New-York tribune., 1899-07-30
II as can be found in Hungarian music Is IN
massage from the "Rakoczy March:
5egYEs94a.sE1

Many other instances Of the use OF this scale
might be mentioned but these familiar exam
ples will suffice our purpose. There Is no need
70 advance any theory TO account for Il, other
than that It is evidence Of Oriental influence.
II must be added, however. In behalf Of those
who deny a gypsy origin to the folk-music Of
Hungary. that this efiiorescence OF OrientaisR
does no injury to their contention. The Mag
vars are themselves Orientas. which fact they
publish In their tropical poetry well az in
the affinity which exists between them and the
gypsies In Wallachia. where the augmented
second also abounds the Magyar Is the DOM
lnant race and il is a reasonable presumption
that If the Wallachian language we're Magyar
the characteristic scale would be associated
with the characteristic rhythm OF Hungarian
music: but the language is not Magyar. and the
rhythmical formula is absent.
The patriotic Magyars who like DR.. Wachtei,
have defended their national songs against the
charge Of gypsy origin have cared less about
their instrumental music and have generally
conceded that the style of its performance may
have been Influenced by the gypsies The essen.
tial feature of this style is It's excess OF embelC
lishment This, too is Oriental II Is as char
acteristic Of Arabian music as OF Hindostanee
and any one may study the effect OF the trait
on the traditional music Of the Hebrews by at
| tending service at any synagogue or temple
| (orthodox preferred) which employs skilful
| chasan or clerk What these embellishments
| are like in Hungarian instrumental music all
| know who have listened to an Hungarian band
| or heard Liszt's Hungarian Rhapsodies," In
which the national style is frequently copied
The basis Of these coz. positions being distinct
| lively national, he has also initiated In them the
dual character Of the national dance the car
das. which consists Of two movements. las
su" slow dance, followed by an extremely
lively "friss" These alternate at the VIII OF
the dancer. who gives a sign to the players
when he wishes to change from one 10 the other.
In this dance II is possible TO see perfect re-
fex of the Hungarian as described by Johh
Paget in his book. Hungary and Transyive-
MIA" Uondon 1890 quoted by Engel "Introduc-.
| tion," etc, p. lSO):
| The Magyar character has singular mixture
| Of habtual passiyeness and melancholy, mixed
| up with great susceptibility to excitement Ihe
| Magyar's step is slow and measured. his coun-
tenance pensive, and his address imposing and
dignifed yet, once excited, ne rusnes FORWARD s
| with a precipitation of which his enemies nave
often felt the force. In success he gives himselt
| up to the most unmeasured rejoicings; ana ms
! soemnity is looked for in vain when the hot
| wines lend warmth 10 his eloquence, or the
! giddy dance whirls him round in its mysdc
| maze 1t is wonderful how completely he has
impaired his own character TO his national mu-
! sic Nothing can be more sad and plaintive
than the beginning Of many Of the Hungarian
| airs.
(The bibliography OF this subject will be pre-
sented at the conclusion, OF the next article
which will discuss the folk-musc or Poland
| Bohemia, Croatia. Bulgaria and the other
Slavic countries outside OF Russia)
II +. X