László SOMFAI

László SOMFAI
Bibliography
(Works in world languages only)
I. Books
II. Studies (selection)
III. Critical edition
IV. Facsimile edition (selection)
V. Critical edition of recorded music
I. BOOKS
(Jenö Vécsey, László Somfai, etc.), Haydns Werke in der Musiksammlung der
Nationalbibliothek Széchényi in Budapest (Budapest: Akadémiai Kiadó, 1959), XXIV, 166
p. — Haydn Compositions in the Music Collection of the National Széchényi Library,
Budapest (Budapest: Akadémiai Kiadó, 1959), XXIV, 166 p.
(Dénes Bartha, László Somfai, Dorrit Révész), Haydn als Opernkapellmeister (Budapest,
Mainz: Akadémiai Kiadó, Schott, 1960), 470 + 29 pp.
Joseph Haydn. Sein Leben in zeitgenössischen Bildern (Budapest, Corvina; Kassel,
Bärenreiter, 1966), VIII, 245 pp.
Joseph Haydn. His Life in Contemporary Pictures (rev. ed.) (Budapest: Corvina; London:
Faber and Faber; New York: Taplinger, 1969), XXII, 244 pp.
The Keyboard Sonatas of Joseph Haydn (Chicago, London: University of Chicago Press,
1995), XX, 389 pp.
Béla Bartók: Composition, Concepts, and Autograph Sources (Berkeley, Los Angeles,
London: University of Chicago Press, 1996), XXII, 334 pp.
II. STUDIES (SELECTION)
“Albrechtsberger-Eigenschriften in der Nationalbibliothek Széchényi Budapest” I–III. in
Studia Musicologica 1 (1961), 175–202, 4 (1963), 179–190), 9/1–2 (1967), 191–220.
“Die musikalische Gestaltwandlungen des Faust-Symphonie von Liszt” in Studia
Musicologica 2 (1962), 88–137. — (Rev. ed.:) „Die Gestaltwandlungen der FaustSymphonie” in Klara Hamburger (hrsg.), Franz Liszt. Beiträge von ungarischen Autoren
(Budapest: Corvina, 1978), 292–324.
“Die Metamorphose der »Faust-Symphonie« von Liszt” in Studia Musicologica 5 (1964),
283–293.
“Nichtvertonte Libretti und andere Bühnenpläne Bartóks” in Documenta Bartókiana 2
(Budapest, Akadémiai Kiadó; Mainz: Schott, 1965), 28–52.
“Haydns Tribut an seinem Vorgänger Werner” in Haydn Jahrbuch 1963/64 (Wien: Universal
Edition, 1965), 75–80.
“Über den durchgehenden Vorschlag” in Bericht über den Neunten internationalen Kongress
Salzburg 1964 (Internationale Gesellschaft für Musikwissenschaft) II (Kassel: Bärenreiter,
1966), 56–57.
„Zur Echtheitsfrage des Haydn’schen »Op.3«” in Haydn-Jahrbuch 1965 (Wien: Universal
Edition, 1966), 153–165.
“»Per finire«. Some Aspects of the Finale in Bartók’s Cyclic Form” in Studia Musicologica 11
(1969), 391–408.
“Eine Erklärung Bartóks aus dem Jahre 1938” in Documenta Bartókiana 4 (Budapest,
Akadémiai Kiadó; Mainz: Schott, 1970), 148–164.
“A Bold Enharmonic Modulatory Model in Joseph Haydn’s String Quartets” in H. C. Robbins
Landon (ed.), Studies in Eighteenth-Century Music. A Tribute to Karl Geiringer on His
Seventieth Birthday (London: Allen and Unwin, 1970), 370–381.
“Eine Erklärung Bartóks aus dem Jahre 1938” in Documenta Bartókiana 4 (Budapest,
Akadémiai Kiadó; Mainz: Schott, 1970), 148–164.
“Zur Aufführungspraxis der frühen Streichquartett-Divertimenti Haydns” in Beiträge zur
Aufführungspraxis 1 (Graz: Akademische Druck- und Verlagsanstalt, 1972), 87–97.
“»Ich war nie ein Geschwindschreiber«: J. Haydns Skizzen zum langsamen Satz des
Streichquartettes Hob.III:33” in Festkrift Jens Peter Larsen (Københaven: Hansen, 1972),
274–284.
“Symphonies of Wind Instruments: Observations on Stravinsky’s Organic Construction” in
Studia Musicologica 14 (1972), 355–383.
