National Hungarian Gypsy Orchestra of Vienna Concerts

To commence a series of concerts at Steinway Hall on or about April 1; instrumentation, repertory.

“The Hungarian Gypsy Orchestra which made its first appearance in America last night at Steinway Hall is one of a class of musical bands not uncommon in Vienna and other cities of the Austro-Hungarian Kingdom, where they furnish the most characteristic if not in all respects the best interpretation of national airs and almost rival Strauss in the performance of dance music. Another company than this, playing in Paris during the past Winter, has been [illegible] and petted in high society and gone away flushed with triumph. Nor is it any wonder that music so striking in its effects as that which these Gypsy minstrels supply should be heard with interest in the most highly cultivated communities. It is singularly unlike the music of the rest of the world, and some of its peculiarities one is tempted to call inimitable. The general character of Hungarian music, however, is faithfully reflected in works familiar to our concert rooms, such as Liszt’s Second Rhapsody, Hoffman’s Hungarian Suite, and the three Hungarian Dances by Brahms. It is bold, masculine, and brilliant, with a remarkable fondness for high and strident tones, and a semi-barbaric monotony in the frequent repetition of certain conspicuous turns and cadences; it is passionate in expression, by turns somber and gay, fanciful and furious, but always lighted by an inward fire; it has a strongly marked, even exaggerated, accent, but a wildly irregular rhythm. Such is the music of Hungary as we have learned to know it through the modern orchestra. Its Gypsy interpreters have merely increased its freedom without making any substantial change in its spirit. The orchestra introduced to us last night comprises eight violins and violas, two ‘cellos, a double bass, two clarinets, and an instrument styled the cymbal, which seems to be a relic of the ancient cembalo or harpsichord. It does not differ essentially in structure from a large zither; for it consists of strings stretched over a sounding-board, and struck by means of hammers, the case containing it being laid flat upon a table. The leader, Herr Fakas Miska, plays the first violin, and stands facing the audience, the rest of the band being seated behind him or on either side. Despite the extraordinary freedom of the rhythm he never beats time, and only marks the attack by a little more emphasis than usual in his bowing. The first thing that impresses the listener is the wonderful volume and brightness of tone produced from the unpromising material of these fourteen players. Of course we miss after a while the rich variety of a well balanced orchestra, the warm coloring of the brass, and the delicate graces of the flutes; but the violins and ‘cellos are so well handled that many deficiencies are covered up, and the cymbal fills in the harmony surprisingly well. The most successful pieces on the programme last night were naturally those that showed most of the national character. They were the two wild, eccentric, and picturesque dance measures (Csardas)—a dance which is almost a little drama in itself—and the finely executed violin solo, an indescribable bravura melody, rude but enormously elaborate. This last was the only piece on the programme which seemed to be inspired by soft and gentle feeling. In the midst of it suddenly the whole band broke into a passage of the Rakozcy March, and at the sound of that patriotic air the hundreds of Hungarians in the hall shouted with delight. In the dance music not distinctly national, there was a vigor of accent quite inspiriting, but it was obtained by the aid of some curious aberrations of rhythm; and in the so-called ‘overture’ arranged from the principal melodies of ‘La Traviata,’ the vigorous but somewhat irregular swing of the orchestra was a remarkable study. The following was the programme, a great many of the numbers on which were encored [see above].”

