapszódia, no. 3 ("I") in one, no. 2 (with a discarded folksong theme) in two versions with variant forms (New York Pierpont Morgan Library R.O.Lehman deposit).
Copy written by Ditta, with Bartók’s revision and addition, the printer’s copy of the 1930 UE 9530 1st edition (nos. 2–3) (PB 45PFC2).
Corrected B&H copy (PB 45PFC1).
BB 93
String Quartet No. 3 (1927)
Draft score and sketches (on p.17 an unidentified sketch, possibly for piano) (PB 60FSS1).
Autogr. final copy (later dedicated to the Musical Fund Society in Philadelphia; University of Pennsylvania, Philadelphia).
Competition copy, sent 1928 to Philadelphia, written by Bartók and by two unknown hands (pp. 3–8 and 9–14 respectively) (University of Pennsylvania, Philadelphia).
Photostat of the autogr. final copy with Bartók’s MS additions, printer’s copy of the 1928/29 UE 9597 pocket score 1st edition (PB 60FSFC1)
Parts: written by a copyist, with Bartók’s additions (and notes by performers), printer’s copy of the 1929 UE 9598 1st edition (Wiener Stadt- und Landesbibliothek MHc14297).
BB 94
Rhapsody no. 1, (a) for violin and piano (1928), (b) for violin and orchestra (–1929), (c) for violoncello and piano (–1929)
(a) Draft (with several endings, some belong to the violoncello and piano version) (PB 61VPS1).
Autogr. copy (with the 2nd ending; Cadenza breve on p.15; with the later discarded Allegretto scherzando section at no.12) (the orig. MS missing; photocopy from the "Property of J. Szigeti": PB 61VPFC1.
A contemporary photocopy of the missing "Szigeti copy", the printer’s copy of the 1929 UE 9864 1st edition, with Bartók’s MS additions and an autogr. supplement (with scattered preparatory notes for the instrumentation) (Paul Sacher Stiftung Basel).
Autogr. vl. part (PB 61VFC1).
Corrected proof-sheets of the UE 1st edition (also served as Bartók’s concert copy) (PB61VPFC4).
Corrected copies of the UE 1st edition: (a) with preparatory notes for the violoncello version (Paul Sacher Stiftung Basel); — (b) Bartók's personal copy with timings (Bartók’s concert copy; BBjr).
(b) Draft score (with variant endings, with the Allegretto scherzando section; PB 61TFSS1).
Autogr. fair copy, the printer’s copy of the 1931 UE 9858 1st edition (Paul Sacher Stiftung Basel); the second ending (PB 61TFSFC1).
Copy of the UE print, the printer’s copy of the B&H 16229 rev. edition (corrections introduced by alien hand; PB 61TFSFC2).
(c) Draft of the violoncello part and changes for the piano part (PB 61TCPFC1).
Corrected proof-sheets of the violoncello part only, UE 9866, with notes by Bartók and a performer (BBA BH63).
Copy of the UE 9866 print, Bartók’s concert copy (BBjr).
BB 95
String Quartet No. 4 (1928)
Draft score (with sketches) (PB 62FSS1).
Autogr. sample pages of the vl.1 part, Mov. I, 1–142 (BBA 1084).
Autogr. final copy (Mov. IV as a later insertion) (PB 62FSFC1).
Photocopy of the autogr. final copy with MS additions by Bartók, printer’s copy of the 1929 UE 9788/W.Ph.V.169 1st edition (PB 62FSFC2).
Bartók’s German draft of the text Formübersicht, Dec.1929 (BBA 3923).
Bartók’s instructions for the engraver of the parts (WSLB).
Corrected proof-sheets of the UE/W.Ph.V. pocket score, incomplete, 16 pages (PB 62FSFC3).
Corrected copy of the UE/W.Ph.V. pocket score 1st ed. with Bartók’s corrections (copy in BBA).
BB 96
Rhapsody no. 2, (a) for violin and piano (1928, rev. 1935), (b) for violin and orchestra (–1929, rev. 1935)
(a) Draft (and on pp. 14–22 plus 3 pp. different variants of the ending, and versions) (PB 63VPS1ID1).
