Roma have made so many changes that) it is difficult to tell what is Hungarian and what is" the authentic music of the Roma. The ethnic Csángó Hungarians of Moldavia's Seret Valley have moved in large numbers to Budapest, and become a staple of the local folk scene with their distinctive instrumentation using flutes, fiddles, drums and the lute. Prominent folk ensembles, such as the Hungaria Folk Orchestra, the Danube Folk Ensemble and the Hungarian State Folk Ensemble have regular performances in Budapest and are a popular attraction for visitors. Verbunkos In the 19th century, verbunkos was the most popular style in Hungary. This consisted of a slow dance followed by a faster dance; this dichotomy, between the slower and faster dances, has been seen as the "two contrasting aspects of the Hungarian character". The rhythmic patterns and embellishments of the verbunkos are distinctively Hungarian in nature, and draw heavily upon the folk music composed in the early part of the century by Antal Csermak, Ferdinand Kauer, Janos Lavotta and others. Verbunkos was originally played at recruitment ceremonies to convince young men to join the army, and was performed, as in so much of Hungarian music, by Roma bands. One verbunkos tune, the "Rákóczi March" became a march that was a prominent part of compositions by both Liszt and Hector Berlioz. The 18th-century origins of verbunkos are not well known, but probably include old dances like the swine-herd dance and the Hajduk dance, as well as elements of Balkan, Slavic and Levantine music, and the cultured music of Italy and Vienna, all filtered through the Roma performers. Verbunkos became wildly popular, not just among the poor peasantry, but also among the upper-class aristocratics, who saw verbunkos as the authentic music of the Hungarian nation. Characteristics of verbunkos include the bokázó (clicking of heels) cadence-pattern, the use of the interval of the augmented second, garlands of triplets, widely arched, free melodies without words, and alternately swift and slow tempi. By the end of the 18th century, verbunkos was in use in opera, chamber and piano music, and in song literature, and was regarded as "the continuation, the resurrection of ancient Hungarian dance and music, and its success signified the triumph of the people's art". The violinist Panna Czinka was among the most celebrated musicians of the 19th century, as was the Roma bandleader János Bihari, known as the "Napoleon of the