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Hyperion Records

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Track(s) taken from CDA67441/2
Recording details: April 1998
Jerusalem Music Centre, Israel
Produced by Eric Wen
Engineered by Vadim Beili
Release date: March 2004
Total duration: 6 minutes 37 seconds

'If ever there were a case of 'the singer, not the song' it's here with these Scènes de la csárda, attractive music played with the sort of heart-tugging abandon that many of us only know from old 78s. A happy tale from start to finish, kitsch of the highest order served with style and panache by Shaham and his excellent pianist Arnon Erez. With comprehensive annotation by Amnon Shaham and first rate production by Eric Wen (a fine violinist and teacher) this seems set to become a benchmark recording' (Gramophone)

'It's music that needs passionate advocacy if it's not to sound trite, and Hagai Shaham, who's already made an outstanding disc of two of Hubay's Violin Concertos, has it in his soul' (BBC Music Magazine)

'Hagai Shaham has tremendous flair, extraordinary technical facility, and an organic musical sense that makes it difficult to stop listening' (American Record Guide)

'The quality and commitment of the playing, beautifully recorded, gives considerable if unchallenging pleasure' (The Strad)

'Hagai Shaham's achievement here is heroic, and a monument to violin playing … if you are a violin sort of person, and the repertoire appeals, then buy these discs with confidence, as a tribute to a unique act of devotion to the cause by Shaham and Erez' (Fanfare, USA)

'Scènes de la csárda could certainly be one of the records of the year' (ClassicalSource.com)

'Voici sans doute le plus bel hommage rendu au père fondateur de l'école hongroise de violon … un répertoire rare, servi de magistrale façon' (Diapason, France)

Scènes de la csárda No 3 'Maros vize', Op 18
composer
1882/3

Introduction  EnglishFrançaisDeutsch
No 3 begins with a tremolo imitation of the cimbalom in the piano accompanying an improvisatory section for the violin. After the appearance of the first theme, a cadenza-like passage evokes the title of this piece with the water-like flow of ascending and descending arpeggios ending in harmonics. This leads into the melody ‘Slowly flows the Bodrog’ by the composer Miska Borzó, written in 1859. (The Bodrog is a river in north-west Hungary which flows through the town of Sárospatak.) A slightly varied version of this melody was also used by Brahms in his first Hungarian Dance published in 1869. Variations employing double-stops, plucked chords and arpeggiations lead into the third and final melody, introduced by the piano and accompanied by a high trill on the violin.

from notes by Amnon Shaham © 2004

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