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Track(s) taken from CDA67441/2

Scènes de la csárda No 11 'Szomorúfüz hervadt lombja', Op 82

composer
1900

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: 7 minutes 43 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)
Unlike the previous Scènes, No 11 begins with a fast tune with two variations. The second, sad melody gives the piece its name. This melody was first published by the composer Josef Lanner in 1884. The piano accompaniment imitates the cimbalom with arpeggios and tremolos. Contrasting this mood, a short lively variation on the opening melody provides a basis for modulated alterations. It starts with a bowed note and a plucked chord. The further development uses mainly the second part of the motif and leads us to the final and rapid tune (overleaf). Its variation uses a steady, drone-like tone in both the instruments. A series of chords ends this Scène.

from notes by Amnon Shaham © 2004

À la différence des Scènes qui précèdent, la no 11 s’ouvre sur une mélodie rapide et deux variations. La seconde, mélodie triste donne son nom au morceau. Elle fut publiée pour la première fois par le compositeur Josef Lanner en 1884. L’accompagnement au piano imite le cimbalom par des arpèges et des trémolos. Par contraste avec ce sentiment mélancolique, une brève variation entraînante sur la mélodie d’ouverture, donne leur base à des altérations modulées. Elle commence par une note à l’archet et un accord pizzicato. Le développement qui suit utilise principalement la seconde partie du motif et nous mène à l’air final rapide. Sa variation a recours à un son fixe, comme un bourdon, aux deux instruments. Une série d’accords termine cette Scène.

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

Anders als die bisherigen Scènes beginnt Nr. 11 mit einer schnellen Melodie mit zwei Variationen. Die zweite, traurige Melodie gibt dem Stück seinen Namen. Diese Melodie wurde erstmals von dem Komponisten Josef Lanner im Jahre 1884 veröffentlicht. Die Klavierbegleitung imitiert das Cimbalo mit seinen Arppegien und Tremoli. Eine kurze und lebhafte Variation über die Anfangsmelodie sorgt für einen Stimmungswechsel und ist der Ausgangspunkt für die darauffolgenden Modulationen. Sie beginnt mit einem gestrichenen Ton und einem gezupften Akkord. Darauf wird hauptsächlich der zweite Teil des Motivs verwendet und dann zur schnellen Schlussmelodie hingeführt. In den Variationen dieser Melodie erklingt in beiden Instrumenten ein stetiger, bordunartiger Ton. Eine Reihe von Akkorden beendet diese Scène.

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

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