"It is of great importance," Bartok wrote, "that anyone who is involved with music should be able to obtain [composers'] works in editions which interpret precisely the author's intentions, not of such kind that may have been arbitrarily modified or forged by some adapter." Thirty-six years after his death, in the centennial of his birth (1881), Bartok's wish has finally been realized in his own work. This collection of early piano music is the first volume in the Bartok Archive Edition, the only edition of the great Hungarian composer to be based on corrections from his memorabilia or original editions in the New York Bartok Archive. Comparison has also been made with Hungarian editions published since 1951, which are based on the holdings of the Budapest Bartok Archivum.
It is appropriate to begin the Bartok Archive Edition with piano music, for, as "Grove's Dictionary" notes: "The pianoforte was his most natural medium of expression. . . . It was the pianoforte that made Bartok express his harmonic thought with such directness." This volume begins with Bartok's first published work for piano, the Funeral March from the symphonic poem "Kossuth." Other works include Four Piano Pieces; Rhapsody, Op. 1; and Fourteen Bagatelles, Op. 6. The stark Bagatelles reflect Bartok's reaction against the Romantic style and the beginning of his highly personal and innovative musical language.
Benjamin Suchoff, trustee of the Bartok Estate and Professor at the Center for Contemporary Arts and Letters of the State University of New York at Stony Brook, edited this Archive Edition and provided the Introduction, translations of folk-song texts, and musicological scholarship that will ensure definitive status for this edition. Bartok is a keystone composer of the twentieth century, especially for the piano; with this edition, music lovers have the composer's authentic, authoritative last word."