TRACKLIST + CREDITS

LIRAS

The musical material of the composition consists of three layers: motivic music based on Balkan asymmetrically rhythmic dances, a Greek 7/16 Serra dance originally played with a lyre, and improvisation. Interestingly, some motifs from one of Rachmaninoff's liturgical choral works appear in the music.The form also consists of three parts:

The first part is alternating rhythmic motivic music, which plays with the elements of the mentioned layers. From the second part, the basic pulsation is the fast 7/8. Here enters the tenor saxophone. The long improvisation turns the continuously murmuring asymmetric Serra dance rhythm upside down with its unique sound. Then the melody of Serra sounds with Moldavian kaval and tapan drums. Finally, in the concluding part, the trumpet elevates this long, agitated murmur to another dimension with a quote from a liturgical chant.

Orchestration: clarinet, tenor saxophone (feat. Chris Potter), trumpet, accordion, Moldavian kaval, cello tambura, kontra tambura, double bass, tapan

SPOON

A bit Balkan, a bit jazz, music between East and West.

The melodies of Spoon were heard from the legendary saxophone king from Sutka, Ferus Mustafov, during one of our jam sessions. But in this composition, it transformed, sometimes grotesque, sometimes jazzy, but rather Gyezz-like. The full title: Sketches of Spoon.

Orchestration: trumpet, clarinet, tenor saxophone (feat. Chris Potter), cello tambura, alt tambura, accordion, double bass

HÍD

The focus of the composition is on improvisation. The stunning jazz tenor solos are made even more special by the Balkan rhythms and orchestration, evoking the music accompanying traditional, trance-inducing circle dances.

The musical process starts meditatively, with a deep-toned, slow Balkan rhythm. Bulgarian kaval, trumpet, and tenor saxophone respond to each other. Then the music turns into a fast, čoček dance-like rhythm.

Instruments: Bulgarian kaval, trumpet, tenor saxophone (feat. Chris Potter), alto saxophone, hulusi, accordion, kontra tambura, double bass, darbuka, tapan

WRAP

The wRap is built from Macedonian folk music elements. In terms of form, it resembles a rap without lyrics, at least at the beginning: between the refrains, two simple harmonies are constantly repeated, over which the instruments "rap" alternately. In the second part, the instruments play the melody together, like the Macedonian zurnas.

Orchestration: clarinet, trumpet, accordion, double bass, darbuka, tapan

ALLEGRO BARBARO 

An arrangement for tambura orchestra of one of Béla Bartók's most popular piano pieces (Allegro barbaro, Sz. 49, BB 63, W 29). Classical music with folk instruments.

Orchestration: first tambura, alt tambura, kontra tambura, cello tambura, double bass

RIBA

Riba is our own composition; its first version appeared on the band's previous album, "Nyolc8Nyolc," in a completely different orchestration. The music is based on a collection of Macedonian zurnas, with motifs of this 7/8 music played unusually with tamburas. New motifs emerge from the motifs, as the accompaniment is continuously changing, and by the end, the orchestration and the starting melodies also transform. Orchestration: first tambura, alt tamburas, kontra tambura, trumpet, alto saxophone, accordion, double bass, darbuka.

LAURA

A well-known jazz standard by David Raksin. In 1945. The melody is played with a tambura orchestra, could be like a restaurant gypsy band, for example, from the famous "Kovács" dynasty members (from whom Söndörgő learned so much). The time travel is not interrupted by the tenor solo. It's as if one of the jazz legends stepped into the restaurant. Orchestration: first tambura, alt tamburas, kontra tambura, accordion, alto saxophone, tenor saxophone, double bass

ROMÁN

From Béla Bartók's work "Romanian Folk Dances" (Sz. 56, BB 68), an adaptation of two dances, Poarga românească and Mărunțelul, for shepherd's flute, brac tambura, and double bass.

Interestingly, while the accompaniment follows Bartók's harmonies, the melody deviates from the written bars at times because the decorations and variations follow the original folk music style used by Bartók.