Photocopy of autogr. final copy (the orig. sent to Z. Székely) with Bartók’s MS additions, the printer’s copy of the 1929 UE 9891 1st edition (PB 63VPFC2).
Autogr. vl. part (with Székely’s writing on p.8; PB 63VFC1).
Corrected copies of the UE 1st edition: (1) with marking a major cut (BBjr); — (2) with crossings (PB 63VPFC1); — 3) a copy with pasted-ups of lithographed corrections, dedicated Feb.1941 to Jenő Antal (BBA 3305); — (4) another copy with pasted-up corrections, used by Bartók as his concert copy in Italy (PB 63VPFC 3); — (5) a revised copy with Bartók’s autogr. insertions, with vl. part, printer’s copy of the 1946 B&H 15890 rev. edition (PB 63VP/VFC4).
(b) First autogr. score (PB 63TFSS1).
Autogr. fair copy, printer’s copy of the 1931 UE 9867 1st edition (PB 63TFSFC2).
Corrected copy of the 1st edition, with autogr. preparatory notes for the revision (BBjr).
The revision of Mov. II: (a) draft and the autogr. fair copy on tissues (PB 63TFSFC1); — (b) preparatory notes for the scoring of the new ending, in a copy of the vl.–piano form written by J. Deutsch (BBA 2012); — (c) tissue-proofs of the corrections in 5 copies (BBA BH42).
Revised copy of the UE 1st edition, printer’s copy of the 1949 B&H 16230 rev. edition (PB 63TFSFC3).
BB 97
Five Hungarian Folksongs, for voice and piano (1928) (recomposed from BB 42)
Drafts: (A) nos. 2, 1, 5, 3, and no. 4 in two versions; — (b) shorthand notation of nos. 1–5 (BBA BH212).
BB 98
Twenty Hungarian Folksongs, Vols. I–IV, for voice and piano (1929)
Draft (and one p. sketch for no. 8) (PB 64VoPS1).
Autogr. copy (unusual format with hand-rastral, with considerable changes and revision), printer’s copy of the 1932 UE 1521–1522–1523–1524 1st edition (PB 64VoPFC1).
Blue and brown contact copies with Bartók’s revision, partly with German text too (BBA 2008).
Full set of brown contact copies with R. St. Hoffmann’s German translation (PB 64VoPFC2).
See also BB 108.
BB 99
Four Hungarian Folksongs, for mixed choir (1930)
Draft (and sketches to II–III), written in sequence I–II, IV, III (PB 65SATBS1).
Fair copy on tissue, incl. discarded pages (PB 65SATBFC1).
Tissue-proofs, Bartók’s working copies: (1) with German translation (PB 65SATBFC2); — (2) with English text, printer’s copy of the 1932 UE 10371 1st edition (PB 65SATBFC3).
BB 100
Cantata profana, for tenor, baritone, double chorus, and orchestra (1930).
Sketch of two themes (on p.10 of the draft of BB 99, PB 65SATBS1).
Draft in vocal score form (up to p. 20 written for Romanian text; sketches on pp. 26–27; on 30 extra pages: the formation, translation, and preparation for edition of the text in Romanian, Hungarian, German, and from a later time in English) (PB 67VoSS1).
Draft score (German translation written by B. Szabolcsi) (PB 67FSS1; the first page copied by Ditta: BBA BH46/6a).
Fair copy on tissue, originally the score plus the piano part for the vocal score written together, then the tissues were cut and rearranged for the 1934 UE facsimile editions (UE 10613 full score, UE 10614 vocal score) (PB 67FSFC1 and 67PFC1).
Corrected tissue proofs of the score as admission copy for UE (PB 67FSFC2).
Preliminary version of the vocal score made from tissue proofs, with Bartók’s corrections (BBjr).
Corrected copies of the facsimile edition of the full score and the vocal score (BBjr).
BB 101
Piano Concerto no. 2 (1930–1931)
Draft score including sketches (PB 68FSS1).
