1989
Glória-Céh GCCD 66003
1989
Céh Stúdió, Budapest
1989
Glória-Céh GCCD 66003
1989
Céh Stúdió, Budapest
Régi
magyar dalok a 16-19. századból
1 - Virágénekek /
Flower songs
a) Zöld erdőben, sík mezőben / In green forests,
open fields [2:40]
b) Ej, haj, gyöngyvirág / Hey, hey, lily of the
valley [2:05]
c) Hej, páva / Hey, peacock [0:40]
d) A szerelem szárnyon jár / Love goes on wings
[1:42]
e) Zöld erdő harmatát / The dew of the green forest
[2:00]
2 - Dalok BALASSI Bálint verseire / Songs set to
poems by Bálint Balassi
a) Már csak éjjel hagyna / If only at night
[1:46]
b) Ki nem hinné / Who would not think
[2:01]
3 - Dalok Csokonai Vitéz Mihály verseire / Songs
set to poems by Mihály Csokonai Vitéz
a) A reményhez / To hope [4:35]
b) Tartózkodó kérlelem / A reticent request
[1:48]
4 - Verbunkos gitárzene / Recruiting guitar music
a) Johann Kaspar MERTZ: Andante maestoso, a Hazai
virágok című műből / from Flowers of my Native Country [2:14]
b) Johann PADOWETZ: Magyar (Hungarian)
[1:32]
5 - Dalok a Vietórisz-kódexből / Songs from the
Vietórisz codex
a) Búm elfelejtésére / To forget my sorrow
[2:39]
b) Hová készülsz, szívem / Whereto, my heart
[3:01]
c) Égő lángban forrong szívem / A burning flame
consumes my heart [2:33]
d) Sokan szólnak most énreám / I'm much rebuked now
[1:51]
e) Óh, kedves fülemülécske / Oh, dearest
nightingale [2:43]
f) Térj meg már bujdosásidból / Come back to me
from exile [3:24]
6 - Táncok a Linus-féle kéziratból / Dances from
the
Linus manuscript
a) Saltus Hungaricus (3) [1:19]
b) Saltus Hungaricus (2) [1:28]
c) Cicza Tancz / Cica tánc / Kitty Cat dance
[2:00]
7 - Diákdalok Sárospatakról / Student songs from
Sárospatak
a) El kell menni, nincs mit tenni – Aranyideim folyása
/ I must leave, it must be so – The passage of my happy times
[2:56]
b) Hasztalan, kedvesem / It is no use, dear
[2:00]
8 - Tánc a Vietórisz-kódexből / Dance from the
Vietórisz codex
Corant [2:02]
9 - Dalok PÁLÓCZI HORVÁTH Ádám gyűjteményéből (Ötödfélszáz
énekek) /
Songs from Ádám Pálóczi Horváth’s collection
(Four Hundred and Fifty Songs)
a) Nehéz tudni célját, végit / Hard to know a craft
[2:07]
b) Lányom, lányom, gyöngyvirágom / Daughter,
daughter, lily of the valley [1:36]
10 - Diákdalok daloskönyvekből / Student songs from
melodiaries
a) Mikor még én gyermek voltam / When I was still a
child [0:58]
b) Beborult régi napom fénye / Sadness on a day
once gay [3:08]
c) Nem leszek már én szerelmes / I'll never love
again [1:04]
11 - Diákdal Sárospatakról / Student song from
Sárospatak
Bodrog partján / At the shore of the Bodrog
[3:59]
12 - Giovanni PICCHI: Ballo Ongaro [3:02]
13 - Dalok a Kájoni kódexből és a Vietórisz-kódexből
/ Songs from the Kájoni codex and Vietórisz codex
a) A nyúl éneke / The rabbit's song
[1:24]
b) Ritka kertben / In the scanty garden
[1:19]
Feldolgozás
Benkő Dániel: #1-7, 9, 10-13
Czidra László: #6, 8, 11
Szunyog Balázs: #5
Benkő Dániel • lant, gitár
(#1-7,9-13)
Czidra László • furulya (#2, 6, 8, 10-13)
Pitti Katalin • szoprán (#1-3, 5, 7, 9-11, 13)
Harsányi Zsolt • furulya (#8)
Early Hungarian Songs from the 16th to the 19th centuries
Katalin Pitti has undertaken to present in
roughly seventy minutes a cross section of the entire stock of old
Hungarian songs. Hungarian listeners will find most of the airs quite
familiar since in the past half century "flower songs" have advanced to
become performance music. Music lovers from other countries are not as
yet as acquainted with these songs because for one, they do not know
the language, and for the other, these songs have no original
accompaniment. Actually, the singing was accompanied by a lute, a
dulcimer, percussion. wind, string or other instruments, but the
accompaniment was not written down. We can only hope that now, with
fitting musical accompaniment, these songs approach the mark of works
by Dowland. L. Milan, and the other great songwriters.
