From the Transylvanian Plain...

Buzaiak és az Eszterlánc (MC-1999)

50′ minutes selection from the Buzaiak és az Eszterlánc MC:


01.  A kalapom fekete
02.  De szépen szól a buzai nagyharang
03.  Kimegyek a zöld erdoÌ‹be
04.  Mikor én legény voltam
05.  Ha felmegyek Kolozsvárra
06.  Így volt a mi idoÌ‹nkben
07.  Fekete felhoÌ‹boÌ‹l esik az esoÌ‹
08.  Hallgató
09.  Nóta és dzsessz
10.  Töredékek

Singers from Buza:

Mária Eke
Anna Takács
József Simon
Sándor Balla "Dogány"
Péter Eke "Vrécsi"
Márton Simon
Erzsi Takács
Attila Takács "Bandikó"
Ilona Takács


Alexandru Ripa "Miku" (violin)
Miklós Molnár (violin)
Császár Attila (viola)
Sándor Bankó (bass)




Eszterlánc is a collaboration between traditional singers and a lead violinist from Buza, a settlement in Mezőség, the Transylvanian Heath, and a group of experienced folk musicians from the Budapest area.

Together they perform the music of Mezőség, ancient songs and tunes presented in time-honoured style using authentic playing techniques. The band use reshaped classical music instruments retaining the characteristic tuning of the region and Alexandru Ripa, the first violinist possesses a unique and inimitable playing technique. The pure style of the singers is characterised by penetrating force and tasteful ornamentation.

Visually the performance is enhanced by the colourful traditional costumes worn by both the singers and the dancers who present the virtuoso and dynamic dances of Buza, including solo men's dances and couple dances. In one part of the programme the female singers demonstrate the ancient spinning technique of using the distaff while singing.




Music of the meadows...

Melodies of Carpathian Valleys
Traditional Music of Carpathian Shepherds


01. Vykhid v polonynu (trembita)
02. Muzyka polonyny (kalatala ta dzvinochky koriv)
03. Zabavna melodija (fujarka, kalatala ta dzvinochky koriv)
04. Nahravannja na drymbi
05. Kolys‘ roky dobri buly... (fujarka, spiv)
06. Davnja polonyns‘ka melodija (dovha fujarka z hudinnjam)
07. Syhnal do polonyns‘koho khodu (volovyy rih)
08. Hirs‘ka melodija (fujarka, spiv ptakhiv)
09. Polonyns‘ka melodija (dzholomiha)
10. Hra na trembiti
11. Davnja polonyns‘ka melodija (korotka fujarka z hudinnjam)
12. Hovkannja pastukhiv v polonyni (hovkannja, kalatala ta dzvinochky koriv)
13. Z vysokoji polonynky buynyy viter vije... (fujarka, spiv)
14. Brumbyna polonyns‘ka melodija (dzholomiha)
15. Nahravannja na drymbi
16. Smerekova melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv)
17. Z vysokoji polonynky potichok churkoche (zvuky potichka)
18. Dovha polonyns‘ka melodija (dovha fujarka)
19. Nahravannja na telentsi
20. Polonyns‘ka melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv)
21. Hra na dentsivtsi
22. Playova melodija (fujarka, spiv ptakhiv)
23. Oy pidu ja v Zavojely (fujarka)
24. Muzyka polonyny (kalatala ta dzvinochky koriv)
25. Nahravannja na drymbi
26. Karpats‘ka melodija (fujarka, kalatala ta dzvinochky koriv, spiv ptakhiv)
27. Polonyns‘ka melodija (fujarka)
28. Muzyka polonyny (kalatala ta dzvinochky koriv)
29. Oy ja pidu v polonynku (spiv, kalatala ta dzvinochky koriv)


