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The earliest known recording of any movement of Hungarian Dances was a condensed piano-based rendition of Hungarian Dance No. 1, from 1889, played by Brahms himself, and was known to have been recorded by Theo Wangemann, an assistant to Thomas Edison. The following dialogue can be heard in the recording itself, before the music starts:
He learned without sheet music, instead repeating and improvising over tunes sung by his parents. [5] Later he earned money as a child improvising on popular music at a local circus. [3] In 1930 Cziffra began to study at the Franz Liszt Academy under the tuition of Ernő Dohnányi until 1941, when he was conscripted into the Hungarian Army. He ...
Brahms_-_Hungarian_Dance_No._1_(performed_by_the_composer).oga (Ogg Vorbis sound file, length 57 s, 268 kbps, file size: 1.82 MB) This is a file from the Wikimedia Commons . Information from its description page there is shown below.
Brahms played an abbreviated version of his first Hungarian Dance and of Josef Strauss's Die Libelle on the piano. Although the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise .
[3] Like Brahms's Piano Quartet No. 1 and Violin Concerto, the A minor quartet has a final movement modeled on a Hungarian folk dance, in this case a czárdás. [4] The quartet consists of four movements:
Csárdás Csárdás rhythm. [1]Csárdás (/ ˈ tʃ ɑːr d æ ʃ /, US: /-d ɑː ʃ /; Hungarian: [ˈt͡ʃaːrdaːʃ]), often seen as Czárdás, is a traditional Hungarian folk dance, the name derived from csárda (old Hungarian term for roadside tavern and restaurant).
Op. 15 Piano Concerto No. 1 in D minor : piano, orchestra 1854–58 original version as Sonata for Two Pianos 1854 (Mvts 2 & 3 are Anh. 2a/2) (discarded), 2nd version as Symphony in D minor in 4 mvts (4th mvt never written) 1854–55 (Mvts 2 & 3 are Anh. 2a/2) (discarded), final version (Piano Concerto) in 3 mvts (only 1st mvt from previous versions, 2nd & 3rd mvts new) 1855–58;
It is a newer style of dance developed in the 18th and 19th centuries, and features Hungarian embroidered costumes and energetic music. From the men's intricate bootslapping dances to the ancient women's circle dances, Csárdás demonstrates the infectious exuberance of the Hungarian folk dancing still celebrated in the villages.
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