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99 TRACKS:
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1-1)
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I. Rubato, Quasi Recitativo. Presto
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1-2)
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II. Andante
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1-3)
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III. Vivo
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1-4)
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I. Allegro
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1-5)
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II. Andante
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1-6)
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III. Presto
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1-7)
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I. Andante
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1-8)
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II. Allegro Molto
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2-1)
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Folk-music Traditions Of Hungarian Village Residents
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2-10)
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Song "Virág ökröm"
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2-11)
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Song "Édesanyám Volt Az Oka Mindennek"
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2-12)
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In Moldavia: Background Information On The Csángo
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2-13)
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Three Songs From A Set Of Dance Songs: Analysis, Information, Texts
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2-14)
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Song "Kisétálék Kis Kertembe..."
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2-15)
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Song "Menyecske, Menyecske..."
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2-16)
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Song "Piros, Piros Szekfü.."
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2-17)
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Transylvania, A Treasure Trove Of Folk Ballads
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2-18)
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One Of The Best-known Székler Folk Ballads In Its Csángo Incarnation
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2-19)
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Ballad "The Story Of Molnár Anna"
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2-2)
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Laments For The Dead As Examples Of Vocal Music In Male Communities
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2-20)
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Folk Ballads Extraordinary Genuine Stories: The Ballad Of Fehér László
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2-21)
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Two Hungarian Versions Of The Ballad In Old Style
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2-22)
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Ballad "Fehér László" (version 1)
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2-23)
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Ballad "Fehér László" (version 2)
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2-24)
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Koós József, A Master Shepherd From Borsosberény
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2-25)
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Free Improvisation On The Bagpipes
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2-26)
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Free Improvisation On The Shepherd's Flute
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2-27)
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Two Versions Of A Song In Free Rubato Style
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2-28)
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Song "Dudaszó Hallatszik" (version 1, Voice)
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2-29)
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Song "Dudaszó Hallatszik" (version 2, Flute)
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2-3)
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In Our Time Art And Music Totally Devoid Of Organic Associations To The Wider World
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2-30)
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Song With Bagpipes: Subject Matter
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2-31)
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Song "Aki Dudás Akar Lenni (version 7, Voice)
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2-32)
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Song "Aki Dudás Akar Lenni (version 2, Bagpipes)
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2-33)
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A Pig Farmer's Song Characteristics, Subject Matter
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2-34)
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A Pig Farmer's Song "Megy A Kanász A Parton..." (version 1, Voice)
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2-35)
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A Pig Farmer's Song "Megy A Kanász A Parton..." (version 2, Bagpipes)
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2-36)
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Most Instruments Are Skillfully Handcrafted (hurdy-gurdy, Zithers, Etc.)
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2-37)
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Musical Examples With Hurdy-gurdy And Zither: Introduction To Celebrated Folk And Dance Songs In Old Style
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2-38)
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Song "Tula Tiszán, Átokházán Születtem..." (version 1, Voice)
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2-39)
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Song "Tula Tiszán, Átokházán Születtem..." (version 2, Hurdy-gurdy)
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2-4)
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Music Has Lost Its Connection To Life
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2-40)
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Song "Tul A Tiszán, Átokházán Születtem..."