“A Characteristic Culmination Point in Bartók’s Instrumental Forms” in József Ujfalussy,
János Breuer (ed.), International Musicological Conference in Commemoration of Béla
Bartók 1971 (Budapest: Editio Musica, 1972), 53–64.
“Vom Barock zur Klassik: Umgestaltung der Proportionen und des Gleichgewichts in
zyklischen Werken J. Haydns” in Jahrbuch für österreichische Kulturgeschichte 2: Joseph
Haydn und seine Zeit (Eisenstadt: Institut für österreichische Kulturgeschichte, 1972), 64–
72, 64–72.
“Rhythmic Continuity and Articulation in Webern’s Instrumental Work” in Beiträge 1972/73
(Kassel: Bärenreiter, 1973), 100–110.
“Sprache, Wort und Phonem im vokalen Spätwerk Strawinskys” in Rudolf Stephan (hrsg.),
Über Musik und Sprache. Sieben Versuche zur neueren Vokalmusik (Veröffentlichungen
des Instituts für neue Musik und Musikerziehung 14) (Mainz: Schott, 1974), 34–44.
“The London Revision of Haydn’s Instrumental Style” in Edward Olleson (ed.), Proceedings
of the Royal Musical Association 100 (1973–1974), 159–174.
“Tonartenplan in Mozarts Opern” in Mozart Jahrbuch 1974 (Salzburg: Internationle Stiftung
Mozarteum, 1975), 83–90.
“Strategics of Variation in the Second Movement of Bartók’s Violin Concerto 1937–1938” in
Studia Musicologica 19 (1977), 161–202. — (Reprint ed.:) Ellen Rosand (ed.), The Garland
Library of the History of Western Music 10 (New York, London: Garland), 1985), 291–332.
“Vierzehn Bartók-Schriften aus den Jahren 1920/21” in Documenta Bartókiana 5 (Budapest,
Akadémiai Kiadó; Mainz: Schott, 1977), 15–168.
“Über Bartóks Rubato-Stil. Vergleichende Studie der zwei Aufnahmen »Abend am Lande«
des Komponisten” in Documenta Bartókiana 5 (Budapest, Akadémiai Kiadó; Mainz:
Schott, 1977), 193–201.
“Self-Analysis by Twentieth-Century Composers” in Edward Olleson (ed.), Modern Musical
Scholarship (Stocksfield, Boston, London: Oriel Press, 1978), 167–179.
“Warum ist Schönbergs Musik so leicht verabsolutierbar?” in Rudolf Stephan (hrsg.), Bericht
über den 1. Kongreß der Internationalen Schönberg-Gesellschaft (Wien: Lafite, 1978),
196–201.
“Béla Bartók” (Vera Lampert, László Somfai) in Stanley Sadie (ed.), The New Grove
Dictionary of Music and Musicians (London: Macmillan, 1980). — (Rev. ed.:) in Vera
Lampert, László Somfai, Eric Walter White, Jeremy Noble, Ian Kemp, The New Grove
Modern Masters: Bartók, Stravinsky, Hindemith (London: Macmillan; New York:
Taplinger, 1984), 1–101. — (Italian ed.:) Vera Lampert, László Somfai, Eric Walter White,
Jeremy Noble (Paolo Paita, trans.), Bartók, Stravinsky. Guide alla musica (Firenze: Ricordi,
1995),11–84, 167–211.
“An Introduction to the Study of Haydn’s String Quartet Autographs” in Christoph Wolff
(ed.), The String Quartet Autographs of Haydn, Mozart, and Beethoven. Studies of the
Autograph Manuscripts (Isham Library Papers 3) (Cambridge, Mass.: Harvard University
Press, 1980), 5–51.
“Remarks on Iconography”, „Related Versions of the Same Work: Remarks on Versions and
Arrangements”, “String Quartets: Remarks and Discussion”, „Haydn’s London String
Quartets”, “Keyboard Music: Further Comparisons” in Jens Peter Larsen, Howard Serwer,
James Webster (ed.), Haydn Studies. Proceedings of the International Haydn Conference,
Washington, D.C., 1975 (New York, London: Norton, 1981), 70, 81–82, 229–231, 389–391,
415–416.
“Drei Themenentwürfe zu dem Violinkonzert aus den Jahren 1936/37” in Documenta
Bartókiana 6 (Budapest, Mainz: Akadémiai Kiadó, Schott, 1981), 247–255.
