Bartók’s early choral works are seen as a continuum of musical growth that occurred simultaneously with a personal maturing process. Musically, this is particularly evident in three of his early choral works: Four Slovak Folk Songs, Four Hungarian Folk Songs, and Cantata Profana. Bartók generally used three methods for incorporating folk music into his compositions. First, he treated the folk element as ornamental (as in Four Slovak Folk Songs). Second, Bartók characterized the folk melody as a “motto,” using it as the main theme in the music (as in Four Hungarian Folk Songs). Finally, Bartók mixed folk and modern music (as in his Cantata Profana). Although the borrowing of folk music was criticized, Bartók defended using it because he believed it would limit him as a composer if he did not use folk music.

Works: Bartók: Four Slovak Folk Songs, Sz. 70 (33-36), Four Hungarian Folk Songs, Sz. 29 (33-36), Cantata Profana, Sz. 94 (33-36), Village Scenes, Sz. 78 (34), Twenty Hungarian Folk Songs, Sz. 92 (34-36), The Miraculous Mandarin, Sz. 73 (34), Dance Suite, Sz. 77 (34), Piano Concerto No. 1, Sz. 83 (34), String Quartet No. 3, Sz. 85 (34), String Quartet No. 4, Sz. 91 (34), From Olden Times, Sz. 104 (36).

Sources: Anonymous: Parlando melodies (34), Tempo Giusto melodies (34).

Index Classifications: 1900s

Contributed by: Nicolette van den Bogerd