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Track(s) taken from CDA67441/2

Scènes de la csárda No 3 'Maros vize', Op 18


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: 6 minutes 37 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' (Classical Source)

'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)
No 3 begins with a tremolo imitation of the cimbalom in the piano accompanying an improvisatory section for the violin. After the appearance of the first theme, a cadenza-like passage evokes the title of this piece with the water-like flow of ascending and descending arpeggios ending in harmonics. This leads into the melody ‘Slowly flows the Bodrog’ by the composer Miska Borzó, written in 1859. (The Bodrog is a river in north-west Hungary which flows through the town of Sárospatak.) A slightly varied version of this melody was also used by Brahms in his first Hungarian Dance published in 1869. Variations employing double-stops, plucked chords and arpeggiations lead into the third and final melody, introduced by the piano and accompanied by a high trill on the violin.

from notes by Amnon Shaham © 2004

Troisième scène de cette série, «Les eaux de Maros» s’ouvre sur une imitation de trémolo de cimbalom au piano, qui accompagne une section improvisée au violon. Après l’apparition du premier thème, un passage en cadence évoque le titre de ce morceau. L’eau s’écoule au gré des arpèges montants et descendants qui se terminent sur des harmoniques. Ceci mène à la mélodie «Lent est le cours du Bodrog» par le compositeur Miska Borzó, écrite en 1859. (Le Bodrog est un fleuve qui coule au nord-ouest de la Hongrie, dans la ville de Sárospatak.) Une version légèrement différente de cette mélodie sera également utilisée par Brahms dans sa première Danse hongroise, publiée en 1869. Après une suite de variations à doubles arrêts, accords en pizzicati et arpèges, la troisième mélodie est présentée au piano et accompagnée par des trilles aigus au violon.

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

Nr. 3, „Das Wasser von Maros“, beginnt mit einer Imitation des Cimbalo-Tremolos im Klavierpart, der eine improvisatorische Passage der Violine begleitet. Nach dem Auftreten des ersten Themas stellt eine kadenzartige Passage den Titel dieses Stücks dar: das Fließen des Wassers wird durch auf- und absteigende Arpeggien evoziert, die in Flageolett-Tönen enden. Darauf folgt die Melodie „Langsam fließt der Bodrog“ des Komponisten Miska Borzó aus dem Jahre 1859. (Der Bodrog ist ein Fluss im Nordwesten Ungarns, der durch die Stadt Sárospatak fließt.) Brahms verarbeitete eine leicht variierte Version dieser Melodie in seinem ersten Ungarischen Tanz, der 1869 erschien. Variationen mit Doppelgriffen, gezupften Akkorden und Arpeggierungen gehen der dritten und letzten Melodie voran, die vom Klavier vorgestellt und von der Violine mit einem hohen Triller begleitet wird.

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

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