“Die »Allegro barbaro«-Aufnahme von Bartók textkritisch bewertet” in Documenta
Bartókiana 6 (Budapest, Akadémiai Kiadó; Mainz: Schott, 1981), 259–275.
“»Folklore basis versus progression«: Il caso Bartók” in Musica/Realtà 5 (1981), 43–49.
“Opus-Planung und Neuerung bei Haydn” in Studia Musicologica 22 (1980), 87–110.
“Manuscript versus Urtext: The Primary Sources of Bartók’s Work” in Studia Musicologica
23 (1981), 17–66.
“The Rondo-like Sonata Form Exposition in the First Movement of the Piano Concerto No. 2”
in The New Hungarian Quarterly 22/84 (1981), 86–92.
“Haydn’s Eszterháza: The Influence of Architecture in Music” in The New Hungarian
Quarterly 23/87 (1982), 195–201.
“Stilfragen der Klaviersonaten von Haydn” in Österreichische Musikzeitschrift 37/3–4 (1982),
147–153.
(Adrienne Gombocz, László Somfai), „Bartóks Briefe an Calvocoressi (1914–1930)” in Studia
Musicologica 24 (1982), 199–231.
“Die Mozart-Rezeption im 19. Jahrhundert in Ungarn” in Mozart Jahrbuch 1980–83 (Kassel:
Bärenreiter, 1983), 122–126.
“Kompositionsprozess und Quellenlage bei Bartók” in Österreichische Musikzeitschrift 39/2
(1984), 65–77.
“Analytical Notes on Bartók’s Piano Year of 1926” in Studia Musicologica 26 (1984), 5–58.
“How to Read and Understand Haydn’s Notation in its Chronologically Changing Concepts”
in Eva Badura-Skoda (hrsg.), Joseph Haydn. Bericht über den Internationalen Joseph
Haydn Kongress, Wien 1982 (München: Henle, 1986), 23–42.
“The Budapest Bartók Archives” in Fontes artis musicae 29/1–2 (1982), 59–65.
“Liszt’s Influence on Bartók Reconsidered” in The New Hungarian Quarterly 27/102 (1986),
210–219.
“»Learned Style« in Two Late String Quartet Movements of Haydn” in Studia Musicologica
28 (1986), 325–349.
“Nineteenth-Century Ideas Developed in Bartók’s Piano Notation in the Years 1907–14” in
19th-century Music 11/1 (1987), 73–91. — (Reprint:) Joseph Kerman (ed.), Music at the
Turn of Century (Berkeley, Los Angeles, Oxford: University of California Press, 1990),
181–199.
“Bemerkungen zu den Budapester Musik-Autographen von Johann Michael Haydn” in Mozart
Jahrbuch 1987/88 (Kassel: Bärenreiter, 1988), 31–48.
“Arbitrary or Historic Reading of the Urtext?” in Mozart Jahrbuch 1987/88 (Kassel:
Bärenreiter, 1988), 277–284.
“Le »style savant« de Haydn: Les stratégies thématiques dans le quatuor »les Quintes«” in
Analyse musicale 13 (October 1988), 51–57.
„Bartók and the Paper-Studies: The Case of String Quartet No. 4” in Hungarian Music
Quarterly 1/1 (1989), 6–13.
“Haydn at the Esterházy Court” in Neal Zaslaw (ed.), Man and Music. The Classical Era,
Chapter 10 (London: Macmillan, 1989), 268–292.
“Die Wiener Gluck-Kopisten: Ein Foschungsdesiderat” in Gerhard Croll, Monika Woitas
(hrsg.), Gluck-Studien 1 (Kassel: Bärenreiter, 1990), 178–182.
“The Influence of Peasant Music on the Finale of Bartók’s Piano Sonata” in Eugen K. Wolf,
Edward H. Roesner (ed.), Studies in Musical Sources and Styles: Essays in Honor of Jan
LaRue (Madison, WI: A-R, 1990), 535–554.
“Introduction” in B. Bartók: xvii and xviii Century Italian CEditio Musicaalo and Organ
Music transcribed for piano (New York: Fischer, 1990), IV–VII.
“Mozart’s first thoughts: the two versions of the Sonata in D major, K284” in Early Music
19/4 (1991), 601–613.
“Diplomatic Transcription versus Facsimile with Commentaries: Methodology of the Bartók
Edition” in Wolfgang Gratyer, Andrea Lindmayr (hrsg.), De editione musices. Festschrift
Gerhard Croll (Laaber: Laaber Verlag, 1992), 79–97.