Autogr. fair copy of the score (=A) and of Piano 2 for the 2-piano reduction (=B), on tissue, originally written together (PB 68FSFC1, 68TPSPFC1).
Tissue-proof working copies ( "negrocopy" style), presumably in the sequence:
(B.1) Hand-montage 2-piano form of Mov. I only, with considerable autogr. changes (BBA BH43a).
(A.1) Full score, admission copy for UE (PB 68FSFC2).
(B.2) Hand-made new 2-piano form, Mov. I–III (BBjr).
The 1932 UE 1st facsimile edition of the full score ("aluminum print" without plate no., from the corrected autogr. tissues printed in Budapest).
(A.2) Copy of the 1st facsimile edition, Bartók’s concert copy with corrections and changes (BBA BH43b).
(A.3) The 1937 UE 10442 2nd facsimile edition (from the newly corrected tissues printed in Austria).
(A.4) Copy of 2nd facsimile edition with Bartók's MS insertions, used by Ditta (BBjr).
2-piano reduction:
Printer’s copy of the 1941 UE 10995 1st edition was B.2, see above. (A hand-made copy of the publisher for a planned B&H edition: PB 68TPSPFC1).
BB 102a
(BARTÓK–GERTLER) Sonatina, for violin and piano (c1930) (from BB 69)
Draft, a copy of Gertler’s transcription fully revised by Bartók (with notes for the orchestration of BB 102b too) (PB 36TVPS1).
Corrected proof-sheets of the 1931 Rv 5374 1st edition, two sets (BBA 1989).
Copy of the Rv 1st edition with Bartók’s notes (BBjr).
BB 102b
Dances from Transylvania, for orchestra (1931) (from BB 69 and 102a)
Autogr. score, printer’s copy of the 1931 Rv 5440 full score (PB 36TFSS1).
BB 103
Hungarian Sketches, for orchestra (1931) (from BB 51/5, 51/10, 58/2, 55/2, 53/I-40 [orig. II-42] )
Autogr. score (the preparation for the orchestration of Mov. IV–V: see BB 55 and 53), printer’s copy of the 1931 R/Rv 5442 1st edition (PB A1TFSS1).
Copy of the 1st edition with Bartók’s revision (BBjr).
BB 104
Fourty–Four Duos, for two violins (1931/32)
Draft (one discarded duo on p.19; nos. 2, 26, 30 = no. 8, 16, 36 of the orig. numbering, missing) (PB 69VVS1).
Autogr. copy on tissue, 44+1 pieces (two sets of numbering; with corrections) (PB 69VVFC1).
Corrected tissue-proofs: (1) 18 pieces written for E. Doflein and Schott’s Söhne (the original missing, copy in BBA); — (2) 18 pieces (PB 69VVID2); — (3) complete, printer’s copy of the 1933 UE 10391–10394 edition (PB 69VVFC3).
Corrected copy of the 18 duos printed by Schott in Spielmusik für Violine: Neue Musik III and IV, and a corrected copy of the 44 duos UE 10452 one-volume edition (BBjr).
Autogr. performing copy of seven duos, written in America (PB 69VVID1).
Corrected copy of the B&H (2nd) edition (with R. Kolisch’s fingering) (PB 69VVFC2).
BB 105
Mikrokosmos, Vols. I–VI, 153 pieces for piano (1926, 1932–1939)
Sketches from 1926 (nos. 41, 137, 146 in the draft of BB 90; sketch of no. 98 in the draft of BB 111); a sketch probably for the Mikrokosmos, c1937 (see p. 25 of the draft of BB 115).
Draft, including 9 unpublished pieces but 14 pieces and several variant forms missing (PB 59PS1).
Autogr. final copy on tissue, including discarded pieces, versions, and drafts too (PB 59PID1–ID2).
Working copies made from tissue proofs:
(1) A copy used for Peter Bartók’s lessons (BBjr).
(2) Bartók's personal copy: pp. 1–7 orig. MS (21 pieces), pp. 8–50 and 56 black and white proof, corrected, pp. 51–55 lilac proof (PB 59PFC1).
