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James H. North
Fanfare, January 2017

The whole program is performed with admirable dedication from Mariusz Smolij and the Budapest SO MÁV. Zádor could not have asked for more enthusiastic advocates of his music. The recorded sound, captured in a Hungarian Radio studio in two sessions in 2014 and 2015, is fine. I enjoyed this music and am glad to have made its acquaintance. © 2017 Fanfare Read complete review



Brian Wilson
MusicWeb International, December 2016

The Hollywood-style seasonal opening is my excuse for slipping in this latest Naxos tribute to Eugene Zádor. It’s my introduction to the composer and a most encouraging one. © 2016 MusicWeb International Read complete review



Michael Wilkinson
MusicWeb International, October 2016

…an enjoyable, well-recorded, approachable CD, worth an hour of anyone’s time. © 2016 MusicWeb International Read complete review



Bob McQuiston
Classical Lost and Found, August 2016

The many soloists—all obviously virtuosos—are well captured and highlighted against the orchestra. …the overall instrumental timbre is characterized by bright highs, particularly in massed upper violin passages, and a good midrange. The composer’s discreet demands on the percussion section result in lean, transient bass. © 2016 Classical Lost and Found Read complete review



David Denton
David's Review Corner, August 2016

The fourth of a series of music by the Hungarian composer, Eugene Zádor, finds him in the United States where he sought sanctuary from the 1930’s political events. It brought about a massive change in the basic sound of his music, he soon realising that film music coming out of Hollywood was the way to achieve financial stability. That becomes evident when you compare the Rhapsody, composed during its last period in Vienna, with the Biblical Triptych completed in 1943, by which time he was engaged orchestrating scores for epic films. In the earlier work we hear the influence of Hungarian folk music, similar to that of Bartók and Kodály but rather more lightweight in character. The Triptych, for all of its sacred content in the pictures of Joseph, David and Paul, has New York glitz gently sprinkled over it, and a ready audience appeal is the result. The disc opens within the popular world aimed at the Christmas market, its four tuneful sections packed into a quite short score. It was completed in 1961 and if that was pure Americana, he had gone back to his roots three years earlier—his composition teachers having been Heuberger in Vienna and Reger in Leipzig—for the structurally complex Fugue Fantasia. The Budapest orchestra, under the direction of Mariusz Smolij, have been dedicated performers throughout the series, though I guess they had never cast eyes on the music before. Here they have added to the CD catalogue world premiere recordings of the Biblical Triptych and Fugue Fantasia. Studio sound of a good quality. © 2016 David’s Review Corner





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