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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: 5 minutes 27 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)

Scčnes de la csárda No 5 'Hullámzó Balaton', Op 33
composer
1887

Introduction  EnglishFrançaisDeutsch
The quiet, emotional song which begins in the low register of the piano is about a young fisherman on Lake Balaton and the loss of his beloved girl, as well as the fish from his net. The piano imitates the cimbalom just before the lively second theme, elaborated later by variations in the violin. (The third variation combines bowed notes with pizzicato chords.) The third melody leads into rapid passagework which juxtaposes surprising harmonies one after the other until the final cadence.

from notes by Amnon Shaham © 2004

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