For Children Vol 1
The First Term at the Piano
FOR CHILDREN -Volume I (1908-1909; revised 1945) Based on Hungarian Folk Tunes
Quasi adagio
Allegro
Ballad
14. Allegretto
15. Allegro moderato 16. Old Hungarian Tune 17. Round Dance 18. Soldier's Song
19. Allegretto
Drinking Song
21. Allegro robusto 22. Allegretto 23. Dance Song 24. Andante sostenuto
25. Parlando 26. Moderato
Jest
Choral 29. Pentatonic Tune
30. Jeering Song
Andante tranquillo
Andante
Allegro non troppo
Allegretto
Con Moto
Drunkard's Song
Swineherd's Song
Winter Solstice Song
Allegro moderato
Swineherd's Dance
Dialogue
Moderato
Moderato
Folk Song
Andante
Andante
Folk Song
Minuet 12. Swineherd's Dance
13. Where Have You Been My Lambkin?
Andante
Wedding Song
Peasant's Dance
Allegro deciso
Waltz
Piano
Bela Bartok, of all the great composers of the twentieth century, was by all standards the most notable in his involvement with folk music. In contrast to the Gypsy music employed by Brahms and Liszt, it was the Hungarian peasant music that Bartok introduced into the instrumental and vocal repertoire; he made the world aware of the true eastern European musical culture. As Bartok wrote, the study of Hungarian folklore had a decisive influence upon his work because it freed him from "the tyrannical rule of the major and minor keys."
The first volume of For Children is a collection of Hungarian folk tunes presented in simple settings. Their incredible originality in melodic line, rhythmic construction, and harmonic language makes the collection an invaluable tool for introducing the young and unprejudiced student-pianist into the world of contemporary music.
The modal melodies generally fall within a narrow range and evolve around a single note; this is perhaps the key to their fresh and distinctive quality. A large number are in the Aeolian mode; others are in the Dorian and Mixolydian, with one example based on a pentatonic scale. The rhythmic verve is often powerful with asymmetrical patterns
of changing measures, characteristically subtilized by offbeat accents. Through his rhythmic usage Bartok achieved a freshness and vitality rarely heard in Western music, surpassed only perhaps by Stravinsky. His harmony is horizontally conceived; the basis of his chordal structures are derived from the intervallic content of the melodies. Consisting of only two or three tones, the chords add a refreshing quality, providing the optimum support for the melodies, thus maintaining a clear mixture. Bartok wrote (The Relation of Folk Song to the Development of the Art Music of Our Time) that he disapproved of the superimposition of Western European harmonic style on Eastern European melodies -- a practice that sterilizes the authentic flavor of the music of many nations. These pieces are a testimony to the authenticity of Bartok's musical convictions.
The folk melodies are generally retained intact, repeated a few times in the same mode, sometimes in different registers with varied accompaniments, with introductory and episodic material used to good effect. Although technically simple, these compositions present considerable musical demands for sensitive phrasing and subtle colorations in tone quality.
The First Term at the Piano consists of eighteen very short compositions written for the piano method of Reschofsky. In every aspect they are much simpler and more conventional than For Children. Some are based on actual folk songs; others are original compositions.
The educational value of these two sets is immeasurable. The student can learn to deal with contrasting musical problems: not only linear continuity, but unexpected melodic interruption; not only solid rhythms, but subtle patterns; not only identifiable harmonic formulas, but also "forbidden" language; not only an array of different touches, but a remarkable range of colorations. The challenge is unlimited -- the young pianist must not simply play the music, he must make the music!
SAHAN ARZRUNI
Sahan Arzruni was born in Istanbul of Armenian parents. He started study of the piano at the age of four in his hometown and received his degree from the Juilliard School of Music. His teachers included Ferdi Statzer, Edward Steurmann and Sascha Gorodnitzki. In addition to original compositions he has to his credit several music textbooks, articles and recording.
music textbooks, articles and recording Sahan Arzruni, who has been associate to Victor Borge on the stage, is presently in great demand as a recitalist and lecturerperformer in educational workshops.
Other MHS recordings by Sahan Arzruni: Khachaturian: Children's Album....MHS 1490
Kabalevsky: Pieces for Children, Opera 27 & 39…..MHS 1561
Toccatas ...................................... MHS 1843
Recording Engineer: Stan Tonkel
Tape Editor: Milt Cherin
Bela Bartok: For Children (1): The First Term at the Piano, published by Boosey & Hawkes
A Musical Heritage Society Recording produced under the direction of James Rich Library of Congress Catalog Card No. 74-750029