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2-41)
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Dance Melody In Dorian Mode
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2-42)
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Dance Melody "Cigány, Cigány Mér Vagy Cigány..." (version 1, Voice)
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2-43)
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Dance Melody "Cigány, Cigány Mér Vagy Cigány..." (versions 2 And 3, Hurdy-gurdy)
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2-44)
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Song In Tempo Giusto, In Old Style, Three Versions
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2-45)
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Song "Azt Hittem, Hogy Nem Kellek Katonának..." (version 1, Voice)
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2-46)
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Song "Azt Hittem, Hogy Nem Kellek Katonának..." (version 2, Hurdy-gurdy)
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2-47)
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Song "Azt Hittem, Hogy Nem Kellek Katonának..." (version 3, Zither)
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2-5)
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Béla Bartók: Escape Into Man Kind, Experiencing An Intact, Integrated Culture
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2-6)
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The Old Ways And Their Histories, Influences And Roots
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2-7)
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Oral Tradition Dating Back More Than 3000 Years
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2-8)
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Defining Characteristics Of The Old Hungarian Style
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2-9)
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Introduction To A Field Recording From Kalotaszeg, Transylvania
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3-1)
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The Same Group With Three Versions Of Another Song
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3-10)
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Introduction To Songs In The New Style Of Hungarian Folk Music
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3-11)
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Example Of A Song In New Style. An Example Of A Pattern Melody, Something New Rooted In Something Old
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3-12)
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A Colourful Collection Of New Songs
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3-13)
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With Claudio Veress In The Music Room Of Lerbermatt High School In Bern
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3-14)
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The Eventful Career Of His Father Sándor Veress
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3-15)
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Retreat: The Composer's Studio On The Gerechtigkeitsgasse
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3-16)
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His Father's Letters From America And Australia: Icons Of His Childhood
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3-17)
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The Late 1940s: No Way To Relocate To The USA - Communist-party Membership Undesirable
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3-18)
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Claudio Veress The Student - His Father Allowed Him To Have A Say In His Approach To Homework
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3-19)
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The String Quartets And The String Trio: Sándor Veress And The Hungarian String Quartet
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3-2)
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Song "Áristombade Kemények Az ágyak..." (version 1, Voice)
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3-20)
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The Many Stations Of Sándor Veress On His Path Into Exile
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3-21)
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1930: Field Research In Moldavia I
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3-22)
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Berlin 1933: New Impulses From The '20s In The Realms Of Music Education And Public Education
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3-23)
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London, An Education Project And The Tradition Of Early-childhood Education
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3-24)
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Enid Blake, The First Wife Of Sándor Veress
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3-25)
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Ilse von Alpenheim: Mother Of Claudio Veress And Advocate Of The Piano Music Of Sándor Veress
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3-26)
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Electric: Sándor Veress And His Special Affinity For Painting, As Well As His Synaesthesia Spoken Word
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3-27)
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Claudio Veress And The Continuation Of A Family Tradition. Roots, Exile, Finding His Own Calling
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3-28)
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In The Household Of A Historian: The Father Of Sándor Veress
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3-29)
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Sándor Veress And His Concept Of Music
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3-3)
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Song "Áristombade Kemények Az ágyak..." (version 2, Zither)
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3-30)
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1930 Field Research In Moldavia II
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3-31)
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The Special Relationship Between Sándor Veress And Béla Bartók
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3-32)
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From Folk Traditions To Twelve-tone Music Broad European Horizons
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3-33)
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Teacher-pupil Relationships: Veress - Ligeti, Holliger
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3-34)
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The Second Half Of His Life, In Exile: To A Certain Extent, Isolated Artistically
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3-35)
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The Personal Musical Language Of Veress
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3-36)
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Art And Liberty: "Art Is Not A Police State"
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3-37)
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Back To The Roots: Claudio Veress And His Hungarian Origins
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3-38)
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His Grandfather And The Spirit Of Engineering - Gyroscope And Märklin Model Railroads
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3-39)
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Passionate About Visual Art And Literature
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3-4)
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Song "Áristombade Kemények Az ágyak..." (version 3, Hurdy-gurdy)
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3-40)
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Existential Questions
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3-41)
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The Composer's Final Two Years
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3-42)
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Spreading Awareness Of His Works In Switzerland And Abroad
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3-43)
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Sándor Veress And Personal Restraint Promoting Himself Was The Last Thing On His Mind
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3-44)
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Folk Music In Moldavia: Has It Become A Thing Of The Past In The Meantime?
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3-5)
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A Peculiar Instrument: The So-called"long Flute"
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3-6)
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Song In Old Style "Szerelem, Szerelem, átkozott Gyötrelem.." (version 1, Long Flute)
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3-7)
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Song In Old Style "Szerelem, Szerelem, átkozott Gyötrelem.." (version 2, Voice)
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3-8)
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Song In Old Style "Szerelem, Szerelem, átkozott Gyötrelem.." (version 3, Long Flute)
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3-9)
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Differences Between The New And Old Styles: Sound And Melodies
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