(3) Submission copy for B&H (without the orig. pp. 9-12, 33-36), black and white proof, corrected (PB 59PFC3).
(4) Printer’s copy of the 1940 B&H 15196, 15197, 15192, 15191,15189, 15187 1st edition, black-and-white and lilac proofs and MS copies pasted and rearranged (with several additional hands, including M. Seiber and E. Stein) (PB 59PFC4).
Corrected printed copies: (1) Vols. III and VI (with notes for the 2-piano transcription BB 120/2 and 7) (PB 59PFC2–TPPS1); — (2) Vol. VI, dedicated by Bartók to J. Deutsch (BBA 182).
The 2-piano transcriptions see BB 120.
BB 106
Székely Folksongs, for male choir (1932)
The draft is missing.
Autogr. copy on tissue (PB 70TBFC1).
Corrected tissue-proofs, 2 sets of lilac proofs (BBA 2001).
Copy of the 1939 MK 418 1st edition; Bartók corrected the title Székely dalok [Székler Songs] to Székely népdalok [Székler Folk Songs] (BBjr).
BB 107
Hungarian Peasant Songs, for orchestra (1933) (from BB 79/6–12,14-15)
No draft or preparatory notes for the orchestration are known.
Autogr. score on tissue, used for the 1933 UE 10573 facsimile 1st edition (PB 34TFSFC1).
Tissue-proofs, submission copy for UE, with editor’s and Bartók’s notes (PB 34TFSFC3).
Corrected copies of the facsimile edition: (1) (BBA BH71); — (2) printer’s copy of the 1949 B&H 16167 edition, revised not by Bartók (PB 34TFSFC2); — (3) a copy with Bartók’s notes about the distribution of the copies (BBjr).
BB 108
Five Hungarian Folksongs, for voice and orchestra (1933) (from BB 98/1, 2, 11, 14, 12)
Autogr. score (Mov. IV added later), used for producing copies for hire (©1933) made at UE (PB 64TFSS1).
BB 109
BARTÓK–ORSZÁGH, Hungarian Folksongs, Vols. I–II, for violin and piano (1934) (from BB 53)
Fair copy of T. Országh’s 1931 transcription of 11 pieces from For Children, with Bartók’s preliminary notes for a revision, and with additional changes (PB 22TVPFC2)
Bartók’s draft, 9 pieces only (PB 22TVPS1).
Corrected copy of the Rv 1699 1st edition (PB 22TVPFC1).
Violin part, written in America (22TVFC1).
BB 110
String Quartet No. 5 (1934)
Draft score with discarded pages, sketches, and partial sketches (PB 71FSS1).
Autogr. fair copy on tissue (Washington Library of Congress ML 29c B29).
Copy of the tissue-proofs ML 29e B29).
Corrected tissue-proofs of the score with MS additions by Bartók and J. Deutsch, printer’s copy of the 1936 UE 10736 1st edition (PB 71FSFC2).
Corrected tissue-proofs cut and pasted together in form of four parts, printer’s copy of the 1936 UE 10737a–d 1st edition of the parts (PB 71PartsFC1).
Corrected copies of the pocket score 1st edition (Wiener Stadt- und Landesbibliothek MHv14297; BBjr).
BB 111
Twenty-Seven Two- and Three-part Choruses, (a) a cappella (1935/36), (b) Seven Choruses with orchestra (1937–1941)
(a) Draft, 27 pieces (and the sketch of BB 105 no. 98) (PB 72SAS1), probably the direct source of the (missing) fair copy on tissue, written by J. Deutsch and reproduced in facsimile in the 1937 MK 1st edition.
Autogr. copies of "Huszárnóta" and "Lánycsúfoló" (BBA 181, BH216).
Corrected copies of the MK 1st edition: (1) with German and English titles and a still unpublished new numbering (PB 72SAFC1); — (2) printer’s copy of 4 choruses edited by B&H 15339–15342 (PB 72SAFC2); — (3) a copy of 18 choruses with Z. Kodály’s comments (BBjr).
(b) Nos. 1–5 (1937): draft score, with instructions for the MK copyist (PB 72SAOS1).