(1,7,10,15, 27) Nicholas Slovak: trembita, ox-like horn, jaw harp, fuyarka
(3, 8, 16, 20, 22, 26) Vladimir Hromeychuk: fuyarka
(4, 9, 14, 19, 21) Bogdan Kostiuk: guimbarde, telenka, dzholomiha, dentsivka
(5, 13) Basil Siredzhuk: fuyarka, fuyarka with buzzing, singing
(6, 11, 18) Nicholas Vartsab'yuk: fuyarka, fuyarka with hum
(23) Peter Mohnatchuk: fuyarka
(25) Nicholas Mosoruk: drymba
(29) Basil Gaborak: singing

The recording was made in the Carpathian region in the meadow "Cram" (Verhovinsky district, Ivano-Frankivsk region) in the meadow "Ledeskul Kosmatsky" villages Kosmach and Shepit (Kosovo district, Ivano-Frankivsk region).


 This album – as well as, actually, the album "Wedding at Kosmach", which has been released simultaneously with it – is the result of wanders and labor of Gennady Melnyk, better known as Hector Mukomol. But Hector Mukomol means music in the styles of ambient and new age, and in this case the issue is a bit different. However, some characteristic features have been preserved – but not that much in sounding as in the attitude towards the sounding. What do we mean? The name of this disc should be perceived absolutely literally – and it is for this reason that the disc differs from other recording of this sort. Due to his previous explorations and experiments with music of spaces and states, Gennady Melnyk is able to look at the sound picture at a somewhat different angle. His eyes aim not at cutting off the superfluous, but, the other way round, at absorbing everything that sounds – and to intertwine it into the general canvas. That is why most recordings were made right under the open-skies, not in the special studio conditions. That is why it is possible to hear here such unusual things, for example, as sounding of cows’ bells ringing – and do not be surprised when you hear real music in that. It is there indeed – though not as obvious as in the joint singing of fuyarka and forest birds, or in the dialog of human singing and cows’ bells, to say nothing about ancient Huzul melodies. But – and that is the common feature for creativity by Hector Mukomol – in order to hear and feel this music, it is necessary to forget about music. One needs the position of contemplation and immersion, non-evaluation. The one who will manage to listen so will be able to discover a new living space – the space of Carpathian boundlessness. To discover – and to enter...

 Attentive listeners will certainly feel that the music of the Carpathian shepherds - the music of contemplation, which is essentially like meditative music east. This is not surprising, as the source of inspiration for the shepherd is the sky, the sun, endless expanses and the surrounding mountains. Therefore, the origins of this music has its origins in the invisible worlds. Shepherd plays fuyarka that can not play because, in the words of one of the shepherds, "polonynka without fuyarka not Fine."

Suffice it to listen as similar to each other is fuyarka melodies and singing birds, to feel that this "conversation of lovers." Sounds weird musical instrument infused with chirping birds and bells ringing chimes that hang around the neck cattle to determine the sound its seat. All of this together creates a charming and distinctive music valleys.

read it all here - you might have to translate it like I did... : )

and here

and also here 


Košíce and surroundings

Folklore Ensemble Železiar
Šej haj zašpeval mi vtaček
Songs of Košíce surroundings

01. Oraľi volečki - Dal mi mili sira
02. A gdova ja gdova - Šej haj zašpeval mi vtaček
03. Už ja vecej taki beťar ňebudzem_ Šag ja sam uznam
04. Ja parobek z Mikoházu_ Hej naco ši naco ši
05. Hej ňet krajšeho mestečka jak ked Košice
06. Chodzel ši kolo nas
07. Hej poslala me švekra - Tancovala bi ja
08. Ked ja sebe z hori dolu zajdzem - V jednin dvore
09. Kamaratko moja
10. Ľudová hudba
11. Dva holubki vodu piju_ Ej či ja ňe dzevečka
12. Sama ši mi dzverečka otvorela ...
13. Stracela ja stracela - Ňever parobkovi
14. Kes ja sebe šedňem - Ja na koňa ňešedňem
15. Uzki pešňik pomedzi uhori
16. Biela košuľenka
17. Hej už idu regruci - Idze verbunk idze
18. Viter veje a dišč ľeje
19. A jaka to preveľika psota
20. Mila moja ňezamikaj dzveri - Oraľi volečki



