Bartók wrote two rhapsodies for violin and piano, and this, the first one, is generally the more often performed. It exists in two versions, the latter having a different ending. The composer apparently favored the revised edition, since he chose it for both his recordings of the work with violinist Josef Szigeti.

Bartók cast the rhapsody in two sections, or parts, called Prima Parte, marked Moderato, and Seconda Parte (Allegretto moderato). The themes in them are derived from folk dances, and just one hearing divulges the mostly ethnic Romanian flavors permeating the fabric of the two movements. Something has been made of the fact that for once the composer would not divulge the exact sources of the melodies, only that their roots were Hungarian and Romanian. (Later, he tacitly revealed that they were largely Transylvanian, and therefore officially Romanian in origin.) The vigorous opening dance tune, played exclusively by the violin, is colorful and chipper, the piano providing lively, mostly rhythmic support. The middle section in this ternary-form movement is subdued and features an exotic melody, again played by the violin. The opening material is reprised and the first part ends quietly.

The piano opens the Seconda Parte in a slightly hesitant manner, but all tentativeness ceases when the violin announces the joyous, proud main theme. Again, ethnic flavors abound, this time amid various sonic effects, the violin squeaking and grating with sul ponticello-like sounds, the piano turning more percussive and forceful as the movement progresses. Oddly, the main theme here sounds like a sped-up version of the first half of the now-famous (folk) tune Aaron Copland used in his Appalachian Spring. Three other themes appear, and the whole movement is showered with brilliant colors and a sense of gaining momentum. In the first version the piece ends with a recalling of the main theme from the Prima Parte, followed by a rubato cadenza. The second version features a reprise of the opening dance tune in the Seconda Parte and a brilliant coda. Either rendition offers an effective conclusion to this delightful work.

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