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Track(s) taken from CDA67441/2

Scènes de la csárda No 13, Op 102


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: 11 minutes 41 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 13 is dedicated to the Czech violin virtuoso Jan Kubelík. The piano introduces the first, fast theme. This three-bar-long, asymmetrical tune is divided between the chords (first bar) and the following rhythmical motif of two bars. This provides the base for a fairly developed first part, including also a set of variations. A violin cadenza leads to the second simple, soft melody (with a cimbalom-like accompaniment and a contrapuntal melody in the left-hand). A modulating fantasy by the piano on a motif from the first theme’s second bar provides an interlude. Another, two-part melody is introduced by the violin. The first part has typical trills, while the second part opens with two plucked chords. Both interchange in the variations.

from notes by Amnon Shaham © 2004

La Scène no 13 est dédicacée au violoniste virtuose tchèque Jan Kubelík. Le piano présente le premier thème rapide. Cet air asymétrique de trois mesures se divise entre les accords de la première mesure et le motif rythmique de deux mesures qui suit. Ceci sert de base à une première partie relativement développée, qui comprend aussi une série de variations. Une cadence au violon mène à une seconde mélodie, douce et plus simple (à l’accompagnement ressemblant au cimbalom et une mélodie en contrepoint à la main gauche). Une fantaisie modulante au piano, sur un motif de la deuxième mesure du premier thème, fournit l’interlude. Une autre mélodie en deux parties est présentée au violon. La première partie utilise les trilles typiques tandis que la seconde s’ouvre sur deux accords pizzicato. Les deux motifs sont échangés l’un à l’autre dans les variations.

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

Nr. 13 ist dem tschechischen Geigenvirtuosen Jan Kubelík gewidmet. Das Klavier stellt das rasche erste Thema vor. Diese dreitaktige, asymmetrische Melodie teilt sich zwischen den Akkorden (dem ersten Takt) und dem darauffolgenden zweitaktigen, rhythmischen Motiv. Es ist dies der Ausgangspunkt für den ersten Teil, in dem auch Variationen erklingen. Eine Violinkadenz führt zu der schlichten und leisen zweiten Melodie (mit einer Cimbalo-artigen Begleitung und einer kontrapunktischen Melodie in der linken Hand). Eine modulierende Fantasie des Klaviers über ein Motiv aus dem zweiten Takt des erste Themas fungiert als Zwischenspiel. Eine weitere, zweiteilige Melodie wird von der Violine vorgestellt. Im ersten Teil erklingen typische Triller und der zweite Teil beginnt mit zwei gezupften Akkorden. Beide werden in den Variationen alterniert.

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

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