Ferenc Farkas: Orchestral Music, Volume One

Ferenc Farkas: Orchestral Music

This first release in a series of recordings of orchestral music by the Hungarian composer Ferenc Farkas (1905-2000) highlights the characteristics that make his works so appealing: catchy tunes, transparent scoring, buoyant rhythms and a fondness for Baroque forms and folk-dances.

Miklós Perényi, cello
MÁV Symphony Orchestra
Péter Csaba, conductor

£7.99£13.50 £6.75£9.99

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Catalogue No: TOCC0176
EAN/UPC: 5060113441768
Release Date: 03.02.2014
Composer: Ferenc Farkas
Artists: MÁV Symphony Orchestra, Miklós Perényi, Péter Csaba

Listen To This Recording:

    Divertimento for orchestra (1930)

  1. I Allegro leggiero
  2. II Allegro giocoso
  3. III Tempo di Minuetto
  4. IV Intermezzo
  5. V Allegro
  6. Concertino all’antica for cello and string orchestra (1964)

  7. I Pastorale
  8. II Aria con variazioni
  9. III Giga
  10. Lavotta Suite for chamber orchestra (1951)

  11. I Ungarisch
  12. II Menuet
  13. III Marsch nach Pannonien
  14. IV Ungarisch
  15. V Im Wirtshaus
  16. Maschere for chamber orchestra (1983)

  17. I Il Capitano
  18. II Pantalone
  19. III Colombina
  20. IV Povero Pulcinella
  21. V Arlecchino
  22. Trittico concertato for cello and string orchestra (1964)

  23. I Allegro moderato
  24. II Passacaglia con dedica
  25. III Allegro vivace
  26. March Suite for chamber orchestra (1947)

  27. I Allegro moderato
  28. II Elegia, quasi lento
  29. III Allegro vivace

1 review for Ferenc Farkas: Orchestral Music, Volume One

  1. :

    “…Farkas was a polystylist long before that became fashionable. He ranged from non-Schoenbergian atonality to bitonality, acerbic, Stravinsky-like songs to meltingly Puccinian operatic arias. …The neoclassical preference for terse statement figures into every movement on this album. …A sort of breezy, slightly bitonal “neoclassical lite” dominates the character of the Divertimento for Orchestra from 1930, though there are also touches of Hungarian folk motifs throughout, particularly in the finale. …The brash, French overture-like minuet that is its third movement is perhaps the most memorable thing in the work (with Respighi-like treatment of the winds once more in a finely contrasting central section), but the entire thing is a lightweight charmer. …[Trittico concertato:] Its three movements combine free tonality with neo-Baroque motifs and figurations. The central movement, a chromatic, moderately dissonant passacaglia, is the grimmest and most powerful thing on the disc. …[March Suite:] It’s better than 90 percent of the stuff I’ve heard written in a similar vein through the late 1940s and 1950s, presumably because the composer found the suit he was required to wear fit less stiffly than many of his contemporaries did.” Fanfare

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