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Title	Ungarischer Tanz
Category	Concert/wind/brass band
Subcategory	Music from eastern Europe (in style)
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts)
Publisher's article no.	KL 328
Year of publication	1941
Price	112.00 EUR (incl. 10 % Austrian VAT)
Composer	Hoffmann, Franz
Arranger	Kliment, Hans
Opus no.	Op.161b
Difficulty level	4
Evaluation level of countries	D4 (German upper level)
Duration	7:10
Additional info/contents	The "Hungarian Dances" blend Hungarian dance music—specifically *Verbunkos* and *Csárdás*—with European art music. Franz Hoffmann’s "Hungarian Dance," Op. 161b, incorporates characteristic elements such as rhythmic energy, shifting tempos, and contrasting tone colors. Hans Kliment Jr. arranged the work for advanced wind orchestra, adapting it to the ensemble's instrumentation and sonic capabilities. Consequently, the composition serves both as an impressive concert piece and as a valuable tool for developing ensemble playing, dynamics, articulation, and rhythmic precision. (© musicainfo.net)
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Programme notes: Hungarian Dances: Between Folk Music and the Concert Hall The term "Hungarian Dances" refers to a musical tradition in which elements of Hungarian dance music were incorporated into art music compositions and further developed for the concert stage. Their roots lie, among other things, in the *Verbunkos*—a dance used for courting and military recruitment that has been documented since the 18th century. From this tradition, the *Csárdás* evolved during the 19th century; it typically consists of a slow section, the *lassú*, and a fast, spirited section, the *friss*. Characteristic features include shifting tempos, distinctive syncopation, and a melodic style that often creates an impression of improvisation. [1] Over the course of the 19th century, dance styles with Hungarian characteristics increasingly found their way into European art music. Composers such as Franz Liszt and Johannes Brahms introduced the so-called "Hungarian style" to a broad audience. Brahms’s 21 "Hungarian Dances" rank among the most famous examples. Originally conceived for piano four-hands, these pieces were later frequently orchestrated and arranged. These works did not always involve the adoption of authentic folk songs in the strict sense; rather, they often represented an artistic treatment of melodies and performance styles that were already widely known. It was precisely this combination of folk-like immediacy and a concert-style approach that contributed significantly to the genre's enduring popularity. [2] Franz Hoffmann’s "Hungarian Dance" for Advanced Wind Orchestra Franz Hoffmann’s "Hungarian Dance," Op. 161b, should also be viewed within this historical context. The work is not a mere imitation of a traditional dance but an original composition that translates characteristic features of the Hungarian dance style into an effective concert form. The title "Hungarian Dance" points to its stylistic orientation, while the opus number places the piece within the composer's broader body of work. However, the score itself contains no reliable biographical information about Franz Hoffmann. Consequently, any musicologically sound assessment of the work should be based on the score itself and on supplementary sources. The present edition features a clearly structured layout defined by strong contrasts. It opens with an "Allegro" marking, immediately establishing a lively character. The musical effect is created through short, incisive motifs, recurring rhythmic patterns, and the interplay between leading voices and accompanying textures. In a wind orchestra setting, these motifs can stand out particularly well due to the distinct timbres of the various instrument groups. Woodwinds, saxophones, and brass instruments take on shifting roles: carrying the melody, thickening the musical texture, or reinforcing the rhythmic energy. The score is arranged for a large wind orchestra. The instrumentation includes flutes, oboes, clarinets, bass clarinet, saxophones, bassoons, horns, flugelhorns, trumpets, tenor horns, baritone, trombones, bass instruments, and percussion. This instrumentation allows for a wide dynamic and timbral range, enabling lighter, transparently scored passages to contrast with powerful tutti sections. As a result, the dance-like character is conveyed not only through tempo but also through the varying density of the orchestral sound. Also notable are the explicitly notated tempo modifications. Alongside "Allegro," markings such as "ritardando," "stringendo," "a tempo," and later "Allegro con fuoco" appear. The "ritardando" leads to a momentary easing of tension, whereas the "stringendo" demands increasing speed and intensity. The return to "a tempo" restores the original kinetic energy. The concluding "Allegro con fuoco" indicates a particularly fiery and resolute performance. Consequently, for a successful interpretation, it is crucial to view these transitions not merely as incidental details, but as fundamental elements of the musical dramaturgy. • The Arrangement by Hans Kliment The arrangement by Hans Kliment Jr. holds special significance for advanced wind orchestras. It does not simply transcribe Hoffmann’s composition for different instruments; rather, it adapts the work for an ensemble with its own unique technical and tonal capabilities. The arrangement takes into account the characteristic roles of the individual sections and distributes melodic, harmonic, and rhythmic functions across various instrument groups. The result is a fully developed orchestral score that honors both the sonic impact of the original and the specific qualities of the wind orchestra. For an advanced wind orchestra, the educational value of this work lies in the combination of musical expressiveness and the challenge of interpretation. Musicians must develop rhythmic precision, dynamic nuance, stylistically appropriate articulation, and a shared understanding of tempo changes. At the same time, the "Hungarian Dance" offers an opportunity to explore the full range of the orchestra's timbres and to refine the interplay between melodic instruments, accompaniment, and percussion. • Hoffmann’s "Hungarian Dance," Op. 161b, thus exemplifies the enduring influence of Hungarian-style dance music. The composition blends historical stylistic elements with a distinctive concert-style structure. Hans Kliment Jr.’s arrangement brings this work into the realm of the modern wind orchestra, making this musical tradition accessible to an ensemble capable of bringing rhythmic energy, tonal variety, and the experience of making music together vividly to life. • Text: © musicainfo.net (KI) Quellen/Sources: [1] Encyclopaedia Britannica — „Czardas“ [2] Johannes Brahms, Hungarian Dances, historische Angaben zur Entstehung und Bearbeitung

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	Format	EUR
	Ungarischer Tanz (concert/wind band), full score and parts	112.00
	Laszlo Marosi, audio CD

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