Chapter 2 – Verbunkos

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Contents

Example 2.1 | Example 2.2 | Example 2.3 | Example 2.4 | Example 2.5 | Example 2.6 | Example 2.7 | Example 2.8 | Example 2.9 | Example 2.10a; Example 2.10b | Example 2.11 | Example 2.12a; Example 2.12b | Example 2.13 | Example 2.14a; Example 2.14b; Example 2.14c | Example 2.15

Example 2.1

Excerpt from “Marosszéki” (1944). Reproduced with permission from Lajtha, Kőrispataki gyűjtés No. 14 (1955). The added texts in English are mine.

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Example 2.2

Joseph Bengraf, 12 danses hongroises No. 3. Adapted from Géza Papp, Hungarian dances, 1784–1810, 67–68

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Example 2.3

Franz Paul Rigler, 12 ungariche tänze No. 7. Source: Papp, Hungarian Dances, 103–4.

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Example 2.4

From Rigler’s 12 ungariche tänze:

(a) beginning of No. 3;
(b) No. 9, mm. 13–14. Source: Papp, Hungarian Dances, 97 and 107 respectively.

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Example 2.5

A hint of verbunkos I in Rigler’s 12 ungariche tänze No. 9, mm. 25–28. Source: Papp, Hungarian Dances, 107.

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Example 2.6

Ignátz Ruzitska, phrase endings on I chord in Trio section from MnVv No. 4:

(a) mm. 7–8;
(b) mm. 15–16.

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Example 2.7

Conclusion of Charles Winkhler’s Trois hongroises No. 1, mm. 55–57 (Vienna, 1822). Source: Austrian National Library, M.S. 42687; Helikon 994.

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Example 2.8

Bihari: Maestoso (Pest, 1822).Source: National Széchényi Library Music Collection, No. 2662.

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Example 2.9

Lázslo Fáy, Kinizsi notája (Pest, 1822), mm. 1–30. Source: István Bartalus, Magyar Orpheus (Pest, 1869), 98.

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Example 2.10

References and quotes in the verbunkos literature:

(a) Winkhler, Trois hongroises, No. 1, beginning of Minore section, mm. 25–28 (Vienna, 1822);


(b) Csermák, Lassan félségesen, mm. 9–16(NB final four bars). Source: MnVv No. 25.

 

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Example 2.11

Liszt, Zwei Werbungstänze, Poco andante (Fáy arrangement), mm. 7–10.

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Example 2.12

(a) Liszt, Zwei Werbungstänze, Non troppo lento (Bihari arrangement), mm. 5–6;

(b) Bihari, Andante, mm. 4–5 (adapted from MnVv No. 11: editorial insertions in parenthesis).

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Example 2.13

Zwei Werbungstänze, Non troppo lento, mm. 18–24.

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Example 2.14

Zwei Werbungstänze:

(a) Non troppo lento, mm. 25–31 (conclusion of the Bihari arrangement);

(b) Allegro molto agitato, mm. 32–35 (beginning of Liszt’s variation);


(c) ibid., mm. 56–59.

 

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Example 2.15

Zwei Werbungstänze, conclusion

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