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Track(s) taken from CDA67441/2

Scènes de la csárda No 10 'Szalatnai emlék', Op 69


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: 10 minutes 19 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)
The opening luscious melody introduced by the piano, is followed by a quasi-improvisatory statement in the violin. The next theme is then freely varied, and is followed by a dance melody which later exploits triplet figures and trills in a series of variations. Following a brief return of the opening melody, another theme is introduced in the piano. Set against rapid figuration in the violin, this theme has an asymmetrical form of fourteen bars, divided into 3+3+5+3. The piece ends with a coda which contains some rather surprising chromatic modulations. (Szalatna is a small town in Northern Hungary, now Slovakia.)

from notes by Amnon Shaham © 2004

La sensuelle mélodie d’ouverture présentée par le piano est suivie par une affirmation quasi improvisée au violon. Le thème qui suit est varié librement et est suivi par une danse qui a recours par la suite aux triolets et aux trilles dans une succession de variations. Après un bref retour à la mélodie d’ouverture, un autre thème est introduit au piano. Il se décline contre une figuration rapide au violon et adopte la forme asymétrique de quatorze mesures réparties en 3+3+5+3. Le morceau se termine sur une coda qui contient quelques modulations chromatiques assez surprenantes. (Szalatna est une petite ville du nord de la Hongrie, région qui se trouve désormais en Slovaquie.)

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

Auf die sinnliche Anfangsmelodie die vom Klavier gespielt wird, folgt eine quasi-improvisatorische Passage der Violine. Das zweite Thema wird frei variiert und von einer Tanzmelodie gefolgt, in der später in einer Reihe von Variationen Triolenfiguren und Triller erklingen. Nach einer kurzen Rückkehr der Anfangsmelodie wird vom Klavier ein weiteres Thema vorgestellt. Es ist gegen rasche Figurationen der Violine gesetzt und hat eine asymmetrische Form von 14 Takten, die in 3+3+5+3 unterteilt sind. Das Stück endet mit einer Coda, in der recht überraschende chromatische Modulationen vorkommen. (Szalatna ist eine kleine Stadt im Norden Ungarns, heute in der Slowakei.)

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

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