About us

The folklore ensemble Železiar has been active at the Slovak folklore scene since1964. In its work, the ensemble mostly focuses on interpreting traditional art of the Eastern Slovak regions of Abov, Zemplín, Šariš and Spiš. The ensemble is well-known for its outstanding interpretation of traditional dances, as well as for its excellent orchestra and women’s vocal group. Železiar is one of the finest, most recognised and best-known folklore ensembles in Slovakia.

Železiar was named after a steel-producing company which was constructed in Košice area in the 1960´s and offered job opportunities to many young people from Eastern Slovakia. They brought along their favourite songs, dances and traditions from the regions of Zemplín, Šariš and Spiš. They also brought their enthusiasm to show this cultural heritage to others.

Thanks to artistic directors, the spontaneity and enthusiasm were shortly complemented by a thorough ballet and dance technique preparation. The ensemble soon rose to a professional level. Its successes can be attributed to its artistic directors and choreographers: Imrich Macko, Jozef Janák, brothers Imrich a Jozef Mészáros, Pavol Širák, Jozef Bakšay, Ján Buranovský, Vladimír Urban. Their work has been recognised by many awards at domestic folklore festivals as well as abroad. Železiar was highly honoured also at the most famous folklore festivals – in Dijon (France) and Middlesbrough (United Kingdom). Back home, Železiar has repeatedly won prizes for the best interpretation of folklore dances, competitions of individual choreographies and suites of choreographies. Members of Železiar have become frequent winners at national competitions of soloists- singers, musicians and dancers. The ensemble has presented Slovak traditional culture in more then 30 countries in Europe, Asia, Africa and the Americas. It also holds a Slovak record for the longest folklore performance on stage. The Dance and Song Marathon in autumn of 1997 lasted for 3.5 hours. Thirty danseuses, 25 dancers, 7 musicians and 5 singers presented 43 choreographies.

Throughout its existence, Železiar has presented to its audience a balanced proportion of music, dance and songs. Among a number of performers forming this homogeneous group, the most prominent representatives are its best soloists- dancers, musicians as well as singers. However, it is not just the remarkable interpretation that makes this ensemble so extraordinary. Železiar excels for its fresh dramaturgy, experimental choreography and the capacity to offer unconventional intertwinement of different styles. Wide range of traditional musical instruments is often being used. Železiar presents authentic and genuine-style choreographies comprising original traditional cultural expressions of Eastern Slovakia. Moreover, Železiar is not afraid to use humorous stage stylisations, which stay out from what is conventional and familiar. Železiar knows how to amaze, surprise, raise controversy as well as poetic mood, amuse as well as provoke some tears.

The audience eagerly awaits Železiar´s shows because they always bring something new. But, the bottom line stays the same – a thorough exploration of the most genuine form of traditional culture, its protection, nourishing and dissemination of what is left.

 Our city: Welcome to Košice, the metropolis of Eastern Slovakia. The most important piece of heritage and pride of the city is the Catedral of St. Elizabeth. While walking along the Main Street take a look at the "Singing" fountain in front of the teathre building. Visit the Botanical Gardens (keep approximately 4000 species of natural and specially-bred plants) and the Zoological Gardens of Kavečany (spreading over 278,3 hectares is the largest in Central Europe). The close environs of Košice offer many opportunties for spending leisure time on sport, relaxation or entertainment - at Alpinka (an attraction is children train), Kavečany (the dry toboggan run, well-tended downhill ski slopes and crosscountry ski track), the beach bathing area Nad Jazerom (offers the chance to do water-skiing on the ski-tow) and many more.




