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Von Ungarischer Und Judischer Seele

Duo Edan / Perlman / Zadory / Dombrovska / Liszt
Release Date: 11/13/2012 
Label:  Gramola   Catalog #: 98955   Spars Code: DDD 
Composer:  George PerlmanJenö HubayJoseph AchronJohannes Brahms,   ... 
Orchestra/Ensemble:  Duo Edan
Number of Discs: 1 
Recorded in: Stereo 
Length: 0 Hours 57 Mins. 

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Notes and Editorial Reviews

OF THE HUNGARIAN AND JEWISH SOUL Édua Zádory (vn); Anastasiia Dombrovska (pn) GRAMOLA 98955 (57: 12)

PERLMAN Israeli Concertino. HUBAY Hullámzó Balaton, Op. 33. Six Pieces, Op. 121: No. 1, “Preghiera.” Hejre Kati. ACHRON Read more class="ARIAL12bi">Lullaby. Dance Improvisation on a Hebrew Folksong , Op. 37. BRAHMS Hungarian Dance No. 17 (arr. Kreisler). BLOCH Nigun. RAVEL 2 Mélodies hébraïques. LISZT Hungarian Rhapsody No. 2 (arr. Windsperger)

Violinist Édua Zádory and pianist Anastasiia Dombrovska have drawn on their own backgrounds to assemble a program of music celebrating their Eastern-European origins and culture. The first work on their program, however, the Israeli Concertino , hails from the United States: a quasi-didactic composition by Chicago violinist and teacher George Perlman (I remember when teachers would comment that this young violinist or that one had been a Perlman student). The concertino, which may not be familiar to general listeners, falls into three movements, “Hora-Hatikvah,” “Nocturne,” and “Fantasie-Recitative.” Although the piece makes few technical demands on the violin soloist, it offers opportunities for tonal display, and Zádory, playing on an 1801 Joseph and Antonio Gagliano, makes a great deal of these in the first movement’s lyrical passages and the second’s plaintive melodiousness; the engineers have captured the richness of her sound, especially in the lower registers. Occasionally, she indulges in a slippery portamento, generally creating, however, an expressive rather than an anachronistic effect. On the whole, she plays this concertino with a dedication and intensity she might devote to a work by Ernest Bloch. Violinist Jenö Hubay wrote a series of Scènes de la Csárda for his instrument, enshrining in them popular tunes that might find their way into (or, as in this case, out of) the tavern. The Fifth of these, Hullámzó Balaton (Waves of the Balaton), like the others, sparkles with virtuosic brilliance without really demanding the full range of a virtuoso’s technique; Zádory and Dombrovska create a great deal of excitement whatever the means they employ. In Joseph Achron’s Hebrew Lullaby , they effectively shift to a reflective mood; and they play with rich loaminess in Fritz Kreisler’s arrangement of Johannes Brahms’s Hungarian Dance No. 17. Hubay’s short Preghiera provides a simple interlude, simply stated—despite the agitation before its ending—before Achron’s briefer, but jubilant Dance Improvisation on a Hebrew Folk Tune , which they bring off with panache. Some, on the other hand, may feel that the pauses and dramatic contrasts the duo creates in Bloch’s popular Nigun slip from impassioned ethnic advocacy into mannerism (both expressive and timbral)—and Zádory tends to sound a bit unsure in the climactic double-stops and octaves. Maurice Ravel’s Kaddish and L’énigme éternelle demand a different sensibility from the barn-burning fervor of many of the earlier works on the program; both Zádory and Dombrovska breathe this rarefied atmosphere as though it had been as formative an influence on them as the other works’ more flamboyant gestures.

The program comes to a close with two more barn burners. The first of these, the fourth of Hubay’s Tavern Scenes , known as Hejre Kati , has become a chestnut; but Zádory adds a dollop of her own personality to the piece, which makes it a fresh, richly rewarding five-and-a-half-minute confection. The second, Franz Liszt’s Hungarian Rhapsody No. 2 (arranged by Lothar Windsperger) offers perhaps greater scope in its nearly nine minutes for making a wide variety of technical and tonal points, from the raucous to the refined (well, maybe not too refined). For those offended by the suggestion that music might be entertaining as well as edifying, and earthy as well as transcendent, this recital might miss the mark. For general listeners, however, it should be a great deal of fun—the musicians and, perhaps some of the crew, apparently thought so, too: They can be heard laughing at the end of the Hungarian Rhapsody . Generally, and mirthfully, recommended.

