A collection from the great Hungarian composer for upper voices. Twenty seven arrangements ranging from easy to difficult.

'Many people think it is a comparatively easy task to write a composition on found folk tunes... This way of thinking is completely erroneous. To handle folk tunes is one of the most difficult tasks; equally difficult, if not more so, than to write a major original composition. If we keep in mind that borrowing a tune means being bound by its individual peculiarity, we shall understand one part of the difficulty. Another is created by the special character of folk tune. We must penetrate it, feel it, and bring out its sharp contours by the appropriate setting... It must be a work of inspiration just as much as any other composition.' - Bela Bartok. Includes English text.

Winners of twenty two prizes at both Hungarian and international choral competitions this top-notch male choir has toured extensively world-wide and have gained great acclaim as performers and interpreters of the works of Zoltan Kodaly. While only approx. 20% of Kodaly works were for male choir they are considered some of his best compositions. Seventeen of these 24 pieces are original with some based on folk songs and others on the 17th century poet Horace. Challenging but certainly worthwhile, this CD should be in everybody's collection of male choir recordings.

Arranged for unaccompanied mixed voices by Paul Arma with English text by Eric Smith these pieces are from 'Melodien der Rumanischen Colinda'.

The original version of these choruses was an a cappella version; later an orchestral accompaniment was added. The piano reduction of the latter has merely been added to the present edition for rehearsal purposes when preparing the choir for a performance with orchestra. it is the composer's intention that performances should talk place either a cappella or with orchestra, but not with piano.

Text in English, German and Hungarian.

'Many people think it is a comparatively easy task to write a composition on found folk tunes... This way of thinking is completely erroneous. To handle folk tunes is one of the most difficult tasks; equally difficult, if not more so, than to write a major original composition. If we keep in mind that borrowing a tune means being bound by its individual peculiarity, we shall understand one part of the difficulty. Another is created by the special character of folk tune. We must penetrate it, feel it, and bring out its sharp contours by the appropriate setting... It must be a work of inspiration just as much as any other composition.' - Bela Bartok