Hungarian

Recorded in Budapest and other centres, 1900s–1940s

These sides are the published face of a much larger Hungarian vault. Years stamped on the discs cluster first between 1907 and 1914, then resume in 1928 and 1929, with later marks in 1937 and 1943. Rights classification is uneven: ten sides sit safely before 1923, four fall in the 1923–46 gray zone, and forty-five remain unknown.

Csárdás is the recurring form. Rácz Zsiga és 16 tagu cigányzenekara take three sides of tánccsárdások; Máki Jóska és Cigányzenekara and Szimcsák András Cigányzenekara each contribute two. Lajos Kiss appears under more than one billing with csárdás potpourris, Shándor with ropogós tánccsárdások, and Magyari Imre with Hungarian quick czardas dances dated 1937 and a George Nagy csárdás from 1943. Lilly Gyenes und Thre 20 „Hungaria“ Gipsy Girls bring Ungarische Volkslieder und Csárdás; title words elsewhere lean toward orchestra and dance.

Among the earliest dated sides are Jozsef Szabo’s ‘Darú madár’ from 1907 and Rózsa S. Lajos in 1909, 1910 and 1913 with ‘Darumadar,’ ‘Emlékszel e,’ ‘Rácsos kapu, rácsos ablak,’ and ‘Sirassatok engem orgona virágok.’ Two sides bill Pádly Margit és Endrey Jenö as az amerikai magyarság két kedvencz müvésze — the two favorite artists of the American Hungarians — including a Magyar lecke-órája and ‘A dezencefinciálás.’ Solti Hermin sings with partners in 1912 and 1914; Thury Ilona’s ‘Szilva nóta’ appears under slightly varied credits with Semsey.