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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: 9 minutes 23 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 9 'Czinka Panna nótája', Op 65
composer
1896

Introduction  EnglishFrançaisDeutsch
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

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