Draft score of no. 6 "Only tell me" (c1941 (PB 72SAOS1), and no. 7 "Teasing Song" (G. Selden-Goth collection ® ?; photocopy: BBA).
Revised version of nos. 1–5 with English text, a copy of the MK 1st edition with Bartók’s additions, printer’s copy of the 1941 B&H edition (including a new numbering of the 7 choruses) (PB 72SAOFC2)
Photostat of nos. 1–3 and 5–7, copyist’s handwriting with Bartók’s corrections, English and German text (PB 72SAOFC1).
Sketch and short score of a 103 mm. long fragment: orchestral episode for the planned revised version of "Huszárnóta" (from the 1940s) (see PB 80FSS3).
BB 112
From Olden Times, for male choir (1935)
Draft (together with "Lánycsúfoló," cf. BB 111) (PB 73TBBS1–ID1), probably the direct source of the (missing) copy on tissue, written by J. Deutsch and reproduced in facsimile in the 1937 MK 321 1st edition.
Corrected copies of the 1st edition (PB 73TBBFC1; BBjr; KZA: with Z. Kodály's comments).
BB 113
Petite Suite, for piano (1936) (from BB 104)
Draft of the orig. 5-movement form (PB 69TPS1).
Ditta’s copy with Bartók’s revision, printer’s copy of the 1939 UE 10987 1st edition (Wiener Stadt- und Landesbibliothek MH14296c).
Corrected proof-sheets of the UE 1st edition (PB 69TPFC3).
Corrected copies of the UE 1st edition, and of a B&H reprint of the UE edition (PB 69TPFC1–2).
Draft of the additional Mov. Ibis (c1942, based on BB 104/32) (PB 69TPS2) (played on Bartók’s 1942 Continental 4005/Set 102 gramophone record).
BB 114
Music for Strings, Percussion, and Celesta (1936)
Draft score (with sketches and discarded pages), served as the printer’s copy of the 1937 UE 10815 full score, with instructions to the copyist (PB 74FSS1; facsimile edition: Mainz: Schott, 2000).
Corrected copies of the UE full score: (1) first correction of misprints, with changes and additional notes including the seating plan of the orchestra (PB 74FSFC1); — (2) copy with the extra page of the Änderungen(BBjr); — (3) printer’s copy of the 1937 UE 10888/W.Ph.V. 201 pocket score, with autogr. additions, including Bartók’s text Aufbau (PB 74FSFC2).
Corrected copy of the UE/ W.Ph.V. pocket score 1st edition (BBjr).
BB 115
Sonata for two Pianos and Percussion (1937) and BB 121 Concerto for two Pianos and Orchestra (1940)[NB: although the Sonata and the Concerto, the latter unpublished in Bartók's life, are independent works with individual BB number, their sources are closely interwoven.]
(a) Sketches: with the drafts of Mikrokosmos BB 105 (PB 59PS1, p. 71), and together with sketches of the Violin Concerto BB 117 (T. Spivakovsky’s collection).
Draft, with the c1939 recomposed retransition of Mov. I (mm. 229–273) (PB 75FSS1).
Autogr. copy of the score (115) on tissue, with corrections (PB 75FSID1–ID3).
Percussion parts III–IV, autogr. copy on tissue (PB 75DID1).
Corrected tissue-proofs of score (115): (1) Bartók’s concert copy (old retransition) (PB 75PSID2a); — (2) copy with June 1939 dedication (J. Sólyom’s collection Stockholm); — (3) Bartók’s new concert copy of the Sonata and Concerto versions (115+121) together (new retransition) (PB 75TPPPFC1), with preparatory notes for the orchestration; — (4) Ditta’s concert copy of the Sonata and Concerto versions (115+121) ( PB 75TPSPFC1).
Corrected tissue-proofs of the percussion parts: (I–II) BBA BH44; and extra copies written by the percussionists of the Budapest performance: BBA); (III–IV) old and revised forms (PB 75DID2).
Other sets of percussion parts: (I–II) copies for the 1940 New York performance (partly revised by Bartók) (PB 75DID3).
