| Department: | Bartók Archives |
| Degree, position: | member of the Hungarian Academy of Sciences, editor of „Béla Bartók Thematic Catalogue", founding editor of „Béla Bartók Complete Critical Edition” |
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László Somfai (1934, Jászladány – 2026, Budapest), was Head of the Bartók Archives of the Institute for Musicology of the Hungarian Academy of Sciences (1972–2004); parallel to his research job, from 1969 until 2024 he was professor of musicology at the Ferenc Liszt Academy of Music (State University) in Budapest, where he directed the Ph.D. Program (1997–2007); he was later appointed professor emeritus.
He studied musicology in Budapest in the F. Liszt Academy of Music, graduated in 1959; received the Doctor in Musicology degree from the Hungarian Academy of Sciences in 1982. Somfai was member of the Hungarian Academy of Sciences (1995 corr., 2004 ord. member), corresponding member of the American Academy of Arts and Sciences (1997), of the British Academy (1998) and of the American Musicological Society (1988); founder-president of the Magyar Zenetudományi és Zenekritikai Társaság [Hungarian Musicological Society] (1994–1998), president of the International Musicological Society between 1997–2002, member of the Zentralinstitut der Mozartforschung Salzburg, the Joseph Haydn-Institut Köln, etc.
Somfai’s research focused on Haydn and Bartók and their time, with special stress on the complex investigation of primary sources in relation to the compositional process, the genre stratification, and the historically oriented performance. He published over 140 studies and ten books; assisted facsimile editions, critical editions, and complete recordings. In his final years, Somfai worked on the thematic catalogue of Bartók’s compositions and on the preparation of the Béla Bartók Complete Critical Edition.
From the late 1960s he lectured extensively in the USA, was visiting professor at the Graduate Center of the City University New York in 1984, “Ernest Bloch Professor” at the University of California at Berkeley in 1989. In addition, he lectured in England, Germany, Austria, Canada, Finland, Italy, Spain, etc.
Publications
I. Books
(Jenő 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, 22010), XX, 389 pp.
Béla Bartók: Composition, Concepts, and Autograph Sources (Berkeley, Los Angeles, London: University of California 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 Faust-Symphonie” 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 Jean-Jacques 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.
“»...they are full of invention, fire, good taste, and new effects« Two Compositional Essays in the ‘Erdődy’ Quartets Op. 76” in Studia Musicologica 517/3–4 (2010), 317–324.
III. Critical edition
Johann Georg Albrechtsberger, Concerto per l’organo (cEditio Musicaalo 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.
(ed.), 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. Facsimile Edition 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. Hungarian introduction reprinted as “Magyar népzenei hanglemezek Bartók Béla lejegyzéseivel” [Folk music recordings with Béla Bartók’s transcriptions] in: Sebő Ferenc (ed.), PATRIA – Magyar népzenei felvételek / Hungarian Folk Music Recordings 1936–1963. A teljes gyűjtemény dokumentációja és a lemezkísérő mellékletek hasonmásai [Documentation of the entire collection together with facsimiles of supplements to the records], included DVD-ROM (Budapest: Hagyományok Háza, 2010).
APPENDIX
VI. Short essays on Bartók topics (selection)
“Bartóks Selbstbiographie aus dem Jahre 1911” in Documenta Bartókiana 2 (Budapest, Akadémiai Kiadó; Mainz: Schott, 1965), 111–112.
“Bartók als Interpret” in Beiträge 1968/69 (Kassel: Bärenreiter, 1969), 41–45.
“A Major Unfinished Work on Bartók” in The New Hungarian Quarterly 22/82 (1981), 91–99.
“Opening address [of the International Bartók Symposium, 1981]” in Studia Musicologica 24 (1982), 261–264.
“The Budapest Bartók Archives” in Fontes artis musicae 29/1–2 (1982), 59–65.
As Béla Bartók Played Classics [catalogue] (Budapest: MTA Zenetudományi Intézet, 1986), 31 pp.
“Facsimile edition of a Bartók notebook” in The New Hungarian Quarterly 28/107 (1987), 229–234.
Bartók’s Workshop. Sketches, Manuscripts, Versions: Documents of the Compositional Process [catalogue](Budapest: MTA Zenetudományi Intézet, 1987), 68 pp.
Bartók’s Workshop. Documents of the Compositional Process [catalogue] (Budapest: MTA Zenetudományi Intézet, 1995), 43 pp.
VII. Edition of collected essays
(ed.) Documenta Bartókiana 5–6 (Budapest: Akadémiai Kiadó, Mainz: Schott, 1977, 1981), 246, 312 pp.
(ed.) Reports of the International Bartók Symposium Budapest 1981. Studia Musicologica 24 (1982), 261–564. pp.
(ed.) Denijs Dille Nonagenario. Studia Musicologica 35/1–3 (1993–94), 339 pp.
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