|
Eastern European Music And Dance Take Over Two Tucson Stages, With Márta Sebestyén and Muzsikás, And The UA Balalaika Ensemble.
By Christine Wald-Hopkins
EVER WONDER WHOSE voice it is that keeps Kristin Scott
Thomas naked in bed during a baking Cairo afternoon in The
English Patient? Ralph Fiennes' Hungarian Count of many tongues
but few words plays the haunting, traditional "Szerelem,
Szerelem" on a gramophone, and Katharine just doesn't rush
back to her husband.
In fact, the "haunting" comes from Hungarian Márta
Sebestyén, and the "traditional" has been revived
by the likes of her and the members of Muzsikás, with whom
she will appear in Tucson on August 2.
Mathematicians, geophysicists, ethnographers by day, these Budapest
musicians revive Hungarian folk music by night. In the seventies,
following the tradition of composers Zoltán Kodály
and Béla Bartók, urban musicians and dancers trekked
to rural villages to collect original folk material. Sebestyén
and the members of Muzsikás went to Transylvania, the remote
province ceded to Romania after World War I, and to other Hungarian-speaking
regions, for the bulk of their repertoire.
Muzsikás first recorded in the late seventies as representative
of the "folk dance-house" movement. By the early eighties,
they'd found their voice in ethnic authenticity, and were performing
reconstructed village forms. Meanwhile, Sebestyén, who'd
sung with the group previously, gained international attention
as a soloist. They got together and put out three albums in the
late eighties.
In loose collaboration since, Sebestyén and Muzsikás
brought out Maramaros--The Lost Jewish Music of Transylvania
in 1993, and Morning Star in 1997, and are currently working
on an album of the work of Bartók. They've been featured
in international film; and Sebestyén has recorded with
French Deep Forest, British Towering Inferno, and pop-music luminary
Peter Gabriel.
Essentially a string and vocal group with dancers, Muzsikás
reflects not just the aesthetic but also the cultural functions
of musicians in village life. The title cut from Morning Star
is a song from a Hungarian-speaking village in Romania. To stave
off the moment of departure for the Romanian army, the village's
18-year-old conscripts, their families and lovers, keep a song
and dance (and booze?) vigil the night before--in anticipation
of that morning star. Another cut is the abbreviated version of
traditional days-long wedding sets: "Fuzesi Lakodalmas"
opens with a violin melody for male dancers, modulates into a
wedding song by Sebestyén, the latter of which modulates
into a csujogartas (a female chorus accompanied by rhythmic
clapping) and finishes with a quick couple's dance.
Muzsikás has performed with goatskin bagpipes, the hammered-dulcimer-like
cymbalom, and regional string inventions the kontra and the hit-gardon.
The kontra, popular in Transylvania, is a violin-shaped, three-stringed
instrument with a flat bridge for uniform chords and triads. The
cello-sized hit-gardon, from the East Carpathians, is a percussion
instrument whose four gut strings are struck with a wooden stick
or slapped on the fingerboard--definitely not regulation Suzuki
bow position.
Muzsikás' sound and repertoire vary from harmonies and
melodies with unmistakable Irish echoes, recreated Sephardic tunes
of the Holocaust-razed Jewish Transylvanian population, wedding
and harvest melodies of Transylvania, to Bartók-collected
Romanian folk songs reminiscent of Northern India. And they're
all flavored by the pulse-changing tempo of gypsy violin.
One end of the Muzsikás sound has a raw, insistent, droning
quality--darkened and sensualized by Sebestyén's lower
vocal register. The other end--flute and bells supporting Sebestyén's
lyrical upper range--has an ethereal Eastern texture.
The group for the Tucson show consists of Sebestyén, Muzsikás
instrumentalists on fiddles, bass, viola, mandolin, zither, lute;
and lead dancers from the Kodály Ensemble. Audiences from
their last Tucson show will remember violin virtuosity and spiraling,
fluctuating rhythms.
TRIANGULAR AND BOWL-back instruments plus high-kicking,
quick-steps characterize the other ethnic revival group performing
this weekend--the UA Balalaika Ensemble.
Russian aristocrat and Petersburg Count Vasili Vasilevich Andreev
also reinvigorated Russian folk music in his spare time...a hundred
or so years ago. Moved by a sort of Slavic nationalism, Andreev
set out to legitimize the repertoire and instrument of choice
of rural Russia, the balalaika. He hired a couple of violin
makers and a carpenter, and managed to spawn a complete family
of multiple-octave, fretted balalaikas--piccolo to contra-bass--from
a crude, one-position, gut-strung triangular box.
The UA Balalaika Ensemble, part of the UA Balalaika Orchestra,
combines the balalaika with the round-bodied domra. Tremoloed
and picked rather than bowed, and supported by the zither-like
gusli and the accordion, the group's sound is more feathered
and silvery than cut or edged.
The orchestra, founded in 1980 and directed by Mia Bulgarin Gay,
is further bolstered by Richard Holden's Kalinka Russian Dance
Ensemble. The groups' annual January concert is a consistently
a sold-out affair. This ensemble, with lead dancers from the Kalinka
group, can be expected to play a lively "K" show, featuring
Russian favorites Karobushka, Katyusha and Kalinka.
...Fiennes or no Fiennes, it'll keep you out of bed and clapping
through a warm Tucson evening.
Muzsikás, with Márta Sebestyén,
performs at 7:30 p.m. Sunday, August 2, at the Temple of Music
and Art, 330 S. Scott Ave. All seats are reserved. Tickets
are $13 and $15 ($1 discount for In Concert! members), available
in advance at Hear's Music, Antigone Books. Call 327-4809
($1 per ticket phone-order fee) for reservations and information.
The UA Balalaika Ensemble performs at 8 p.m. Saturday,
August 1, in the courtyard at Plaza Palomino, corner of
Ft. Lowell and Swan roads. Advance tickets are $10 (with a $1
discount for KXCI members), available at Hear's Music, Piney Hollow
or Suite 219 in Plaza Palomino. They'll cost $12 at the door.
|
|