“Problems of the Chronological Organization of the Béla Bartók Thematic Index in
Preparation” in Studia Musicologica 34 (1992), 345–366.
“Bartók and Szigeti” in The New Hungarian Quarterly 128 (1992), 157–163.
“Fragments in Bartók’s Oeuvre” in Hungarian Music Quarterly 3/3–4 (1992), 8–13.
“Béla Bartók’s Draft of Four Pieces for Orchestra” in Chris Banks, Arthur Searle, Malcolm
Turner (ed.), Sundry sort of music books. Essays on the British Library Collections.
Presented to O. W. Neighbour on his 70th birthday (London: The British Library, 1993),
309–318.
“Einfall, Konzept, Komposition und Revision bei B. Bartók” in Hermann Danuser, Günter
Katzenberger (hrsg.), Vom Einfall zum Kunstwerk: Der Kompositionsprozeß in der Musik
des 20. Jahrhunderts (Laaber: Laaber-Verlag, 1993), 187–218.
“National Idiom, European Tradition, Personality: Three Hungarian Answers [Bartók, Kodály,
Weiner]”; „Béla Bartók: The Six String Quartets” in Salzburger Festspiele 1993 (Salzburg:
Salzburger Festspiele, 1993), 212–224, 240–246.
“Bartók’s Allegro barbaro: Concept, Notation, Author’s Performance” in Proceedings of the
International Musicological Symposium held at Castle Nieborów in Poland, Sept.4–5, 1985.
(Kraków: Fundacji Zjednoczonej Europy, 1993), 173–177.
“In His »Compositional Workshop«”; „The »Piano Year« of 1926” in Malcolm Gillies (ed.),
Bartók Companion (London: Faber and Faber, 1993), 30–50, 173–188.
“Definitive Authorized Version vs. Authentic Variant Forms in Bartók’s Music” in Revista de
Musicologia 16/2 (1993), 37–47.
“Béla Bartók Thematic Catalogue: Sample of the Work in Progress” in Studia Musicologica
35 (1993–94), 229–241.
“Authentic Text and Presumed Intention” in Haydn Studien 6 (1994), 298–303.
“Why Is a Bartók Thematic Catalog Sorely Needed?” in Peter Laki (ed.), Bartók and His
World (Princeton: Princeton University Press, 1995), 64–78.
“Experimenting with Folkmusic-Based Concert Sets: Béla Bartók’s Arrangements
Reconsidered” in melos. En Musiktidskrift 12–13/95 (1995), 66–76.
(Luis Carlos Gago, trans.) „El desarrollo de ideas del siglo XIX en la notación para piano de
Bartók, 1907–14” in Quodlibet: Revista de especialización musical 3 (1995), 60–87.
“Bartók’s Transcription of J. S. Bach” in Annegrit Laubenthat (hrsg.), Studien zur
Musikgeschichte: Eine Festschrift für Ludwig Finscher (Kassel: Bärenreiter, 1995), 689–
696.
“Perspectives of Bartók Studies in 1995” in Proceedings of the International Bartók
Colloquium Szombathely, July 3–5, 1995, Part I, Studia Musicologica 1995.
“Idea, Notation, Interpretation: Written and Oral Transmission in Bartók’s Works for Strings”
in Proceedings of the International Bartók Colloquium Szombathely, July 3–5, 1995, Part II,
SM 37 (1996), 37–49.
“Sketches During the Process of Compositions: Studies of K. 504 and K. 414” in Stanley
Sadie (ed.), Wolfgang Amadè Mozart: Essays on his Life and his Music (Oxford: Clarendon,
1996), 53–65.
“How to Handle »Oral Tradition«-Like Phenomena in a Critical Edition? Methods in
Transcribing the Composer’s Recordings for the Bartók Edition” in Christoph-Hellmut
Mahling, Stephan Münch (hrsg.), Ethnomusikologie und historische Musikwissenschaft –
Gemeinsame Ziele, gleiche Methoden? Erich Stockmann zum 70. Geburtstag (Tutzing:
Schneider, 1997), 325–334.
“Historic Performance of the Music of Yesterday: Béla Bartók’s Fight for Perfect Notation
and Why it is Misleading Today” in Hungarian Music Quarterly 8 (1997), 2–11.
“Classicism as Bartók conceptualized it in his classical period, 1926-1937” in Danuser,
Hermann (hrsg.), Die klassizistische Moderne in der Musik des 20. Jahrhunderts
(Winterthur: Amadeus, 1997), 123–141.
