This entry is part of the Lexicon of Klezmer Terminology (LKT). The LKT compiles a wide array of source materials that shed light on the historical and contemporary state of knowledge about klezmer music. Each entry includes a number of citations from primary and secondary sources that include or refer to the term in question. It also indicates whether musical notation or sound recordings are included in the source. By clicking on the bibliographic hyperlink at the end of each citation, you get the full reference.
“The young people danced until daybreak... The klezmorim played all kinds of melodies for the dances. The dancers requested ‘tents’ (dances)... for one a ‘tsardas’ and for one... a ‘valtzer.’” . Hagalili 1956, p. 163.
“‘Khosid Dance.’ This tune is adapted from the vilin playing of Csaba Okros ... The melody was accompanied by the drones and strums of various stringed instruments in gypsy style. The overall structure and tempo of this piece is related to a freylakh but it is performed closer to the local style of csardas. That is, the effect is more Hungarian than klezmer.” Phillips 1996a, p. 157. (Musical notation and recording references included).
“The second melody, a csardas, as well as the third one, were composed in 1867 and 1874 by the Hungarian aristocrat Elemer Szentirmay.” Rubin and Ottens 1995, p. 26. (Recording referenes included).