The two sets of Songs (5), Opp. 15 and 16, contain some of Bartók's finest vocal writing. While the former is compelling in many ways, it is the latter that is probably the composer's finest collective work in the lied genre. Bartók quickly became disillusioned by the Op. 15 set because of its undistinguished texts, mostly by Klara Gombossy, with whom he had briefly been infatuated. But the Op. 16 collection, all settings by one of Hungary's finest poets, Endre Ady (1877-1919), is masterful in every respect.

Key features of these songs are their general gloom, slow tempos, and lack of bright colors. Yet Bartók deftly draws out an expressive depth from his grayish scenery and emotional lows to offset any sense of sameness or tedium. The set opens with Autumn Tears, a song whose melancholy vocal theme and sparse piano accompaniment soon grow anxious, and after venting some tension in a restrained climax become subdued and fade quietly. Ady's text mixes autumnal imagery with sadness and feelings of depression and sorrow.

The second song is Autumn Echoes, a highly unusual work in that Bartók created the option for the piano's role to exist separate from the vocal part. Again, the mood is gloomy, though more animated, the agitated piano dominating throughout, the vocalist intoning despondent music. The somewhat inscrutable text paints a picture of a strange world awaiting some dire happening. The third, My Bed Calls Me, has an otherworldly character about its anxious, unsettled vocal theme and restless piano accompaniment. Ady's dark text expresses fear and loneliness—the once-loved character's empty bed is "coffin cold" and he now awaits death.

Alone with the Sea follows, a somewhat Impressionistic song, especially in its piano writing, which imitates the sounds of the calm and restless waters. The ghostly vocal theme suggests hope but ultimately conveys a sense of loss. The text, with deftly atmospheric imagery of the sea, expresses a man's sorrow over losing his lover. The final song is I Cannot Come to You, which is similar in some respects to No. 2, the piano having a prominent role once more and the vocal music gloomy, but also agitated. Ady's text tells of the character's loneliness and fears of death. Performed as a group, the Op. 16 songs have a duration of about 17 to 18 minutes, with Nos. 3 and 4 each lasting a bit over four minutes.

© Robert Cummings, Rovi