Czardas for French Horn & Piano

By: Vittorio Monti (1868-1922) Arranged by Keith Terrett
For: Solo Horn in F + piano
page one of Czardas for French Horn & Piano

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Composer
Vittorio Monti (1868-1922) Arranged by Keith Terrett
Arranger
Year of arrangement
1904
Difficulty
Difficult (Grades 7+)
Duration
4 minutes
Genre
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

An arrangement of Czardas for French Horn and Piano, with a hint of the rumba!

Csárdás (or Czardas) is perhaps Italian composer Vittorio Monti’s most famous composition. A rhapsodical concert piece written in 1904, it is a well-known folk piece based on a Hungarian csárdás. It was originally composed for violin, mandolin or piano. Nowadays, it is usually played on the violin, but can also be played as a piano solo, saxophone solo, on the accordion, as an orchestral arrangement, as a Tuba solo, or on glass bottles. The duration of the piece is about four and a half minutes.

The piece has seven different sections, usually of a different tempo and occasionally key. The first half of the piece is in D minor, then modulates to D major, back to D minor, and then finally finishes in D major. The first section is Andante – Largo, followed by a large increase in speed to Allegro vivo. This then slows down to Molto meno. The piece then slows down more to Meno, quasi lento. The piece then suddenly picks up in pace and is at Allegro vivace. It then slows down to Allegretto and finally to Molto più vivo. The tempo changes make the piece exciting and interesting, but even with all of these tempo changes, it is generally expected that there should be some rubato to add feeling to the piece. There are also many different dynamic changes in the piece, ranging from pianissimo to fortissimo.

In the Meno, quasi lento section, the violin plays "artificial," "stopped," or (less accurately) "false" harmonics. This involves the violinist placing their finger down on the note and playing another note, with the finger only just touching the string 5 semitones above. This gives the effect of the violin sounding two octaves (24 semitones) higher.

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