THE HUNGARIAN GYPSY MUSIC.
“The Hungarian gypsy merely plays Hungarian; he sings little or not at all; and what is his principal instrument, and at the same time the principal instrument of the Hungarian popular music? It is the dulcimer or cimbalo. This instrument, consisting of a triangular wooden frame, with a bottom and sounding board, over which wires by twos or threes are stretched upon bridges, which are struck with two wooden hammers, covered on the upper part with cloth or leather, is peculiarly fitted to infuse into the little gypsy orchestra that palpitating, feverish, tremulous essence, by which the performance of a Magyar nota gains so much. With this are associated the string quartet, together with the contra-basso and also quite willingly the clarinet. On the contrary all other instruments, as oböes, flutes, fagotti, horns, trumpets, etc., are entirely excluded from a Hungarian gypsy orchestra.
“What does the gypsy produce with these instruments? Is his music, is the popular instrumental music any mere dance music? Essentially, perhaps; but ere the dancing mood begins, ere joy and appetite for pleasure hurry the Magyar ember into dance and play, and make him forget himself, he must first, in the slow, sustained tones of a Lassu (Adagio) in the minor, pour out his complainings, roll away the sighs which hold his soul imprisoned in a melancholy gloom. Not suddenly can his soul plunge into the fresh major tones of his national dances; nay, he often clings to the dear minor mood after his sadness is supposed to have given place to idle joy and pleasure. The kind of music which we would here indicate is called in general Csardas. This signifies both the dance itself and the dance music; and as every Hungarian dance is preceded by an introductory Lassu, this also is included in the term. The Lassu, soaring beyond the possibility of being represented as a dance, is usually followed by a Frisded, or Allegretto, of a quicker movement, but usually kept also in the minor, yet shaped already to the dance, but only for the solo dance of men. If the Magyar ember allows himself to be drawn away from his sombre mood into a dance, it is at first only a solo dance; self-satisfied, he spins round in a circle and as yet covets not an object for his love; only when the third part in this psychological economy of the dance, with its quick, strong strokes, has hurried him completely out of himself, does he begin to know no moderation and no goal. His eye sparkles, his feet stamp, like those of an untamed horse. To think, it is good that a man do not remain alone, and to grasp at a maiden, are one act, and he begins with her that wild, unbridled dance, which is called Csardas in the narrower sense of the word, or by way of distinction, Friss (i. e., Allegro, Presto). Already in the Lassu, the dull brooding in which the soul of the Magyar ember swims, is crossed by some occasional gleams of enthusiasm; but in the Frisded the dark clouds of sadness begin first to break away, and the Friss tears away entirely the thin veil which yet lay on his soul and left him in a self-contented solitude. Now no repose is longer to be thought of; from melancholy it becomes impetuous passion; from pain unbounded pleasure; in short, his Me, delivered from itself, riots and storms away until his feet refuse their service.”—Neue Zeitschrift fuer Musik.