“Tempo, Metronome, Timing in Bartók’s Music: The Case of the Pianist-Composer” in JeanJacques Dünki, Anton Haefeli, Regula Rapp (hrsg.), Der Grad der Bewegung.
Tempovorstellungen und -konzepte in Komposition und Interpretation 1900–1950 (Basler
Studien zur Musik in Theorie und Praxis 1) (Bern: Peter Lang, 1998), 47–71
“Written and Performed Form in Bartók’s Piano Works of 1915–1920” in Hermann Danuser,
Tobias Plebuch (hrsg.), Musik als Text. Bericht über den Internationalen Kongreß der
Gesellschaft der Musikforschung Freiburg im Bresgau 1993 Bd. 1 (Kassel: Bärenreiter,
1998), 103–107.
“La revisione londinese dello stile strumentale di Haydn” in Andrea Lanza (ed.), Haydn
(Bologna: Mulino, 1999), 67–84.
“Donald F. Tovey’s Essays on Haydn and Mozart” in Gernot Gruber, Siegfried Mauser
(hrsg.), Mozartanalyse im 19. und frühe 20. Jahrhundert. Berichte über die Tagung
Salzburg 1996 (Laaber: Laaber-Verlag, 1999), 81–88.
“Béla Bartók” in Ludwig Finscher (hrsg.), Die Musik in Geschichte und Gegenwart, 2.,
neubearb. Ausg. (Kassel: Bärenreiter, 1999), Sp. 341–402.
“Bartók’s Notations in Composition and Transcriptions” in Elliott Antokoletz, Victoria
Fischer, Benjamin Suchoff (ed.): Bartók Perspectives: Man, Composer, and
Ethnomusicologist (New York: Oxford University Press, 2000), 213–225.
“Haydns Klaviersonaten: Probleme und Pseudoprobleme” in Concerto 172 (2002), 18–22.
“Joseph Haydn und das Clavier — eine subjektive Einführung” in Georg Feder, Walter
Reicher (hrsg.), Internationales musikwissenschaftliches Symposium “Haydn & das
Clavier” (Tutzing: Schneider, 2002), 9–18.
“»Written between the desk and the piano«: dating Béla Bartók’s sketches” in Patricia Hall,
Friedemann Sallis (ed.), A Handbook to Twentieth-Century Musical Sketches (Cambridge:
Cambridge University Press, 2004), 114–130.
“Béla Bartók’s Concept of »Genuine and Valuable Art«” in Danish Yearbook of Musicology
32 (2004), 15–27.
“Desiderata Bartókiana: A Survey of Missing Links in Bartók Studies” in International
Journal of Musicology 9: Bartók International Congress 2000 (Frankfurt/M: Lang, 2006),
385–420.
“Trends, Accomplishment, Deficiency in Haydn Performance Today” in: Haydn-Studien 9/1–
4 (München: Henle, 2006), 58–67.
“La notación de las dinámicas y de los acentos en las sonatas para teclado de Haydn”;
„Reflexiones acerca de los tempi en el estilo de Haydn” in Quodlibet. Revista de
especialización musical 34 (Jun. 2006), 73–92, 94–103.
“Bartók’s Great Crescendos” in Hungarian Quarterly 47 (Autumn 2006), 156–168.
“Perfect Notation in Historical Context. The Case of Bartók’s String Quartets” in Studia
Musicologica 47/3–4 (2006), 293–309.
“Clever Orator versus Bold Innovator” in Tom Beghin, Sander M. Goldberg (ed.), Haydn and
the Performance of Rhetoric (Chicago, London: University of Chicago Press, 2007), 213–
228.
“The two Sonatas for Violin and Piano (1921–1922): Avantgarde Music à la Bartók” in
Joseph Willimann (ed.), Schweizer Jahrbuch für Musikwissenschaft, Neue Folge 27 (2007)
(Bern: Lang, 2008), 87–103.
“Notational Irregularities as Attributes of a New Style. The Case of Haydn’s »Sun« Quartet in
F Minor, Op. 20, no. 5” in Robert Curry, David Gable, Robert L. Marshall (ed.), Variations
on the Canon. Essays on Music from Bach to Boulez in Honor of Charles Rosen on His
Eightieth Birthday (Rochester: University of Rochester Press, 2008), 27–38.
“The Haydn Year and the Twilight of Quartet Playing” in Hungarian Quarterly 50 (Summer
2009), 70–78.
