"Csárdás" (or "Czardas") is a rhapsodical concert piece by the Italian composer Vittorio Monti. Written in 1904, the folkloric piece is based on a Hungarian csárdás. [1] It was originally composed for violin, mandolin, or piano. [2] There are arrangements for orchestra and for a number of solo instruments. "Csárdás" is about four-and-a-half minutes in duration. [2]
The piece has seven different sections, usually of a different tempo (and, occasionally, key). The first half of the piece is in D minor; it modulates to D major, then back to D minor, and then finally finishes in D major.
The sections are as follows: [3]
It is generally expected that the piece is performed with some rubato. There are also many dynamic changes, ranging from pianissimo to fortissimo. [4] In the Meno, quasi lento section, the violin plays artificial harmonics. This involves the violinist placing their finger down on the note and playing another note, with the finger only just touching the string 5 semitones above. This gives the effect of the violin sounding two octaves (24 semitones) higher.
"Csárdás" (or "Czardas") is a rhapsodical concert piece by the Italian composer Vittorio Monti. Written in 1904, the folkloric piece is based on a Hungarian csárdás. [1] It was originally composed for violin, mandolin, or piano. [2] There are arrangements for orchestra and for a number of solo instruments. "Csárdás" is about four-and-a-half minutes in duration. [2]
The piece has seven different sections, usually of a different tempo (and, occasionally, key). The first half of the piece is in D minor; it modulates to D major, then back to D minor, and then finally finishes in D major.
The sections are as follows: [3]
It is generally expected that the piece is performed with some rubato. There are also many dynamic changes, ranging from pianissimo to fortissimo. [4] In the Meno, quasi lento section, the violin plays artificial harmonics. This involves the violinist placing their finger down on the note and playing another note, with the finger only just touching the string 5 semitones above. This gives the effect of the violin sounding two octaves (24 semitones) higher.