“Tibor Harsanyi, now considered one of the most important personalities of the “École de Paris” group, remained for far too long a perfect stranger on the world's stages and concert halls. He composed virtually all of his music while in Paris and never failed to underline the importance of this city for his inspiration. As he said in an interview, “There have been more musical pieces written in this city than in the rest of the world.” It is sad to discover the that at the end of his life in post-war Paris, nobody asked for more of his music or about his whereabouts. Even the letter from the French government conceding him, after a long struggle, his French citizenship, which was refused for years with the explanation that “being a composer is not an occupation, there is a logical argument that Mr. Harsanyi is without occupation”...well, this letter arrived to his letter box probably only a few days after his death and was never opened. It has been my absolute pleasure to revive the piano music of this undeservedly neglected and brilliant composer.” — Giorgio Koukl
The Hungarian-born composer Tibor Harsányi is now recognised as an important personality in ‘L’École de Paris’. He had a lifelong interest in modern dance, represented here by the Petite suite and Trois Pièces de danse, and he also embraced jazz, which was part of the Parisian atmosphere of the inter-war period, and other influences, while keeping the Central European rhythms and tonalities of his Hungarian origins. The Trois Pièces lyriques is a rare example of Harsányi expressing torment during the turbulent years of the Second World War.
This recording was made on a modern instrument: Steinway, Model D
3 pièces lyriques (1944) (00:14:00 )
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1
No. 1. Moderato cantabile con molto espressione (00:04:05)
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2
No. 2. Allegro poco agitato (00:06:07)
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3
No. 3. Andante semplice (00:03:50)
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3 pièces de danse (1928) (00:07:00 )
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4
No. 1. Mouvement de Tango (00:02:22)
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5
No. 2. Mouvement de Boston (00:03:30)
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6
No. 3. Mouvement de Fox-trot (00:02:22)
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Suite brève (1930) (00:08:00 )
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7
I. Mouvement de Fox-trot (00:01:41)
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8
II. Andante (00:01:38)
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9
III. Presto (00:01:12)
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10
IV. Mouvement de blue (00:01:59)
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11
V. Vivace (00:01:30)
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Petite suite de danses (1926) (00:12:00 )
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12
I. Jeu (00:01:51)
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13
II. Intimité (00:02:11)
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14
III. Démence (00:03:00)
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15
IV. Un Portrait (00:01:46)
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16
V. Fête (00:03:12)
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17
Étude (1952) (1929) (00:00:46)
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Rythmes, 5 inventions pour piano (1929) (00:06:00 )
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18
No. 1. Allegretto (00:01:17)
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19
No. 2. Allegretto scherzando (00:00:45)
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20
No. 3. Allegretto ma non troppo (00:00:57)
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21
No. 4. Allegretto ritmato (00:01:37)
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22
No. 5. Allegretto (00:01:09)
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12 petites pièces (1927) (00:15:00 )
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23
No. 1. Prélude (00:00:58)
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24
No. 2. Valse (00:01:57)
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25
No. 3. Mélodie (00:00:50)
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26
No. 4. Marche (00:01:53)
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27
No. 5. Danse (00:01:13)
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28
No. 6. Chant (00:00:55)
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29
No. 7. Gavotte (00:01:06)
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30
No. 8. Forlane (00:01:35)
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31
No. 9. Étude (00:00:52)
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32
No. 10. Menuette (00:00:50)
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33
No. 11. Berceuse (00:01:28)
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34
No. 12. Danse paysanne (00:01:41)
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35
Improvisation sur la chanson Je vais revoir ma Normandie () (00:02:25)
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36
13 Danses: Fox-Trot (1929) (00:02:04)
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37
Valse, Op. 2 () (00:03:01)
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“This is music that is always enjoyable, sometimes delightful and occasionally brilliant. Giorgio Koukl plays it with sympathy and if anyone can help it achieve the recognition it deserves, it is he.” – MusicWeb International