Ľubomír Párička
Spoved Fujary

Fujara Confession


01. Oj, pomaly, ovečky - 5:12
02. Oj, boli by ma zabili - 1:46
03. Oj, pusť ma, bača - 5:36
04. Gajdošské z Kokavy - 1:50
05. Oj, a ja tak, a ja tak - 2:16
06. Hej, gajdoško s gajdami - 3:13
07. Hej, nebudem orať, ani siať - 2:27
08. Rýchlo na dvojačke - 1:43
09. Ja bača starý - 3:28
10. Oj, bohdaj skazu vzala - 2:08
11. Išiel Janík - Nechcela mi chleba dať - 3:55
12. Oj, fujera, fujera - 2:38
13. Ovsenisko, jačmenisko - 2:26
14. Terchovské melódie - 2:36
15. Gajdoško s gajdami - 4:43
16. Oj, môj otec bol dobrý pytliak - 4:36
17. Oj, na holi, na holi - 2:00
18. Handrárske signály - 1:20
19. Ovečka, kozička - 1:25
20. Išiel gajdoš do dediny - 2:40
21. Pil som, pil som, ľumpoval som - 1:14


Ľubomír Párička (1954) - spev (1-3,5-7,9-13,16,17,20,21);
fujara (1,3,5,7,9,12,16,20); pastierska píšťalka (2,6,11,); dvojačka (8); rífová píšťalka (13,17);
koncovka (14); handrárska píšťalka (18); gajdy (10,15,19); drumbľa (4,21)


Roman Bienik (1958) - fujara (1); gajdy (4); pastierska píšťalka (13,14)
Miroslav Párička (1978) - fujara (1); drumbľa (14); spev (15,19)



 Lubomir Paricka is a fujara player. He is also a manufacturer of authentic Slovak folk music instruments.

Fujara is a typical Slovak folk music instrument. Its origin is in the Podpolanie region. It is an awesome overtone flute of four to seven feet in length made from wood. Fujara is among the 43 new masterpieces designated as UNESCO heritage items on November 2005.

Ľubomír Párička (1954) je hráč na fujaru a na iné ľudové nástroje, a tiež je ich výrobca. Pochádza z Martina. Pri nahrávke CD spoluúčinkovali: Roman Bielik (1958) a Miroslav Párička (1978).
 Fotos of Ľubomír Párička at work © Miro Pokorn 