The "flower song" is a typically Hungarian genre. It is a love song
whose composer is not known and in this it is akin to folksongs. The
songs we have selected (#1) stem probably
from the 17th and 18th centuries and survive as manuscripts. The codex
songs on our record, like the songs from the Kájoni
(#13) and Vietórisz (#5) manuscripts are similar to
flower songs. They have typically baroque Hungarian folk melodies and
were sensibly selected in the 1680s by two codex writers, one from
Transylvania, the other from Upper Hungary. The Kájoni codex, named
after János Kájoni, is a collection which presently is considered lost,
though Transylvania may still come up with a surprise in this respect.*
Our necessarily limited selection includes an instrumental piece (#8)
from the Vietórisz codex, which with the around
four
hundred religious and secular songs and instrumental pieces contained
in the manuscript is one of the richest collections in Hungarian
musical literature. In eastern Hungary, and especially its Calvinist
areas around Debrecen and Sárospatak, the students of the colleges
studied and loved the arts and sang not only religious songs at school
and church celebrations but liked to treat worldly subjects no less.
Ten melodiaries survive from these student collections of which we have
selected the less ribald ones (#10). Their topics, of course, are love
and wine. In the same vein is Ádám Pálóczi Horváth’s
collection entitled Ötödfélszáz énekek (Four
Hundred Fifty Songs). The great patriot Pálóczi took on the enormous
task of writing down the most significant melodies of his time, to
which he added his own "concoctions". He began his work in the early
1800s as a late follower of the great West European predecessors like Phalčse,
Susato and Attaignant, but also preceding
the significant melody collectors of the following century, Kodály and
Bartók (#9). Another 19th century figure was the great Hungarian poet Mihály
Csokonai Vitéz (#3). His poems were used as lyrics to the
recruiting songs characteristic of Hungary at that time, which,
however, had their roots in German music. The iambic beat is typically
western, and the scanning Hungarian text does not easily adapt to it.
We have added recruiting songs with Hungarian subjects by two
outstanding contemporary guitar composers, J. K. Mertz
from Pozsony (Bratislava), and J. Padowetz from
southern Hungary (#4).
Bálint Balassi was a great Hungarian poet of the
16th century, and a contemporary of the famous lutist Bálint
Bakfark. But unlike Bakfark, Balassi spent his life in
Hungary and died in battle against the Turks. Following the tradition
of the time he wrote his poems "ad notam", meaning that he set them to
known tunes. The two songs on our record (#2) were written to choral
music for three voices by the famous contemporary German composer, Jacob
Regnart. Our collection contains a single "foreign" piece,
the "Ballo Ongaro" from the Italian composer Giovanni
Picchi's Intavolatura di Balli published in Venice in 1620
(#12). It is a Hungarian dance with variations and a jumping dance. At
least one dance is taken from the contemporary foreign, mainly Polish
and West European collections, the Passamezzo Ungaro
(Ungarischer Tantz, Saltus Hungaricus). In the 16th
and 17th centuries it was quite fashionable to compose Hungarian
dances. It was a way of calling the West's attention to the Hungarian
nation's struggle for life against the Turks. As these collections
reveal, the Hungarians are a people who even in times of hardship have
not forgotten to sing, make merry, and write love songs. These they
pass on to be enjoyed by posterity. I hope that out assortment will
prove worthy of the labours of our predecessors.
Dániel Benkő
* The Kájoni codex was rediscovered in 1985.
