The Eighth Tribe, 1976 (3. évfolyam, 1-12. szám)
1976-10-01 / 10. szám
Page 8 THE EIGHTH TRIBE October, 1976 turning, and subtle humor. Their movements expertly communicated in stylistically clear and story-like manner to such an extent that the audience unrestrainedly responded with overwhelming accolades of applause plus resounding “bravos”. All of these partners seem to have an undefinable spiritedness, whose essence is permeated in their every movement and glance, becoming transmitted throughout—as if literally “turned on” by the presence of music, magic, or one another! Baritone, Károly Schmidt, presented with accompainment by the Hudson Valley Philharmonic some erstwhile renditions; as—Ference Erkel: “Hazám, Hazám” (“My Homeland”) from Bánk Bán, as well as Kodály’s: “Toborozó” (“Recruiting Songs”) from Háry János. Concluding the eventful program, there was an exultant grand finale of stage performers, who together with the audience shared in singing “America, The Beautiful”—thus closing another enjoyable Festival on a thoroughly satisfying note. In summation, the day’s happenings supremely complimented all the participants, performers, as well as visitors alike, on this jubilant occasion, without doubt being indelibly marked in most memories—’til next time and beyond! —Madeline Takers Barbae tr 'tr Folk Musicians — Dancers From Hungary Performing In U.S. Folk musicians and dancers from Hungary performed in McKeesport Area High School auditorium recently as part of the Smithsonian Institution’s “On Tour” program. The folk artists, a troupe of 22 dancers, singers and a small Danubian village orchestra, performed authentic folk songs and dances from three Hungarian regions — the Northeast, Transdanubia and the Great Plains. According to Dr. Victor Molnár, McKeesport dentist who arranged to bring the Hungarian troupe to the city, they started their U.S. tour with a week-long performance at the Festival of American Folklife in Washington, D.C., and then performed in Cleveland and Miami. The program was divided into four parts — the first three for the areas of Hungary, and then a finale, the csárdás. The Hungarian hurdy gurdy player. Handslapping, kicking and stomping, the men dancers perform solo and group versions of the verbunk, which originally was performed to recruit men into the army. The women join in the csárdás and the fast csárdás. Each couple presents its own version of the csárdás, the colorful costumes and spontantous dancing combining to create the festive atmosphere of a village dance. A village orchestra composed of cymbalum, violin, viola and bass accompanies the lively dances. There was also solo performances on these instruments, and on the Turkish flute, zither and hurdy gurdy. One of the specialty dances on the program was the Swineherdsmen’s Dance from Transdanubia, performed in all its. variations. First, a dancer twirls two sticks as he moves through the percussive steps of the dance. Then another dancer steps in to perform the dance with a broom. A variation without sticks or brooms focuses on the elaborate footwork of the dancer, and finally, three women join the men in a demonstration of the dance.