Fujara Flute History

- the full story - 

"I remember my old conversation with uncle Paciga, respected Fujara craftsmen. I entreated him to show me how to mark out the holes on the Fujara flute. We agreed and one day I brought to him a worked out timber for Fujara flute. First he made a fipple flute sound device and then he started to mark out the holes. I wondered that he marked on the timber even six holes - like on a whistle. So I urged him: "Mister Paciga, but I want to know how to make the holes into the Fujara flute, not whistle". He smiled and said: "you know my boy, before the Fujara flute a whistle was and that is why I mark out the Fujara flute like a 6 hole shepherd pipe, and then I drill just the three lower holes". At that time I did not realise that the man had a big truth."
Basically, Fujara flute is a gothic three-hole bass whistle. The three hole whistles were in the 12. - 13. century Europe very famous and wide spread. They used to be played in a musical configuration together with a tambour (small hand drum):
Because these bass whistles were shorter and had only 3 holes, it was possible to play them with just one hand. The musician often accompanied himself playing tambour on his own: playing the three hole whistle in one hand and the other hand beat the tambour.
Substantial expansion of these instruments in Slovakia confirm the period papers, for example a picture of a flutist with tambour under the Ostry castle, or two three-holes whistles from the 13.century acquired lately by Phdr. Hanuliak during excavation in the Pusty castle near Zvolen.
During the renaissance, flutes and whistles with three tactual holes were retreating. However, later on, following an example of the string instruments family /fiddle - alto position, violin - canto, violoncello - tenor, contrabass - bass position/, also the wind instruments families were formed spontaneously /16.century/. This documents the flutes in a german enviroment, where coexisted alto, tenor and bass flutes with side air flow channel of similar construction as the side air pipe of Fujara flute.
Also by the three-holes whistles there was an effort to create a family and renew repertoire. Musical scientist from the 15. - 16. century Michael Pretorius /from Sliezko/, documents an existence of such three hole whistle family in his work "Teatrum instrumentarum" from the year 1619. Though, he remarks that this configuration of three hole flutes had never been played together: because of the limitation of this 3 hole flute's scale range achieved by overblowing, the harmony inbetween the alto, tenor and bass three-hole flutes just was not reached. Simply, it did not tuned. He states, that there were three basic dimensions of the three holes-whistles: " a 20 inch "melodic whistle", a 26 inch "tenor whistle" and a  35 inch "bass whistle". Similarly, but independently from Praetorius, French musicologist Mersen writes about this issue in his work from the year 1632.
The three hole bass whistles from this period were about 91 to 130 cm long, with two lower tactual holes located in the front and the upper one located in the back of the flute's pipe.
In Brussel's music museum collection of very old musical instruments occurs also a three-holes bass whistle approximately 98 cm long, with the side air flow channel and three fingering holes /two in the front part and one in the back part of the flute's main pipe/. The instrument has a north italian origin and its construction is extremely similar to the Fujara flute in former times occuring in the surroundings of Priechod, Hiadel, Strelniky, Podkonice and likewise, named by Slovak ethnomusicologists "Priechod's Fujara flute" ("Priechodska Fujara"). Because of the above listed reasons is the so called "Priechod´s Fujara flute" regarded as the most archaic form of the Fujara flute.
In this context Dr. Macak tracks the place of a Fujara's flute origin into the area northerly from Banska Bystrica (middle Slovakia), to the actual Slovenska Lupca environment and to above listed communities. He assumes that the three-hole bass whistle has got to this territory during the turkish wars, where a regiment of soldiers from western Europe and Italy was stationed adjacent to today's Slovenska Lupca.
Fujara flute gradually reached and penetrated into the Slovak environment, "conserved" there and persisted until today as a rarity. Fujara's flute movement into the Detva area and its surroundings is considered as a secondary matter, where also the design reform is evident - the lenghtening of the Fujara main pipe to almost double size achieving much lower, deeper bass possitions and resulting placement of the top fingering hole into the front part of the main Fujara flute's pipe.
From the turkish wars period persisted in musical culture of this region a style of melody enhancements by baroque ornamentation. Even nowadays it is still present in ciphers of bandmasters, flutists' melodies, as well as in some melody ornaments present in traditional interpretation of the fujarists from Podpolanie region.
Author: Karol Kocik, all rights reserved ©.


more Fujara



In the highlands again...

Bratia Muchovci
A veru Terchova


01. A ved sme my bratia
02. A ja smutný, zarmútený
03. Chlapec som ja, chlapec
04. A ked bolo trištvrte na jednu
05. Starosvetské
06. Viem ja jeden kopecek
07. Jeden, dva, tri, štyri, pät, šest
08. Jánošíkovské
09. Prednické nôty z Terchovej
10. A veru Terchová
11. Cierne oci
12. Na tej lúce
13. Co to diefca hovorí
14. Na salaši Podžiarom
15. Ludia sa cudujú
16. Bol som v meste Žiline
17. Zasadel som cerešienku
18. Mládenecké
19. Žartovné
20. Svadobné
21. Keby moje rúcky


František Mucha (vocals, viola, accordion),
Alojz Mucha (vocals, violin, flute),
Václav Mucha (vocals, violin),
Peter Mucha (violin, vocals),
Štefan Mucha (viola, flute, vocals),
František Mucha Jr. (double bass, vocals),
Rudolf Patrnciak (cowbell, end-blown flutes).



