The Musıc Room

She took out her iPod and, as if she wanted to torture herself, selected the list of songs she had named A Hungarian Rhapsody, Act Two. In her book, she had chosen a musical theme for each tableau and chosen different pieces on the same theme for the scenes in that tableau. In Tableau One, for instance, the most important pieces were in C minor. Beethoven’s Fifth SymphonyC minor, Opus 67, Fate.” Tableau Two had compositions mostly in D major. She selected the list of Tableau Five. Rachmaninoff. Prelude Number Five in G Major. Pounding! Hammering! Then suddenly broken-hearted and disconsolate Rachmaninoff – the Rachmaninoff she had listened to hundreds of times while she wrote the scene where Károly was tortured. She suddenly broke into tears, gulping back her sobs.

She saw an old man further down the street, playing the violin. She watched him play like a silent movie dubbed with the music of Rachmaninoff for a while before she took off her earphones. The old man was playing a FrissFriss, the second part of the rhapsody ... roaring, destructive, ruthlessly burning everything down. Could he be the grandson of Imre Magyari, she thought, her heart sinking. She imagined a hearse on a side street slowly coming into view.

“Play the Red Sarafan,” she mumbled as she walked past the old man.

(Csardas, p.114)

 

 

Broken Rhapsody 

Broken Rhapsody, Neslihan Stamboli

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A Retake On War 

A Retake on War, Neslihan Stamboli

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Csardas 

Csardas, Neslihan Stamboli

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