The Eighth Tribe, 1975 (2. évfolyam, 1-12. szám)
1975-11-01 / 11. szám
Page 6 THE EIGHTH TRIBE November, 1975 fact, emphasizing actual truths that Hungarians are beautiful and Magyar minds are marvelous! The various plaza events from around noontime onward were most enjoyable and added much to the gaiety and enthusiasm of the crowd. The stage program later in the afternoon started off most spiritedly, with the singing of both national anthems, American and Hungarian in succession by the entire assemblage of audience and Kodály Chorus, after which the opening act by the Hungária Folk Dance Ensemble was a beautiful portrayal of a most elegant presentation: “Palotás” — Couple’s Dance of the Nobles from the 19th Century. Next was the pianist Elizabeth Peleskey, with two selections of Bártók’s, following which the Bártók Youth Chorus (ranging from tiny tots to ’teens) performed songs and games as played by children in Hungary, most reminiscent to many American-Hungarians as well as vice versa. Then, exquisitely outfitted young ladies and lads of the Hungária Folk Dance Ensemble did the wellknown “Korsós Tánc”/“Legényes Tánc” — Bottle and Bachelors’ Dances respectively, accompanied by some Old World instruments as the citera, tekerő, and tárogató, as well as the guitar. Additional highlight of the Festival was the Chubak-Kara-Nemeth Radio Orchestra (foremost instrumentalists throughout this region for many years to Magyar music lovers of Hungarian-American or related backgrounds) who performed with their usual superb expression, utilizing two cimbaloms (which are ranked so highly, along with violins, among devotées of the Hungarian musical repertoire). All of the musicians seemed to make their fingers practically speak out from within the soul in giving forth the melodic selections, which were so stirringly wellreceived by the listening audience, — although admittedly it was most difficult to keep one’s feet and voices still — to simply hear them in concert and remain quiet as if unaffected in reaction from within the depths of one’s senses. A magnificent pairing next took place, with bezzosoprano Ilona Boros, who was accompanied by the previously-named orchestra, in presenting several enjoyable Hungarian melodies, to which the audience responded with wholehearted enthusiasm. The latter segment of the program sparkled with the lively performance from the winners in the Folk dance competition held earlier, such group being from Syracuse, New York (who were astonishingly) not directly of Hungarian birth but of American and/or mixed ancestry, assumed likely to be of related or married Hungarian background). Subsequently, a number of renditions from various Hungarian and other operas were sung by basso Miklós Bencze, accompanied on the piano by Otto Herz, alternating with performances by the Hungarian Scout Folk Ensemble of “Csanádi Leánytánc” — Girls’ Dance from Csanád and “Tápéi Darúdobogó és Korosztozó” — Couples’ Dance from Tápé, the latter outstanding in every measure with brilliant costuming and choreography. Close to the finale, the slanting rays of the sun beginning to nestle among the westerly slopes seemed to focus in as spotlights upon the stage when the Kodály Chorus sang several works by Kodály, Halmos, Veress, Nádasdy and Harmat (the latter being Psalm 150 and accompanied by organ, trumpet, trombone and tympany). During this time on stage, this Chorus member’s view became almost a blending as in a sense of one-ness with the mass of individuals in the audience — almost like a union of participants and observers; the feeling-tones (or call them vibrations, if you like) apparently carried a spirited quality of something as genuine appreciation and empathy for Hungarian culture, creativity and/or charisma. The vocal selections seemed somewhat symbolic of an outpouring of talents utilized as instruments as a gift of each self in a sincere offering centered simultaneously at that particular place and time in this specific universe. It seemed truly a commemorative happening to many, if not all, to have been part of this experiential event. The last presentation was a rousing conclusion which capped the program with verve and color — the performance of “Szentiváni Tűzugrás” — Midsummer Night Fire Dance, done by the nimble-footed Hungarian Scout Folk Ensemble, and in general left the audience with much warmth, good will, and uplifting satisfaction, thus contributing greatly to a most enjoyable evolvement of the entire day’s events and activities. However, not everyone poured hastily onto Parkway or highway after the completion of the program — many individuals instead remained to accept the invitation to dance on the mall, seeming to have been gaily sparked spiritedly from within and also fired from without by the Chubak-Kara-Nemeth Radio Orchestra’s irresistible csárdás, one-step and other The Hungarian Scouts of Passaic, N. J., dancing on the plaza in the Folk Dancing Competition — Pontozó — prior to the afternoon stage program at the Garden State Arts Center, Second Annual Hungarian Festival; finalists were the International Folk Dancing Troop from the University of Rochester, who later were included as part of the formal presentation in the amphitheater. People visible in the background of this photo were among the over 6,000 persons who came for the all-day Festival held on Saturday, September 13, 1975. (Photo provided by the American Hungarian Foundation, New Brunswick, N. J.)