Hailing from the town of Terchová in northern Slovakia, the Muchov Brothers perform the stirring highland folk music of this region. Featuring violins, accordion and double bass as well as various flutes and cow-bells, this is music that has one foot in Central Europe and another in the folk traditions of Transylvania and beyond. Underpinning everything are the strong and resonant vocals, delivered either solo or in unison. It's a potent mix and a great advert for the music traditions of the Tatra region and beyond.

Many of the twenty-one selections included here feature the whole band performing together, multiple violins accompanied rhythmically by double bass, accordion and end-blown flutes. Generally, an instrumental introduction is followed by the vocal refrain, introduced by a solo singer before being joined by other singers. The pieces move forward in a similar fashion, vocal interludes alternating with instrumental passages. The voices are strong and proud, the vocal phrases short on embellishment but nevertheless impressive, particularly when the whole group joins together in song. The music lacks the sense of abandon that you find in Transylvanian folk music for example but is lively and dignified throughout.

Of the many pieces that follow the vocal/instrumental pattern outlined above, perhaps "A ked bolo trištvrte na jednu" is the best example. It would have been nice to see these gifted instrumentalists extend themselves a little more; the one track that does feature an extended introduction ("Prednické nôty z Terchovej") is a contender for the standout track on the album, building up a hypnotic rhythm before the singers burst in towards the climax in triumphant fashion. There are also two delightful songs featuring solo accordion and vocals ("Chlapec som ja, chlapec" and the title track). Both possess an intimacy and delicate beauty that differs from the rest of the collection. A couple of instrumental pieces featuring accompanying cow-bells and koncovka flute are less successful, appearing a little too orchestrated to my ears.

Slovakian folk music does not generally enjoy the kind of profile that some other Eastern European folk traditions hold with Western audiences. However, the more I hear the more I am persuaded that this is to the detriment of the wider music fraternity. Whilst it is no doubt difficult to get hold of, this excellent album would be a worthy addition to any collection of Central and Eastern European folk music.


 Terchova is a small village located at the entrance to the famous Vratna Valley and its rock formations of which the most famous is the Mnich-Monk and near by mounts of Rozsutec, Chleb and Velky Krivan. This is the village that the legendary Janosik, the hero of all Slovaks was born some 350 years ago.
The village is a home of the Mucha Brothers one of the most famous character's musicians of Slovakia.

read it all here

some more



Music for strings

A dulcimer band typical of eastern Moravia and Slovakia

Slovak and Moravian String Music

        Belonging to the same continuum of small string ensemble music that stretches from Romanian Transylvania through Hungary, the Czech Republic and up to the Zakopane region of Southern Poland, the string band music of Slovakia and Moravia is unique and there are many treasures. I first came upon recordings of this music in the early 80s. I wanted to hear more and to learn more. I even began a study of the Slovak language. When I visited Slovakia in the mid 80s, still firmly under socialism, I learned that if I were permitted to enter Slovakia for research, I would most likely not be permitted to leave the city of Bratislava. This was not my idea of doing field work. My research in Romania in the late 70s was difficult for many reason, but as an officially invited foreign scholar I was permitted to travel. In Slovakia it was to be a different matter and I gave up. Later when things changed after the fall of the Berlin Wall, too many things changed. That same Socialist government that had so strongly supported folklore was now gone and with it the support. Folklore continued but no longer had the special status it did before, and what was considered folk music changed rapidly.

        It is for this reason that I am putting up these recordings of that music. I think the recordings in any form are no longer available and they reflect that unique and purer style of Slovak and Moravian folk music. Without the strong governmental support that existed in the bad old days, I doubt that they should become available again for quite a while.

