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
Concertino all’antica for cello and string orchestra (1964) https://d3i77y9w5vf4up.cloudfront.net/TOCC0176/TOCC0176t06.mp3
Lavotta Suite for chamber orchestra (1951) https://d3i77y9w5vf4up.cloudfront.net/TOCC0176/TOCC0176t09.mp3
Maschere for chamber orchestra (1983) https://d3i77y9w5vf4up.cloudfront.net/TOCC0176/TOCC0176t14.mp3
Trittico concertato for cello and string orchestra (1964) https://d3i77y9w5vf4up.cloudfront.net/TOCC0176/TOCC0176t19.mp3
March Suite for chamber orchestra (1947) https://d3i77y9w5vf4up.cloudfront.net/TOCC0176/TOCC0176t22.mp3
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Catalogue No: TOCC0176EAN/UPC: 5060113441768Release Date: 03.02.2014Composer: Ferenc Farkas Artists: MÁV Symphony Orchestra, Miklós Perényi, Péter Csaba
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Barry Brenesal :
“…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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