(115): Printer’s copy of the 1942 B&H 8675 1st edition of the score, a tissue-proof prepared by E. Stein (PB 75(T)PSPFC2).
Printer's copy of the B&H 8816 1st edition of the percussion parts (PB 75(T)DFC4); copy of the printed parts with one correction (PB 75TDFC2).
(121): Score-sections for the Concerto version, autogr. copy [Bartók did not write down a complete score of the Concerto version] (pp. 1–20 still on European paper, pp. 21–30 on American paper) (PB 75TFSS1).
BB 116
Contrasts, for violin, clarinet, and piano (1938)
Sketch (see BB 117, BBA 4091a, 21. p.).
Draft with sketches, written in sequence I, III, II (PB 77FSS1).
Autogr. copy on tissue, the beginning of Mov. III still follows Mov. I (PB 77FSFC1).
Tissue-proofs of pp. 7–8 only (= Mov. II), corrected (PB 77FSFC2).
Complete tissue-proof copy (dedicated to D. Dille) (in private collection, Belgium); the tissue-proof printer’s copy of the 1942 Hawkes B.Ens.49–73 1st edition missing.
BB 117
Violin Concerto (no. 2, 1937–1938)
Sketches (T. Spivakovsky’s collection).
Draft in vl.–piano short score form, with sketches (in Mov. III only: notes for the orchestration) (PB 76VPS1).
Autogr. sample page of the vl. part, Mov. I, 83 mm., titled Tempo di verbunkos (BBA BH46/14).
Autogr. copy of the vl.–piano form on tissue, with changes (PB 76TVPFC1).
Corrected tissue-proofs of the vl.–piano form: (1) Bartók’s working copy, Mov. I–II considerably revised, with preliminary notes for the orchestration, preparation for the edited form; Mov. III in two different, slightly revised forms (on p. 21 sketch for BB 116) (BBA 4091a–c); — (2) copy sent to Z. Székely (private collection); — (3) printer’s copy of the 1941 B&H 8296 1st edition of the vl.–piano reduction, prepared by E. Stein (PB 76TVPFC2).
Corrected proof-sheets of the 1st edition of the vl.–piano reduction, dated Sept. 1939 (BBjr).
Corrected copy of the B&H vl.–piano reduction (PB 76TVPFC2).
Autogr. score on tissue (PB 76FSID1).
Corrected tissue-proof of the score, with list of errors (PB 76FSFC1–2), printer’s copy of the 1946 B&H 9003 1st edition missing.
Corrected proof-sheets of the B&H full score, with Bartók's marginal notes on problems of the notation (Washington Library of Congress, Moldenhauer Archives, Hungarian box).
BB 118
Divertimento, for string orchestra (1939)
Draft score (sketches on pp. 2 and 19; sketches for BB 119 on p.14), the movements written in sequence I, III, II (PB 78FSS1).
Autogr. score on tissue (PB 78FSID1); the printer’s copy tissue-proof missing.
A corrected copy of the 1940 B&H 8326 full score, with corrections for the pocket score edition (PB 78FSFC1).
BB 119
String Quartet No. 6 (1939)
Sketches in the draft of BB 118.
Draft score, with sketches on p.1 and 9; the fragment of a planned fast finale on pp. 17–19 (PB 79FSS1).
Autogr. copy on tissue, with later additions (PB 79FSFC1).
Corrected tissue-proofs: (a) printer’s copy of the 1941 B&H 8437 1st edition (PB 79FSFC2); — (b) another copy (BBA 5660); — (c) a copy with R. Kolisch’s notes (in private collection, photo in BBA).
Corrected proof-sheets of the B&H edition (PB 79FSFC3 and in private collection).
BB 120
Seven Pieces from Mikrokosmos, for two pianos (–1940) (from BB 105)
Sketches: notes for the transcription of nos. 2 and 7 in printed copies of Vols. III and VI of Mikrokosmos (PB 59PFC2–TPPS1).
Draft, no. 2 ("2nd version") and no. 3 (photo: PB 59TPPS2).
Autogr. copy on tissue, nos. 1, 4, 2, 7 only (PB 59TPPID1).