Robert Garfias

 Jan Berky-Mrenica (Slovak)
        Popular and well recorded towards the end of the Socialist period, well rooted in folklore but with an arresting and contemporary interpretation of the Slovakian folklore

Ján Berky Mrenica
Primášov sen


01. Zajali, zajali
02. Prišli mi noviny, Z vrbiny cigáni
03. Keby moje nôžky, Poďme chlapci domov, Skliarovská, V Očovskom poli
04. Horou, chlapci horou
05. Hájiček, háj
06. Škovránok
07. Horela lipka
08. Svietila zornička, Kade idem, tade trniem
09. Sen primáša
10. Alebo ma vydávajte
11. Majerky, Čože ja, ako ja
12. Cigánska vášeň
13. Kolíbka deravá, Hore Detvou idem
14. Vrchárski sršni
15. Monti čardáš
16. Čardáše
17. Očová, Očová
18. Očovský tanec


 Ján Berky Mrenica
husľový virtuóz, skladateľ

* 11.05.1939 Očová
† 12.10.2008


"Slovaks have always been difficult to study, but the music, folklore and links of our ancestors raised the people of our country regardless of whether it was a Ruthenian, Slovak, Roma. It is important to realize that every person is equal. Because we are here on this earth for only a short visit. "


1956 - 1958 Vocational School, Department lzámočník Partizánske
1958 - 1962 time training at the State Conservatory in Bratislava violin with Professor Albína Vrteľa


Ján Berky was born as the third of five children. Since he could find wherever the water, especially like catching fish in the river, got Mrenica attribute. In an early age to become a motherless child. Just before the end of the war his mother was killed, after which he inherited musical talent. His first performances with spoons complement beautiful, tuneful singing was her.

Music from a young age saw as a gift. Even as a seven year old playing in the various kinds of jobs under the windows of the rich farmer in his hometown. The first came from a real violin poor vdovice with postscripts: "Janko on, here's violin from my late husband, play them and spomínaj on me for good."

In addition to heavy and joyless childhood dreamed a dream - to study violin because music is the meaning of life for him and helped him to forget the daily torment. Sen he met up later poor conditions at home because he was forced to go into teaching, which would have received free room and board. So he got into teaching in vocational schools in Partizánske. It just he was a master of training, which he liked. He knew that he longs for musical education, but mainly he wants to play the violin. Whenever I could, it relieve the grinder at work and vice, to conserve his clever fingers. He understood that those skilled huslistických fingers would be a shame.

The school started a music group, with whom he played at parties and performances for other schools. When music - as often said - touching heaven. As an exceptional talent tests done at the Bratislava Conservatory, which was later completed remotely. Love the music would not let him to stop his dream dream. Even when he returned home, where no one expected it, and in a modest house where 8 people lived.

Severe while it strengthened and consolidated it resolve, if that will ever have a family, his children may never feel this experience and will be returning home board. That his wish fulfilled.together with his wife Eva brought up three children, have been successfully applied in life. Anka oldest graduated from the Faculty of Arts with honors in currently working in the civil service. Music did not want to pay, said the family had enough musicians. Janko son is a violinist, plays violin in the orchestra Devil, founded by his father. The youngest daughter Evka ended conservatory and works in Vienna, where she married. A good and caring wife and mother, lived with him entire musical life.

Family, who was with her in the first place, sacrificed his music career. The desire to pursue opera singing folk songs and remained unfulfilled. Although successfully made the singer to audition SĽUK, but six months after marriage she became pregnant. So I did medical school and twenty-five years worked as a nurse in the crèche.

Excellent musician famous for his native Očová whole country and in 52 countries around the world a unique interpretations of popular songs. Served as concert master in Slovak Folk Art Ensemble 32 years and 100 days. He was always at every joke, but soon turned serious when it came to music. The trials did not recognize any humor, I perfectly prepared musician to a professional job and paid back to the music and put their heart.

