The composer has tried to imagine what Bela Bartok would have composed had he written for recorders. Thus, characteristics of Hungarian, as well as Romanian and Bulgarian folk music are apparent. Exotic scales incorporating augmented 2nds may at first feel a bit odd under the fingers, and careful attention to the tuning of parallel octaves is essential. The glissando from f# to d in the sopranino (b. 84) is produced by gradually sliding the fingers across holes 4 & 5 while slightly dropping breath pressure. The bass demands deep breathing; but this is manageable if the breath marks are observed.
Performers on the accompanying recording are: the composer (s); Janos Ungvary (A); Tatsuki Shimoda (T); Anne Massicotte (B)
-- Anthony St. Pierre
Get the borscht ready with this fabulous multi-mood fantasia on a haunting theme that could have come out of nearly anywhere in Eastern Europe. Much of the luxurious treatment requires good communication between the players to keep it together, especially with rubatos when two parts are playing in unison octaves. Rich wide intervals and St Pierre’s affinity for accidentals give this piece a special allure for groups that enjoy entertaining an audience as well as themselves.