Corrected tissue-proofs of nos. 4, 2, 7 only (PB 59TPPFC2).
Printer’s copy for B&H, a mixed-form MS: nos. 1–2, 4, 7: corrected tissue-proofs; no. 3 ("1st version"): autogr. MS; nos. 5–6: rearranged–revised from the printed Mikrokosmos edition (PB 59TPPFC1).
BB 121 Concerto for two Pianos and Orchestra (1940) (the sources see BB 115)
BB 122
Suite for two Pianos, op.4b (1941) (from BB 40)
Fragmentary draft (but probably the complete form of the source): Mov. I full, Mov. II, 1–38, 223–227 (twice, sketch and draft), Mov. IV, 43–64 and 124–145 (i.e. the recomposed sections).
Autogr. copy on tissue, with corrections (PB 12TPPID1).
Corrected tissue-proofs, two concert copies (Piano I = Ditta, Piano II = Bartók) (PB TPPFC1–TPSPFC1).
BB 123
Concerto for Orchestra (1943)
Sketches and continuity draft (including unrealized sketches too), on pp. 10–98 of the "Turkish field-book" of Bartók (PB 80FSS1; with the beginning of a slow movement [?], see BB 129b), continued on regular music paper (with notes for the orchestration, including partial sketches too) (PB 80FSS2).
Autogr. score (one ending only), the dedication copy (Washington Library of Congress ML 30.3c2.B3 Koussevitzky Music-Foundation).
Two photostat copies of the autogr. MS: (1) Bartók’s personal copy, with notes and corrections (PB 80FSFC1); — (2) printer’s copy of the 1946 B&H 9009 full score 1st edition, with the autogr. MS of the alternative (2nd) ending (1945), and changes on pp. 93–100 (PB 80FSFC2); the proof-sheets which Bartók corrected in 1945 are missing.
Tissue-proof of the score written for S. Koussevitzky by copyists Turner and Weisleder, with a few additions by Bartók (Washington Library of Congress ML 30.3e2.B3).
Reduction for piano solo (1944): autogr. MS on tissue (PB 80TPFC1).
BB 124
Sonata for Solo Violin (1944)
Sketches and continuity draft (complete), on pp. 37–64 of the "Arab field-book" of Bartók (PB 81FSS1; sketches for the preliminary form of the fugue theme [?] on p. 95 of PB 80FSS1, see BB 123).
Autogr. copy on tissue (PB 81VFC1).
Tissue-proofs: (1) the first copy with notes by Y. Menuhin (PB 81VFC2); — (2) Bartók’s personal copy with notes (PB 81VFC4); — (3) rearranged, R. Kolisch’s copy (BBA 2410; another version in private collection); — (4) Y. Menuhin’s personal copy (private collection; photo in BBA); — (5) printer’s copy of the 1947 B&H 15896 1st edition (Menuhin’s edition, prepared for publication by E. Stein) (PB 81VFC3).
BB 125
Goat Song (The Husband’s Lament), for voice and piano (1945)
Draft, Ukrainian folksong with Hungarian text and title ("A férj keserve"), dedicated to P. Kecskeméti (private collection; facsimile: BBA; facsimile edition: Homosassa: Bartók Records, 2002).
Autogr. copy on tissue, without title, with Hungarian and English texts (PB 83VoPFC1).
BB 126
Three Ukrainian Folksongs, for voice and piano (c1945)
Draft, Ukrainian text only (partly fragmentary form; pp. 3–5 in "Reserved Songs") (PB 82VoPS1).
BB 127
Piano Concerto no. 3 (1945)
Sketches: (1) Mov. I, first theme: on pp. 69 and 67 of the "Arab field-book" (see BB 124; see also the sketch on p. 95 of the "Turkish field-book", BB 123); — (2) Bartók’s notation of bird songs, including the theme of II, 64–67, on a small tissue (PB "Miscellaneous" Box C–27 55b).
Draft in 2-piano form (complete; with sketches and partial sketches too, and notes for the orchestration) (PB 84FSS1).
