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This volume examines the concept of rhapsody through a broad lens. Beginning with a discussion of the meaning(s) of the term itself, it then traces the history and reception of the genre and its significance in European culture. It argues for a close relationship between the idea of rhapsody and the concept of Gypsiness by demonstrating that 'rhapsody' and 'Gypsiness' can be seen as manifestations of the same types of influence and preferences for certain aesthetic categories. The book pays special attention to the seminal role of Franz Liszt in its discussion of the instrumental rhapsody. Ultimately, it reveals the consequences of historiographical representations of the rhapsody (e.g. the ossification of the image of the European Gypsy musician as a bard/rhapsode, the fossilization of presumptions concerning the nature of so-called 'Gypsies') as well as unexpected similarities and differences between the rhapsody and the ballad as romantic genres with national implications.

"Georges (György) Cziffra (1921-1994), the piano virtuoso of Hungarian gypsy origin, developed bewildering skills of improvisation and technical brilliance at the piano. His deep fascination with Franz Liszt's music influenced his playing style and musical spirit, and his critics, highly speaking of his Romantic pianism and especially emphasizing his virtuosity, often held him as one of the most outstanding Liszt performers of our age. Cziffra's love for Hungarian themes moved him to perform and record numerous improvisations based on Magyar melodies. Later in his life he preserved many of his own extemporized adaptations in notation, including his transcriptions of fifteen of the Hungarian Dances by Johannes Brahms. The focus of the paper is on Georges Cziffra's two piano transcriptions (1957 and 1982-83) of Brahms' Fifth Hungarian Dance (1868). The examination and analysis of these two versions in comparison with the original Hungarian sources and Brahms' own arrangement reveal Cziffra's style as a virtuoso improviser and transcriber. Examples from Liszt's Hungarian Rhapsodies serve to identify the Lisztian features in Cziffra's transcriptions. The characteristic elements of the Hungarian gypsy musicians' improvisatory style, which influenced and inspired both Liszt and Brahms, as well as Cziffra, receive particular attention. Chapter 2 offers a brief history of the Hungarian gypsy musicians, depicts their life and social status in the nineteenth and twentieth centuries, examines the most characteristic elements of their performance technique, and portrays their musical-stylistic influence on Hungarian music, the stylistic conglomeration of which became the foundation for the renowned style hongrois. Chapter 3 examines the acquaintance of Liszt and Brahms with Hungarian music in the gypsy style and reviews basic information about Liszt's Hungarian Rhapsodies and Brahms' Hungarian Dances. Chapter 4 offers biographical information about György Cziffra and investigates his association with the music of Liszt, Brahms, and the Hungarian gypsy musicians. Cziffra's musical and transcribing style and a general discussion of his Transcriptions: Grandes Etudes de Concert I (Frankfurt: Peters, 1995) are also included here. Chapter 5 consists of information about the sources of the popular themes that Brahms used for the Hungarian Dances. Then the focus of this chapter is on the evolution of the Fifth Hungarian Dance from its sources through Brahms to the transcriptions of Cziffra, including the examination of Cziffra's 1957 transcription in comparison to the 1982-83 version. Selected examples of Liszt's Hungarian Rhapsodies are provided to support the identification of Lisztian features in Cziffra's work. The detection of the characteristic elements of the Hungarian gypsies' improvisatory style will receive particular attention."--Abstract from author supplied metadata.

The book is a documented history of Hungarian-Slovak Gypsies that came to America over 120 years ago, they brought to America the traditional Hungarian Gypsy music they and their ancestors played in Europe for hundreds of years. They are directly linked to Europe's finest Gypsy musicians. From the villages of Hungary, this music was brought to America to make our hearts sing. It is part of world roots music. Piskor tells us, using words and striking photographs, the inside story about his Gypsy family and friends, and warns us of cultural treasures we may be losing. --Professor Steve Balkin, Roosevelt University I encourage you to acquire a book long overdue when concerning American-Hungarian music. Gypsy Violins is a significant historical document for anyone who has danced or listened to a cs rd s or any other Magyar folk music. --Tibor Check Jr. William Penn Life Magazine Congratulations on your new book! Incredibly valuable. --Professor Ian Hancock Ph.D.