Who is the composer of czardas

Thank you for such an enjoyable evening". Nancy Stark, NY. Alexander spoke to us as if to his best friends: with such trust, confidence and humor! Not to mention his erudition, artistry, and, of course, the beautiful music" Israel Goichman, Germany. Your natural talent combined with your passion for Russian culture and musical heritage made for such a beautiful combination. I enjoyed your stories, which made the music even more meaningful. The music brought joy to my heart and tears to my eyes".

Brad Kroon, AK. Czardas by Vittorio Monti. Vittorio Monti 6 January - June 20, was an Italian composer. Monti was born in Naples where he studied violin and composition at the Conservatorio di San Pietro a Majella. Around he became the leader of the famous Lamoureux Orchestra in Paris, for which he wrote several ballets and operettas.

It was originally composed for violin, mandolin and piano. It was quickly arranged for all kinds of sets, reminding people that look old Hungarian dances with the juxtaposition of fast and slow passages. Czardas Clarinette Sib et Trio Jazz.

Sinfonia a 2 Mandolini E Basso. Czardas Solo Tuba. His Czardas for violin and piano is surely one of the most popular works in the classical repertoire and has been arranged for almost every known instrumental combination. Vittorio Monti was an Italian violinist, composer, mandolinist, conductor and was born in Naples and studied at the Conservatorio di San Pietro a Majella. His Czardas was composed during the early years of the 20th-century and was first published in Milan by G. Ricordi in in versions for violin or mandolin and piano, or violin and orchestra and is dedicated 'a Mademoiselle Juliette Dantin - 1 Prix du Conservatoire de Paris'.

The piece was quickly taken up by every Gipsy ensemble or orchestra, also by classical musicians, until it has become a standard virtuosic showpiece for almost every instrument. The piece is in a number of sections defined, linked but also independent, with the opening piano introduction and its cimbalon-inspired music setting the scene.

The first theme is dark and intense with scooping portamenti adding to the drama and exoticism of the music. The second theme has more forward momentum, with the occasional virtuosic flourish before the Allegro vivace begins in earnest, now driven by the use of offbeat syncopations and fast semiquaver passages. The dance proper begins in minute 4 of the film.

The last Rhapsody No. The most famous, No. In his defence the German composer argued that he wrongly considered the work to be a traditional Hungarian folk song. Was he telling the truth? We will probably never find out. Part of the work which is the source of the above mentioned controversy about plagiarism starts in the second minute of the recording.