Autogr. score on tissue (the last measures on pp. 61–62 filled in in T. Serly’s hand; performing marks in Mov. III missing; Bartók’s corrections in pencil in Mov. II–III were disregarded in the posth. 1st ed.) (PB 84FSFC1). (NB The printer’s copy of the 1947 B&H 9122 posth. 1st edition missing.)
BB 128
Viola Concerto (1945) (draft, realized and scored by T. Serly)
Draft in viola–piano short score form, including sketches and material not used by Serly, and some notes for the orchestration not realized in the score (PB 85FSS1; facsimile edition: Bartók Records, 1994).
Serly’s MSS: score (missing); copies on tissue: (1) viola–piano reduction, dated Dec.15, 1947 (with tissue-proof); — (2) viola part (with tissue-proof, edited by W. Primrose); — (3) violoncello part of the Violoncello Concerto version by T. Serly (PB 85STCFC1–2).
BB 129
Fragments of unrealized compositions, 1906, 1943–1945
(a) c50 mm., fragment for violoncello and strings (slow piece; for the planned Violoncello Concerto [?]), undated draft (BBA BH46/11; one-stave reduction, 36 mm., in Bartók's letter to Mrs. Gruber, May 4, 1906).
(b) 12 mm., piano 2-hand-form sketch (slow piece; planned slow movement for the Concerto for Orchestra [?]), not later than 1943: on p. 85 of the "Turkish field-book", see BB 123 (PB 80FSS1).
(c) c22 mm., string-quartet-like beginning with short-score-form continuation (slow movement [?]; sketch probably for the planned String Quartet No. 7), c1944 or 1945: on pp. 65–66 of the "Arab field-book" (PB 81FSS1); notation of the rhythm of m. 6 on p. 98 of the "Turkish field-book" (PB 80FSS1).
Fragments, which presumably belong to finished mature works, are listed with BB 50, 81, 89, 90, 91, 110, 111, 115, 123 (see also BB 28); fragments, which do not belong to the set, are listed with BB 50, 90, 93. Discarded pieces, movements, or significant longer sections are listed with BB 42, 53, 79, 86, 94, 104, 105.
Appendix:
Autograph sources of Bartók's transcriptions and cadenzas
Nem listázzuk Bartók instruktív közreadásainak fennmaradt primer forrásait, kortárs szerzők (R. Strauss, Kodály Zoltán és Emma, Stravinsky, Lord Berners stb.) műveinek Bartók-kézírású másolatait
BB A-1
Rákóczi March, for piano 4 hands (1896) (=DD C2)
Autogr. draft in pencil (BBA BH50).
BB A-2
Cadenza to Movement I of BEETHOVEN’s Piano Concerto no. 3 C minor (1900)
Autogr. copy (BBA BH12b).
BB A-3
Orchestration of BEETHOVEN’s Erlkönig (WoO 131) (c1905)
Autogr. score (University of Illinois, Urbana).
BB A-4a–k
17th and 18th century Italian harpsichord and organ music (MARCELLO, ROSSI, DELLA CIAIA, FRESCOBALDI, ZIPOLI), transcribed for piano (1926–7)
Autograph MS exists only to five of the eleven pieces: (b–c–d) Michelangelo Rossi, "9. Toccata", "1. Toccata", (Corrento); — (i) Girolamo Frescobaldi, "Toccata" in G; — (k) Domenico Zipoli, "Pastorale" (BBA BH208, BH209, BH207). (Printer’s copies of the 1930 C. Fischer edition of the 11 vols. missing.)
BB A-5
J. S. BACH, Sonata VI (BWV 530), transcription for piano (c1929)
Autogr. copy, printer’s copy of the Rv 5172 1st edition (BBA BH221).
BB A-6
Purcell, Two Preludes, transcription for piano (c1929)
Autogr. draft and autogr. copy. on tissue (BBA BH211a–b).
BB A-7
Cadenzas to Movements I and III of Mozart’s Concerto for two pianos K365 E flat major (c1939)
Autogr. draft (PB M1; facsimile edition: Homosassa: Bartók Records, 2000).