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Robert Nemecek
Piano News, May 2019

István Kassai and György Lázár all play with fiery verve and a good deal of humour. © 2019 Piano News

Sang Woo Kang
American Record Guide, March 2019

To put the works of a compositional dynasty on one disc is a commendable effort, as it allows listeners to hear how musical language is transformed from fathers to daughters and sons from the 19th to the 20th centuries. Szechenyi was a privileged and noble family at the center of Hungary’s political and musical life. Franciska Szechenyi was Hungary’s first woman composer, and Gisa Szechenyi was the first woman composer for film. © 2019 American Record Guide Read complete review on American Record Guide

Records International, December 2018

The Széchényi dynasty stood at the heart of Hungary’s political and musical life in the 19th and 20th centuries. Their ideal milieu lay in vibrant, melodious dance music, of which Imre’s Waltz No. 1 is a perfect example. Ödön’s highly accomplished works reflect his sophisticated wit, while in Franciska, Hungary had its first female composer and in Gisa, the world’s first female film composer. © 2018 Records International

David Denton
David's Review Corner, November 2018

The story of the Szechenyi dynasty extended almost two hundred years amongst the Hungarian nobility, during which time they became politicians, bishops and generals, and the composers of music, of which Imre enjoyed international fame. Four were blood related to the founder, Ferenc Szechenyi born in 1754, others joined the family as wives, Fanny Szechenyi becoming one of Hungary’s first female composers. Much of the Szecheny family lives were in parallel with the Strauss dynasty, and they were to compose a large number of works in a similar dance style of waltzes and polkas. Their problem, as you will discover, was a lack of the memorable ‘tunes’ that brought success to the Strauss family, though their pieces, as represented here, were pleasing and neatly constructed. Little gems? Certainly in Odon Szechenyi’s Pull-On Galop; Gisa Szechenyi’s extract of piano music she wrote for the silent film Abendsonne, and Imre’s gentle first of his Three Waltzes. I guess the two pianists, Istvan Kassai anf Gyorgy Lazar, were doing all they could to breath life into the music, but much of it still sounds so four-square, and they do have a habit of telegraphing the upcoming conclusion that is inevitably reached with four accentuated chords. © 2018 David’s Review Corner

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