No 01: G minor: Allegro molto
No 02: D minor: Allegro non assai
No 03: F major: Allegretto
No 04: B minor: Poco sostenuto
No 05: G minor: Allegro
No 06: B flat major: Vivace
No 07: A major: Allegretto
No 08: A minor: Presto
No 09: E minor: Allegro non troppo
No 10: G major: Presto
No 11: D minor: Poco andante
No 12: D minor: Presto
No 13: D major: Andantino grazioso
No 14: D minor: Un poco andante
No 15: A major: Allegretto grazioso
No 16: G minor: Con moto
No 17: F sharp minor: Andantino
No 18: D major: Molto vivace
No 19: A minor: Allegretto
No 20: D minor: Poco allegretto
No 21: E minor: Vivace
Simrock wanted to encourage the widest possible circulation of the Hungarian Dances, and commissioned a large number of arrangements. They soon appeared in a variety of different instrumental combinations including solo flute and piano, two violins and piano, three players at one piano and military band. In 1872 Brahms issued all ten dances in a version for solo piano, presumably worked up from the original form he had offered to Dunkl, and the following year arranged Nos 1, 3, and 10 for orchestra. Meanwhile Joachim’s version of the dances—which Brahms welcomed enthusiastically—had already appeared in 1871, and through his performances of them Joachim did much to spread their fame across Europe.
Brahms produced a second set of eleven Hungarian Dances, which was published in two books. Joachim immediately set to work to produce another complete set of transcriptions, published in the same year. His friendship with Brahms seemed to have attained a new pitch of mutual trust around this time, consolidated by the the composition of Brahms’s Violin Concerto and G major Violin Sonata; Joachim had been intimately involved with the creation and the premieres of both. However, this second group of Hungarian Dance transcriptions was to be Joachim’s last artistic collaboration with Brahms before the debacle over his divorce attempt soured relations between them for most of the 1880s.
Joachim’s transcriptions of the Hungarian Dances are technically challenging for any violinist, constituting a kind of gypsy ‘Art of the Violin’. As a native Hungarian, Joachim was the ideal arranger and, as his own Violin Concerto No 2 had shown, he had an unrivalled understanding of the gypsy idiom. The violin was, in any case, regarded as the gypsy instrument par excellence, and it could reasonably be said that it captures the spirit of the dances more effectively than the piano duet medium; so in one sense Joachim was ‘restoring’ the dances to their original instrument, if not their original form. His violin parts, though extremely difficult, full of double stops and frequently demanding octaves for emphasis, are superbly idiomatic. He freely ornamented the melodic lines and transposed four of the dances into new and more brilliant keys in order to utilize the instrument’s natural sonority most effectively. He sometimes inserts additional passagework (for instance the short cadenza, employing left-hand tremolos, in No 7).
Of the various numbers of Volume 1, No 1 is based on a csárdás by Béla Sarkozi, with its sonorous, soulful rhythm. No 2 takes as its model Emma csárdás, a piece by Mor Windt: it alternates a kind of soulful flamboyance with impulsive dashes and has a rumbustious but very short middle section marked Vivo. No 3 is a whimsical wedding dance spun out of tunes by Reményi and József Rizner. No 4 uses a tune (by N Merty) also to be found in Liszt’s Hungarian Rhapsody No 8, while No 5 (originally in F sharp minor) takes a melody by Béla Keler and juxtaposes it with a Slavonic rather than Hungarian melody. Joachim transposed it to G minor, apparently to enhance the soulfulness of its elegiac colouring. No 6 (originally in D flat), after a tune ascribed to Adolf Nittinger, is one of the most remarkable of the Hungarian Dances, with the recurring hesitations and pauses in its first theme, its frequent changes of tempo and improvisatory succession of striking ideas. No 7, known to be on a melody by Reményi, is more playful with its strutting dotted rhythms and capricious cascades of thirds, perhaps suggesting an accordion as much as a violin. No 8 is adapted from Louisa-csárdás by Szadaby-Frank, a piece itself based on themes from Donizetti’s Lucia di Lammermoor. No 9 uses a csárdás by János Travnik, while No 10, with its capricious succession of contrasting ideas, is another wedding dance from the collection Tolnai Lakadalmas by Rizner.
The second volume of Hungarian Dances is generally considered a subtler, more introspective collection, less dependent on pre-existing sources. According to Joachim himself, Nos 11, 14 and 16 were entirely Brahms’s original compositions on themes ‘in Hungarian style’, but his sources for the others remain matters of debate. No 15, at least, uses a tune that occurs in Liszt’s Hungarian Rhapsody No 12, but in which some commentators have seen a further reference to Donizetti’s Lucia. Harmonically and texturally richer, and perhaps more varied and subtle in character, this second set of dances represents the summit of Brahms’s ‘Hungarian’ art, and Joachim’s powers of transcription match this with violin writing of the greatest fastidiousness and authentic ‘gypsy’ feeling.
from notes by Calum MacDonald © 2008