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Track(s) taken from CDA67441/2

Scènes de la csárda No 9 'Czinka Panna nótája', Op 65

composer
1896

Hagai Shaham (violin), Arnon Erez (piano)
Recording details: April 1998
Jerusalem Music Centre, Israel
Produced by Eric Wen
Engineered by Vadim Beili
Release date: March 2004
Total duration: 9 minutes 23 seconds
 
1

Reviews

'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)
Czinka Panna was the famous leader of a gypsy band in the late eighteenth century. Many traditional melodies are believed to be her invention. After a moderately paced introduction, the first, slow melody is played once only. A quicker interlude is performed first by the piano, then with passages for the violin. The second theme in the major key has two parts: the first is slower, while the second, in the relative minor, changes suddenly to a quick tempo with typical dotted rhythm. This exchange between the two parts repeats itself twice. The last, fast tune is also in two-part form. The variations on it use mainly modulations. In the second variation we hear a combination of bowed and plucked tones producing an interesting effect. The short and fast coda repeats the motif.

from notes by Amnon Shaham © 2004

Czinka Panna était la célèbre chef d’un groupe gitan de la fin du dix-huitième siècle. De nombreuses mélodies traditionnelles lui sont attribuées. Après une introduction au rythme relativement modéré, la première mélodie est jouée une fois seulement. Un interlude plus rapide est joué d’abord au piano, puis par le violon dans divers passages. Le second thème adopte un ton majeur et comporte deux parties: la première est relativement lente, tandis que la seconde, dans la relative mineure, passe soudainement à un tempo rapide au rythme en notes pointées, typique. Cet échange entre les deux parties est répété deux fois. La dernière fois, l’air rapide est aussi divisé en deux parties. Ses variations utilisent principalement les modulations. Dans la seconde variation, on entend une combinaison de sons à l’archet et pizzicato, qui produit un effet intéressant. La courte coda rapide répète le motif.

extrait des notes rédigées par Amnon Shaham © 2004
Français: Marie Luccheta

Czinka Panna war die berühmte Leiterin einer Zigeunergruppe im späten 18. Jahrhundert. Es wird angenommen, dass viele traditionelle Melodien von ihr stammen. Nach einer moderaten Einleitung erklingt die erste, langsame Melodie lediglich einmal. Ein schnelleres Zwischenspiel wird zuerst vom Klavier ausgeführt und dann folgen Passagen für die Violine. Das zweite Thema in Dur besteht aus zwei Teilen: der erste ist recht langsam, während der zweite in der parallelen Molltonart plötzlich zu einem schnellen Tempo mit dem typischen, punktierten Rhythmus hinüberwechselt. Diese beiden unterschiedlichen Passagen erklingen zweimal. Die letzte, schnelle Melodie ist ebenfalls zweiteilig. Es folgen Variationen, in denen hauptsächlich moduliert wird. In der zweiten Variation erklingt eine Kombination von gestrichenen und gezupften Tönen, was für einen interessanten Effekt sorgt. In der kurzen und schnellen Coda wird das Motiv wiederholt.

aus dem Begleittext von Amnon Shaham © 2004
Deutsch: Viola Scheffel

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