, September 2012
The Suite #2 comes from a ballet, Le bosquet des quatre dieux (1943)…Joyful and light, somewhat in the vein of Bartók’s Rumanian Dances or Kodály’s Háry János Suite. The music works all on its own, without literary or visual aids. The first movement is full of fanfares…The second movement, a vivacious perpetuum mobile that occasionally stops for breath, sparkles in mostly delicate orchestration, with the occasional muscle of brass. A heartfelt serenade in the manner of Kodály conjures up the lonely, wind-swept Hungarian plains.
Throughout the [Third] symphony…Lajtha builds a tight, truly symphonic argument, rather than merely strings cues together. In its balance of architecture and emotion, it makes a great impression.
Pasquet and the Pécs make a strong case for Lajtha…I noticed it only because Lajtha is so contrapuntally precise. How an orchestra like the Berlin would do with sufficient commitment, I can’t imagine. Even so, Pasquet and his players have committed. They give you understanding, animated readings of a composer without a deep performing tradition. © 2012 Classical Net Read complete review