“An orchestra of fourteen performers, calling themselves ‘the National Hungarian Gypsy Orchestra of Vienna,’ gave a concert, at Steinway Hall, yesterday evening. They include four first violins, two violas, a ‘cello, two double basses, and a cymbal, the latter instrument, by the way, being a sort of xylophone, with a compass of three octaves, and they play compositions which are claimed to be representative of Hungarian music. We cannot help expressing the opinion that if their first performance is a fair specimen of their work, neither the orchestra’s répertoire nor the interpretation thereof is very attractive or instructive. The two czardas, the march, and the solo heard last evening were interesting, insomuch as they were exceedingly eccentric in rhythm and modulation, but to say that they were particularly pleasing to the ear, or interesting as a form of national music would indicate more imagination than truthfulness on the part of the writer. The compositions recited were undoubtedly novel, but if an endless series of dissonances, a tempo rubato of the most annoying mutability, and a persistent forte, only relieved by a frequent fortissimo, are the noble traits of Hungary’s music, we fancy that Brahms and Liszt have done more for the country’s reputation than its old masters. The execution of the band was quite spirited, but coarse, and while we were gratified, for variety’s sake, at the rendering of a waltz of Strauss and overtures by Meyerbeer and Verdi, the small and oddly-balanced instrumental forces were naturally unable to do these numbers justice. There was much applause during the evening, and a violin solo of the most whimsical description, written and interpreted by Mr. Farkas Miska, the leader of the orchestra, and the composer of all the Hungarian music given last night, was among several selections which had to be repeated.”

“The Hungarian Gypsy Orchestra, of Vienna, was heard for the first time in this country on Thursday last, and has since given concerts in Steinway Hall with great success. It consists of four first and two second violins, two violins, two violoncellos, one double bass and a cymbal. The conductor, Herr Farkas, is of Gypsy origin, although was regularly educated in Vienna, and all the other performers are Gypsies, who are extremely fond of music and have the ability to play ‘from ear,’ without reflection, whatever pleases them. They do not appear in costume, but in ordinary morning dress, with Hungarian boots. The rhythms of the opening piece, ‘The Sultan’s March,’ were found to be extremely complicated, but the phrases were all rather short and formally detached, and thus were more easily comprehended, and their symmetrical structure was more readily perceived. The succeeding ‘Ida Csárdás’ (pronounced Tshardash) is a national Hungarian dance, which, unlike most dances practiced here, is a kind of pantomimic dialogue. The music is at first rather slow and sad, during which the aspirant approaches deferentially and endeavors by his gestures and general manner to ingratiate himself. The music becomes gradually more animated, and the lady escapes among the dancers. He follows, and at the entry of the final movement seizes her and they dance until fairly exhausted. The last movement of the ‘New York Csárdás’ had for its principal subject a theme resembling that set to the words, ‘On to the field of glory,’ in the opera of ‘Belisario,’ as far as the tonal successions are concerned; but instead of its being given in the style of a march—with strong tones sustained with equal energy—throughout it was given in an excited, hurried and passionate manner, which is a characteristic of Hungarian music, and the tones were forcible, penetrating and strident, yet at the same time tremulous. The cymbal consists of steel wires stretched across a sound-board by bridges, and these are struck by felted hammers held in the hand. With very great facility these hammers may be made to strike the same strings many times successively with remarkable velocity and with considerable force, as well as softly. Thus rapidly reiterated notes are obtained to accompany the sustained sound of the violins, which are also played tremulously, and a flurried, almost maddening, effect is produced.

It must be confessed that these performers succeeded best with their own music. The arrangements of operas, &c., were chiefly interesting from the peculiarity of the readings. But the intensity of the Hungarian music is such that these calmer pieces were found to be a great relief. With the exception of four short cadences, all the instruments were played together. There was no attempt at variety made by combining them in various ways; but monotonous effects were avoided to a great extent by the constant fluctuations in the power of the tones.

In the ‘Blue Blood’ waltzes by Strauss the resounding swell of the orchestra produced a marked effect, and at one point the peculiar expression of longing was brought out fully, and the almost insatiable spell-like influence of the Austrian dance was felt.

Herr Farkas played a solo, partly in the style of the embellished adagio, with recitatives and cadenzas, the first part of which was wholly played on the fourth string, and then repeated on the third string. The accompaniments were rendered extremely soft by the violas and cellos, but at the first tutti the orchestra suddenly introduced the ‘Rakoczy March’ fortissimo, which brought out a simultaneous burst of cheers from the end of the hall, and the effect of the whole became most startling. We have already spoken at large of the idiosyncrasies of the Hungarian music, and therefore need not now do more than draw attention to these admirable performances.”