FANFARE: Robert Maxham
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Works on This Recording

Israeli Concertino, for violin & piano by George Perlman
Orchestra/Ensemble:  Duo Edan
Written: 1973 
Venue:  4Tune Studio, Vienna, Austria 
Length: 11 Minutes 25 Secs. 
Scčne de la Csárda No. 5 for violin & piano ("Hullŕmzň Balaton"), Op. 33 by Jenö Hubay
Orchestra/Ensemble:  Duo Edan
Period: Romantic 
Written: 1887; Hungary 
Venue:  4Tune Studio, Vienna, Austria 
Length: 5 Minutes 14 Secs. 
Hebrew Pieces (2), Op. 35: no 2, Lullaby by Joseph Achron
Orchestra/Ensemble:  Duo Edan
Period: 20th Century 
Written: 1913; Poland 
Venue:  4Tune Studio, Vienna, Austria 
Length: 2 Minutes 57 Secs. 
Hungarian Dances (21) for Piano 4 hands, WoO 1: no 17 in F sharp minor by Johannes Brahms
Orchestra/Ensemble:  Duo Edan
Period: Romantic 
Written: 1880; Austria 
Venue:  4Tune Studio, Vienna, Austria 
Length: 3 Minutes 42 Secs. 
Six Pieces, Op. 121: 1. Preghiera by Jenö Hubay
Orchestra/Ensemble:  Duo Edan
Period: Post-Romantic 
Written: 1925 
Venue:  4Tune Studio, Vienna, Austria 
Length: 4 Minutes 51 Secs. 
Dance Improvisation for Violin and Piano, Op. 37 by Joseph Achron
Orchestra/Ensemble:  Duo Edan
Period: 20th Century 
Written: 1916; Russia 
Venue:  4Tune Studio, Vienna, Austria 
Length: 2 Minutes 57 Secs. 
Scčnes de la Csárda no 4, Op. 32 "Hejre Kati" by Jenö Hubay
Orchestra/Ensemble:  Duo Edan
Period: Romantic 
Written: circa 1882-1886; Hungary 
Venue:  4Tune Studio, Vienna, Austria 
Length: 5 Minutes 33 Secs. 
Hungarian Rhapsodies (19) for Piano, S 244: no 2 in C sharp minor by Franz Liszt
Orchestra/Ensemble:  Duo Edan
Period: Romantic 
Written: 1847; Hungary 
Venue:  4Tune Studio, Vienna, Austria 
Length: 8 Minutes 29 Secs. 
Mélodies hébraďques (2) by Maurice Ravel
Orchestra/Ensemble:  Duo Edan
Period: 20th Century 
Written: 1914-1919; France 
Venue:  4Tune Studio, Vienna, Austria 
Length: 5 Minutes 41 Secs. 
Baal shem: 2nd movement, Nigun "Improvisation" by Ernest Bloch
Orchestra/Ensemble:  Duo Edan
Period: 20th Century 
Written: 1923; USA 
Venue:  4Tune Studio, Vienna, Austria 
Length: 6 Minutes 14 Secs. 

Sound Samples

Israeli Concertino: I. Hora-Hatikvah
Israeli Concertino: II. Nocturne
Israeli Concertino: III. Fantasie-Recitative
Scenes de la Csarda No. 5, Op. 33, "Hullamzo Balaton" (Choppy Balaton)
2 Hebrew Pieces, Op. 35: No. 2. Lullaby (L. Auer): 2 Hebrew Pieces, Op. 35: No. 2. Lullaby (arr. L. Auer for violin and piano)
21 Hungarian Dances, WoO 1: No. 17 in F sharp minor (arr. F. Kreisler): 21 Hungarian Dances, WoO 1: No. 17 in F sharp minor (arr. F. Kreisler for violin and piano)
6 Stucke (6 Pieces), Op. 121: No. 1. Gebet (Prayer)
Dance Improvisation, Op. 37
Baal shem (version for violin and piano): Baal shem: II. Nigun (version for violin and piano)
2 Melodies hebraiques (arr. for violin and piano): No. 1. Kaddish
2 Melodies hebraiques (arr. for violin and piano): No. 2. L'enigme eternelle
Scenes de la Csarda No. 4, Op. 32, "Hejre Kati" (Hey, Katie): Scenes de la Csarda, No. 4, Op. 32, "Hejre Kati" (Hey, Katie)
19 Hungarian Rhapsodies, S244/R106: No. 2 in C sharp minor (arr. L. Windsperger for 2 piano)

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