III. CRITICAL EDITION
Johann Georg Albrechtsberger, Concerto per l’organo (o pianoforte) ed archi 1762 (Musica
Rinata 1) (Budapest: Editio Musica, 1963), 72 pp.
Johann Michael Haydn, Sinfonia in D (1774) […] (Musica Rinata 4) (Budapest: Editio
Musica, 1964), 51 pp.
Christoph Willibald Gluck, Il re pastore. Der König als Hirte. Dramma per musica in drei
Akten in Christoph Willibald Gluck, Sämtliche Werke III:8 (Kassel: Bärenreiter, 1968),
XVI, 391 pp.
Leopold Florian Gassmann, Sinfonia in As […] (Musica Rinata 18) (Budapest: Editio Musica,
1970), X, 48 pp.
Wolfgang Amadeus Mozart, „Sinfonie in D (»Prager Sinfonie«) KV 504 in Wolfgang
Amadeus Mozart, Neue Ausgabe sämtlicher Werke (Kassel: Bärenreiter, 1971), IX–XIII,
63–125.
Johann Nepomuk Gayer, Tre sinfonie 1787 […] (Musica Rinata 20) (Budapest: Editio Musica,
1972), 107 pp.
Johann Georg Albrechtsberger, Concertino in D per trombula (flauto), mandora (chitarra) ed
archi 1769 […] (Musica Rinata 21) (Budapest: Editio Musica, 1974), 36 pp.
Christoph Willibald Gluck, Tetide. Serenata teatrale in einem Akt in Christoph Willibald
Gluck, Sämtliche Werke III:22 (Kassel: Bärenreiter, 1979), XII, 276 pp.
IV. FACSIMILE EDITION (SELECTION)
(ed.), Joseph Haydn, Symphony F sharp Minor (No.45) (“Farewell-Symphony”). Facsimile of
the original Haydn manuscript […] / Symphonie Fis-moll (No.45) (“Abschieds-Symphonie”)
[…] (Budapest: Akadémiai Kiadó, 1959), 60 pp.
(ed.), Joseph Haydn, String Quartet in G, 1799, Hoboken III: 81. Reprint of the Original
Manuscript […] with Commentaries (Budapest: Editio Musica; Melville, N.Y.: Belwin and
Mills, 1972), [40] pp.
(ed.), Joseph Haydn, String Quartet in F, 1799, Hoboken III: 82. Reprint of the Original
Manuscript […] with Commentaries (Budapest: Editio Musica; Melville, N.Y.: Belwin and
Mills, 1972), [38] pp. — (New ed. of 100 & 101 with German commentaries:) Joseph
Haydn, Zwei Streichquartette Op. 77, 1799. […] (Bp.: EMB, 1980), 88 pp.
(ed.), Joseph Haydn, Symphony No.7 “Le midi”. Facsimile Edition of the Original Manuscript
[…] with Commentaries (Budapest: Editio Musica, 1972),[77] pp.
(ed.), Bartók Béla, Two Rumanian Dances for piano […]. (Budapest: Editio Musica, 1974), 38
pp.
(ed.), Bartók Béla, Sonata (1926) Piano Solo […] (Budapest, Wien: Editio Musica, Universal
Edition, 1980), 16, [8] pp.
(ed.), Béla Bartók, Black Pocket-book. Sketches 1907–1922 / Skizzenbuch 1907–1922
(Budapest: Editio Musica, 1987), [74], XXXI pp.
(ed.), Béla Bartók, Viola Concerto. FacsimileEdition of the Autograph Draft with a
Commentary […] / Brácsaverseny / Bratschenkonzert / […] Concerto de viola
([Homosassa, FL:] Bartók Records, 1995), 84 pp.
V. CRITICAL EDITION OF RECORDED MUSIC
(László Somfai, Zoltán Kocsis, János Sebestyén, ed.), Centenary Edition of Bartók’s Records
(Complete), 1–2. [with a study] (Budapest: Hungaroton, 1981) LPX 12326–33, 12334–38;
83+74 pp. — (Revised CD form with a new study:) Bartók at the Piano 1920–1945
(Budapest: Hungaroton, 1991), HCD 12326–31; Bartók Recordings from Private
Collections 1910–1944 (Budapest: Hungaroton Classic, 1995), HCD 12334–37.
(ed.), Hungarian Folk Music Gramophone Records with Bartók’s Transcriptions [with a
study] (Budapest: Hungaroton, 1981), LPX 18058–60; 72+59 pp.