The recordings from the Mikrokosmos, although relatively late, are fortunately close to the composition of most of the pieces, which makes these recordings all the more "authentic." The essay, however, focuses on the concept of the series as a series revisiting the compositional manuscripts, discussing the evolution of the individual pieces and the emergence of the idea of the set (first intended to comprise only five pieces) and Bulgarian rhythm as a pedagogical issue within the series. Since Bartók recorded all six of them in 1940, they are ideal for an investigation of performance issues. Bartók's "Six Dances in Bulgarian Rhythm," the only formally self-contained set within the Mikrokosmos, is the crowning series of pieces in this huge compendium of the composer's later piano music.
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