By the time Bartók had adapted these 20 songs, he had thoroughly mastered the folk-music genre, both in his arrangements and original compositions (where he often imitated folk styles or used folk themes). These works are generally considered among his finest folk arrangements. The collection consists of four unequal groups: Sad Songs (Nos. 1-4), Dancing Songs (Nos. 5-8), Diverse Songs (Nos. 9-15) and New-Style Songs (Nos. 16-20).
The first group lives up to its collective title with moods that range from the desolate and utterly despairing to the merely melancholy. The most profound of these is the first, "In Prison," the lengthiest song in the entire set, and undoubtedly the bleakest. The ensuing "Old Lament" has a Stravinskian character in its drier, almost emotionally neutral manner. "The Fugitive," No. 3, returns nearly to the black moods and abject miseries of "In Prison" and "Herdsman's Song" has a sad but lovely manner and deft atmospheric keyboard writing in its dark tremolos.
The Dancing Songs present considerable contrast in mood overall, though its first offering, "Slow Dance," has a rather melancholy theme and mood. "Fast Dance" and "Swineherd's Dance" follow, brighter works both, the former a colorful and once-again Stravinsky-tinged effort and the latter a humorous sassy song, divulging brilliant ethnic colors. The "Six-Florin Dance" closes this group with more humor and folkish flavors.
The Diverse Songs that follow consist of seven mostly short works, and, as their collective title suggests, range both in mood and in text. "The Shepherd," No. 9, is pastoral and lovely in its beautiful vocal music, while the ensuing "Joking Song" and "Nuptial Serenade" offer brilliant contrast not just in their livelier and more joyous manners, but in their colorful vocal and keyboard effects, such as tinkling, bell-like imitations in the upper register of the piano. "Humorous Song," No. 12, may surpass both in aural effects, at least in the vocal realm: the singer's "boom, boom, boom" ("bum, bum, bum" in Hungarian) adds to the bouncy fun and slapstick charm of this lively creation.
"Dialogue Song" recalls the mood of the Sad Songs somewhat, but does not sink to deep levels of despair. Here, in fact, the "dialogue" between a caregiver and sick elderly person produces a sense of hope. The following song, "Complaint," also concerns a sick elderly person and features gloomy music. "Drinking Song" presents an imaginative close to this group with both its madcap music and zany text.
The New-Style Songs present four connected songs (Nos. 16-19), all short, with the second and fourth lasting just a half-minute. "Oh, My Dear Mother" has an agitated manner and bizarre, somewhat morbid text, while the ensuing three efforts, "Ripening Cherries," "Long Ago at Doboz," and "Yellow Cornstalks," offer music about love, or, in the case of the middle one, about lost love. The final song, "Wheat, Wheat, Wheat," is triumphant and joyous.

Source: Robert Cumming in [ Ссылка ]

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