Haydn: Piano Trio No. 39 in G major, Hob.XV:25: Finale 'Rondo all'ongarese' (Zigeuner Rondo / Gypsy Rondo)

'My language is understood by the whole world', these words by Joseph Haydn prove the claim by the great master of Viennese Classicism to build bridges with his music and to integrate in his art prevailing influences of the folkloristic music of the time, which made him into the precursor of a long tradition extending to Smetana, Dvorák and Bartók. Proceeding from Haydn's oeuvre and the musical traditions of Hungarian and Slovakian Roma, this recording by the versatile Austrian pianist Paul Gulda offers an impression of what Haydn may have heard in Esterháza around 1770 and what influenced his composition permanently. In congenial co-operation with Róbert Gapar's band, the musician of excellence easily manages to demonstrate the similarity of originally very different musical styles and to make their mutual enrichment palpable. In combination with works by Haydn that were evidently influenced by Roma musicians, traditional melodies and songs of Hungarian gypsy music of the time are here presented in an authentic manner.

Michaela Paetsch Neftel and Wieslaw Pipczynski perform favourites from the virtuosic violin repertoire including Vitali's Chaconne, Paganini's Campanella, Kreisler's Liebeslied and Sarasate's Carmen Fantasy. All are excellently suited to an accordion accompaniment.

In Roma fairy tales, it is usually the devil who imbues Gypsy music with its inimitable vivacity. And when listening to Cigánski Diabli, you cannot help but believe it. The popularity of this Gypsy orchestra has crossed the borders of their native Slovakia into Moravia, Bohemia and much further afield. Of late, they have been giving concerts abroad with in creasing frequency – Germany (including at the Berliner Philharmoniker Hall), England, France, Canada, etc. The ensemble, made up of eight professional, classically trained musicians, has already received three platinum discs.

A traditional cimbalom band? Well, yes and no. They have, so to speak, many more strings to their bow: folk music (ranging from Slovak to Jewish), on occasions walking a tightrope between pop and jazz, at other times performing Haydn together with a “classical” pianist or a symphony orchestra. And since Brahms, Liszt and Dvořák were inspired by the “Gypsy style”, why not turn things on their head and play their music the Gypsy way?

With their characteristic virtuosity and vivacity, Cigánski diabli have entered the rarefied domain of classical music – yet in a manner entirely of their own and with arrangements not respecting the borders of genres. But what’s the use of borders when the music is of such splendour?

This CD is a tribute to the cafés and salons of the belle époque.