New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-09-15

however are these words In the 'Rhaps0dies
Uoncroises' of the latter G4iszD we are carried
away by the Magyar wldness and impetuous
passion that have become synonymous with Hunga-
rian music, and if Hungarian, then Romany, since
the principal elements in Transylvanian melody
are of Gypsy origin" Since the so-called GYPSY
music of Hungary is admittedly the finest in OK
istence, it will serve our purpose to look into 10
for those characteristics which ought to mark
| GYPSY music the world over.
There are two pecularities in the Hungarian
Folksong which must be considered in this DIS
cussion The first, which is the more general,
which, in fact distinguishes the melodies of Hun
gary from those of the rest of the world is rhythmi
cal The majority of Hungarian folk melodies are
built on a metrical scheme of which the cmet
motive is measure containing a dotted elghth
note two sixteenth notes and another dotted eighth
or, TO use the terms of prosody,, union OF
Trochee and an Iambus Is this characteristic oil
any Oriental metre? Does it adapt itself naturally
TO composition in the Romany language? Mr.
Leland ought to be able to tell, for If it does u
might be claimed as a real GYPSY element. 1t is,
VIC believe, something like one Of the metres IN
which Salluntala" is written, and this ought to
encourage Mr. Leland; but DR.. Aurel Wachtel,
| who wrote series of articles on Hungarian music
| in the MuSikalisches Wochenblatt' eleven years
ago. urges this very rhvhmical structure as PROOF
that the Folllsongs of Hungary OF Magyar OIL
| gin. 1t is, he says, most intimately connecued
with the nature Of the Magyar language, which
distinguishes much more sharply between quanu-
ties than any other Occidental language oil Ter
manic Slavic Romantic origin. Tie genius of Mag
var he SAYS forbds the treatment of proSodically
long syllables as short. or vice versa The argu-
ment is a powerful one, and is strengthened by
the fact that the metrical scheme is not found III
any of the songs or melodies of the Gypsles OUT
side of Hungary. FOlksongS being spontaneous
expressions of feeling, it will generally be found
that the rhythm Of their melodies is governed Dy
that of their words and if this were indeed
/, Gypsy trait and not a Magyar, it might conn
IDENTIFY be looked for in the songs which the Gypses
sing TO Romany words.
Only one element of it have we been able to
discover outside of Hungary The Introduction
of the IambuS in the accented part OF measure
gives rise to what known among EngHSh
; musicians as the Scotch Snap" or Catch
) The effect produced by giving the first. or ac-
cented, note of two only fraction OF the time
given to the second will be recognized as an en-
tremely familiar one IN Scotch ballads. T. hoy
Wife of Aldivalloch" is striking lllustratlonJ
Now this figure VIC have found in most unexpected
places 1t is a prominent feature of the slave
: songs of our own South and its prevalence among
them was puzzle TO US until we found 1t In some
specimens of African music while investigating
the music of the negro slaves several years ago
In this connection. it may be pertinent to note
that it is much more frequent in the religious
songs of the slaves than in the creole songs OF
Louisiana and the Antilles. which show the effect
of French and Spanish influences. Occasional
instances of its use may be found in melodies at
| tributed to the Spanish and Wallachian GypsieS
and there some examples in the book before
| US but as we have already said, the prevailing
| rhythmical motive of the Hungarian songs is not
shared by them with those of any other people.
The second popularity of the Hungarian mel
odies is the frequent use of minor scale, contain
| ing one. or even two. superfuous seconds. The
effect of this interval can be learned by playing
the following sequence of tones on the pianofortc
namely, A, b, c, D-sharp l., +, G-sharp A.
This interval. which imparts an intense melan-
choly TO the tunes IN which II Is is found. is also
of frequent occurrence in the songs of Wallachia
and the other Transylvanian provinces. and the
fact that here, in Hungary. the popular
musicians are mostly Gypses might be offered
in proof that this minor scale is the property Of
Romany music As matter of fact
| however the interval is Characteristic of all
Oriental music. IL is relic that the Aloors left
IN Spain and the Arabs introduced in Egypt
In the song of the Irestess, with harp accompnni-
ment, and the dance of the priestesses in the
second scene of Aida" Verdi has beautifully
illustrated It's effect and both OF these melodies
are said 10 be native TO Egypt; Verdi did not
compose them. 1t is common too, in the litur-
gicai music of the Jews, much Of which is very
ancient and was handed down by tradition till
SuIzer and other synagOgical musicians tran
scribed them. Composers far back as Haydn
oFf in hahn
tons, and 1t is a familiar device with them whel
they are treating Oriental subjects and wish to
introduce local color. Rubinstcin has made most
effective use of its properties in his exquisite song
Der Asra7 which tells Turkish story We
might 20 on and cite many more instances; we
have instead mentioned only those which ought
; TO be popularity familiar or which can at least
be easily referred to- We have no theory to adj
vance, further than that the frequent use of
minor scale containing this intervalic popularity
Is evidence of Oriental influence 1t must be
said however, IN behalf of those who deny
t;vpsv origin to the Fomusic of Hungary, that
tins pronounced Orlentalism does no serious in
,urv 10 their contention. The Magyars are them
selves Orientals which fact they publish in their
tron1cal poetry as well in the affinity which
exists between them and the CYL les who form
so large proportion of their national musicians
In Wallachla, where inc supcrHuouS stcohu dlSo
l obounds the Magyar is the dominant race, and
# ts a reasonable presumption that if the Ian
cuacc were Magyar the Characteristic scale would
{ he associated with the characteristic rhythm Of
hungarian music.
The patriotic Magyars of Hungary who' like DR..
Wachtel. have defended their national SONGS
AGAINST Gypsy origin have cared less for Their
instrumental music and have generally conceded
that the style of its performance may nave peeh
| influenced by the Gypscs The essential feature
of this style is its excess OF empelshmch'' ms
foo is Oriental 1t is as characteristic OF Arabian
-. 49, ~ Indian and any one Of our readers