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George Dorris
Ballet Review, August 2016

…an attractive work with a cheerful opening, dreamy slow movement, bright scherzo, and effective conclusion, if not especially dancy. Together, these three works make an appealing introduction to a little-known composer. © 2016 Ballet Review

Nick Barnard
MusicWeb International, March 2016

…unfamiliar repertoire performed with conviction in good sound accompanied by informative and useful notes. © 2016 MusicWeb International Read complete review

Robert Benson, February 2016

Zadok has an important place in music history, and we are fortunate to have the opportunity to hear his music in fine performances, well recorded. © 2016 Read complete review

Bob McQuiston
Classical Lost and Found, January 2016

Polish conductor Mariusz Smolij elicits rousing performances from the Budapest MÁV Symphony Orchestra that turn what might otherwise come off as ordinary fare into a memorable listening experience. Lush strings, mellow woodwinds and lusty brass characterize an ensemble where all the soloists are virtuosos in their own right.

…the recordings project a somewhat withdrawn soundstage in an affable acoustic. The instrumental timbre is characterized by bright highs, particularly in massed upper violin passages, and a pleasant midrange. With scoring requiring only the standard complement of percussion, the bass is lean and clean. © 2016 Classical Lost and Found Read complete review

Remy Franck
Pizzicato, January 2016

This is up to now the nicest program in Smolijs Zador series, comprising a suite of fanciful variations and the Third Symphony which is a superb homage to the Viennese dances. © 2016 Pizzicato

Film Music: The Neglected Art, December 2015

…easily digestible and will perk up your spirits. © 2015 Film Music: A Neglected Art Read complete review

David Denton
David's Review Corner, December 2015

The third in an ongoing series covering the orchestral works of the Hungarian-born composer, Eugene Zádor, who in his middle years found fame in Hollywood films. He once described himself as a ‘middle of the road extremist’ who was enjoying a major career when political events in Europe of the 1930’s brought about his departure for the safety of the United States. He arrived there with the educational backdrop of studies with Heuberger in Vienna and Reger in Leipzig, and, unlike many other emigres, he was already known in New York, though having arrived there he could resist the financial temptations of the West coast where he produced a deluge of uncredited film scores. That led to years working with his compatriot, Miklós Rózsa, orchestrating his piano scores for some of Hollywood’s great epic films. It was a life that allowed time to continue working as a ‘serious’ composer with many high profile commissions, among them the extended Festival Overture for the 1963 opening of the new Los Angles Music Centre. Whatever his environment he always thought of himself as Hungarian, which gave rise to the Variations on a Hungarian Folksong, the theme preceding ten variations mainly in a light mood and with titles including Burlesque, Foxtrot and Csardas. His eminent place during his time in Vienna is reflected by the famous conductor, Hans Knappertsbusch, having directed the premiere of the Third Symphony. Very much of its time—the 1930’s—it has some quirky harmonies, but, fearing audience alienation, was not too modern in outlook. Rich in melodic invention, he let too many idea pass without linking and expanding them, though at least the joyful finale leaves you in a happy mood. The Budapest orchestra, under the direction of Mariusz Smolij, produce the warm and smooth quality the work needs, and prove excellent promoters of their native composer. © 2015 David's Review Corner

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