Through his art got to know the artistic performances with instruments of musick faithful humanity in the world. In each country tried to visit especially school. He wondered what attention is paid to the education of children through culture that connects regardless of nationality and religion. Did not avoid any cultural institutions, all of your money - "diet" offered for active participation in cultural activities. Discovering unknown cultures and enriched it the wealth of feelings and memories still alive. On a concert tour in the country hocktorej tried to know the city itself and the people who will play, and the draw strength from their mood, city, country.

I recalled a concert tour of India in 1975, which passed SĽUK and folk music under his leadership. This country was for him to wonder of the world. In program were implemented in folk songs and classical music: eg. Solveginu song čardáš Monti, known by Dinicu larks in its treatment, Sabre Dance by A. Khachaturian, Pizzicato Polka by J. Strauss and many other songs. In the newspaper the next day after the show came out spectacular article that gave excellent SĽUK artistic performance in singing and dance component, but is particularly high esteem artist Indians - John Berky-Mrenica. In addition, there he met his longtime dream - playing on Stradivari. Lent him their primarius English Royal Quartet. This point was particularly happy.

Experienced more joyful moments. He fulfilled more dreams. During a concert tour snipe in 1970 had the opportunity to get to know the rich culture of the Soviet Union, which greatly acknowledged. Also the way the pole to America in 1964, then again in the same year, 1970, 1974, 1978, 1983, 1986 - but it with its folk music, led meant fulfilling his one big dream. During re-visit in 1970, received the violin from USA pastor, who will they donated with the words: "Janko, these instruments of musick waiting for the right player. It's you. Violins are the one who knows them rozcitlivieť, and you're my violin wizard. Are my father's violin. I have long cherished, but now you are. "Today it cherishes as one of the most precious gifts son John Berky-Mrenica ml. With this country, he also combines another very powerful experience - a duet with the legendary trumpeter Louis Armstrong's Jazz Club on Broadway.

The year 1964 was a turning point in his life and artistic activities. After a tour in the U.S. bought a flat and get rid of financial debt. At 80-years concert featured the opening Slovakian restaurant in the Philippines. The offer came then ambassador to Czechoslovakia Philippines Miloš Krivda. The then Culture Minister Miroslav Valek recommended just SLUK folk music led John Berky-Mrenica.

The culmination of his creative genius was to create a top ensemble - violin orchestra Devil, with whom performed on stages at home and abroad and for which hitherto regulated composes a musical composition. It is the main creator of the folk repertoire of the orchestra. Although in 1997 due to health problems devilish violin fell silent in his administration, it warms the heart when the son took over after scepter. His speech is indeed different, what is natural is musically own vision, your own music before, but Gypsy song and music continue to spread. Devil violin musical ensemble is a top performer songs of various genres, and their repertoire is reflected in Slovak, Hungarian, Russian, Romanian, Jewish and Gypsy folklore, as evidenced by the firsts on Festival d'Europa Concordia Internazionale del Folklore Festival in Agrigento, Sicily, and the second International Festival of Polish Ciechocinek '98, gold record in 1999 for the album Gypsy Dance, 3x Grammy Award from the Slovak Academy of Music for Best Orchestra, Best Album and Best Artist. The orchestra has performed almost all over Europe, USA, Canada, Australia, Japan, China, Taiwan, Jordan, Egypt and Morocco. Works with renowned singers and instrumentalists, such as L. White, D. Hulka, I. Csáková, S. Sklovská, P. Haber, K. Hasprová, brothers Dvorsky, M. Babjak, J. Fogašová, J. Burian, J. Bartos and under., In cooperation with the publishing house of Monitor-EMI released 8 albums. Recent "XXL Music" is the third solo achievement.

Despite the success and admiration in every aspect not taken even the most attractive offer to live in another country. He remained faithful to his country, his city, which is still lives in his native village Očová, in which the love back, because there is at home. Očová it is a matter of heart. Beloved and loving village made famous everywhere he went. He loved the common people, who always drew from the wisdom, honesty, lovely and warm relationship with folk songs. He knew that the people have Ocova innate sense of culture and can differentiate earned value...
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