Composer

:

Sándor Veress

Genre

:

Orchestral

Style

:

Dance

Compose Date

:

1949

Average_duration

:

13:39

Transylvanian Dances (4) for string orchestra is a composition by Hungarian-Swiss composer Sándor Veress. The piece was composed in 1931 and premiered in Budapest in the same year. The composition consists of four movements, each of which is based on traditional Transylvanian folk dances. The first movement, "Lassú," is a slow dance in 4/4 time. It begins with a mournful melody played by the violins, which is then taken up by the rest of the orchestra. The movement gradually builds in intensity, with the tempo increasing and the melody becoming more complex. The movement ends with a return to the mournful melody of the opening. The second movement, "Friss," is a fast dance in 2/4 time. It begins with a lively melody played by the violins, which is then taken up by the rest of the orchestra. The movement is characterized by its energetic rhythms and virtuosic solo passages for the violins. The movement ends with a frenzied coda, bringing the dance to a thrilling conclusion. The third movement, "Lento," is a slow dance in 3/4 time. It begins with a haunting melody played by the cellos, which is then taken up by the violins. The movement is characterized by its melancholic mood and rich harmonies. The movement ends with a return to the opening melody, played by the cellos. The fourth and final movement, "Ritka Magyar," is a fast dance in 2/4 time. It begins with a lively melody played by the violins, which is then taken up by the rest of the orchestra. The movement is characterized by its syncopated rhythms and playful melodies. The movement ends with a rousing coda, bringing the entire composition to a thrilling conclusion. Overall, Transylvanian Dances (4) for string orchestra is a masterful example of Veress's ability to blend traditional folk music with modern compositional techniques. The piece is characterized by its rich harmonies, virtuosic solo passages, and energetic rhythms, making it a favorite among both performers and audiences alike.

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