Like many composers, Bartók tended to write works of like style and instrumentation during certain periods. In 1928, for example, he produced the two Rhapsodies for violin and piano, both of which are based on folk dances. He then turned out this Rhapsody for cello and piano, which is actually a transcription of the first rhapsody.

The rhapsody is a quite faithful adaptation of the violin version, with changes made only to accommodate certain technical features of the instrument. The work is divided into two sections, Prima Parte and Seconda Parte. Cast in ternary form and marked Moderato, the first movement opens with a muscular, rhythmic tune, whose colorful ethnic flavors sound a bit more jaunty in the violin version than here. But the tonal mellowness of the cello is not necessarily a liability: the subdued middle section is warmer in the cello rendition, and to many will be preferable. The first section ends after a reprise of the main material.

Following a brief introduction by the piano in the Seconda Parte, the cello presents the chipper, confident first theme. Three others follow, and the folk flavors and colors of Bartók's Transylvania abound throughout. What is not in evidence in the cello version of the second movement are the colorful sonic fireworks heard in the original: where the violin could shriek and achieve sul ponticello-like sounds to wonderful effect, the more mellow cello cannot offer such brashness, but must rely on its warmer, more mellifluous charms here. The piano writing is unchanged in the cello version, but the accompanist usually plays at slightly louder volume levels to maintain a balance with the greater sonic heft of the cello. While many will ask which version of the Rhapsody is generally thought to be more appropriate for its folk materials, one can only answer that each is effective in its own way, both yielding valid takes on an attractive work.

© All Music Guide