Hungarian composer Ferenc Farkas (1905-2000) was born in Nagykanisza, some 130 miles southwest of Budapest, where he initially studied composition. Then Farenc went to Rome, and the years 1929-31 saw him further his musical education with famed Italian composer Ottorino Respight (1879-1936).

Subsequently, he journeyed to Budapest and took various music-related jobs. However, in 1933 Farkas met world-renowned film director Paul Fejos (aka Pál Fejős; 1897-1963) and began writing movie scores for him. This took Ferenc to Vienna, Copenhagen and all around the Mediterranean Sea.

Then during 1936 he returned to Hungary for good. However, the World War II years (1939-1945) were a confusing time for Farkas, but shortly thereafter he took up residence in Budapest, where he died at age 95. Consequently, this composer left some 800 works across all genres.

In 1949 Ferenc wrote a ballet titled "The Sly Students (Furfangos diákok)", which became extremely popular. Then shortly thereafter, he pulled together a six-movement "Suite" from it, and the first digital recording of same begins this release.

The scenario takes place in Debrecen, some 140 miles east of Budapest. It involves three young students, namely a maiden called Rózsika, her truelove Ádám, and Józsi, whom her father, who's the local College director, wants her to marry.

This piece opens with a festive "Fair in Debrecen" [T-1]. Hearing it, one can easily imagine a lively crowd in that city's marketplace. Then there's a captivating "Air de dance" [T-2], followed by a verbunkos-like "Students' Dance" [T-3], which exudes a feeling of youthful verve. And subsequently, Farkas serves up a jot of vivacious "Gypsy Music" [T-4] that opens [00:00] with some fancy fiddling by MÁVSymO violinist István Trejer. This music seemingly reflects Hungary's Romani people.

Then there's an amorous "Pas de deux" [T-5], which is an affectionate number for Ádám and Rózsika. It's followed by the "Finale" [T-6] that starts with a drunken dance for Józsi [00:00], whose consequent demise and burial are suggested in a somewhat droll funeral march [01:44]. However, the latter turns into a lively equine-related cavort [03:57] that brings this piece to a merry ending.

Subsequently, we get the world premiere recording of Ferenc's "Symphony" (1952). When this was first performed in 1952, audiences really liked it. However, critics chastised the piece in accordance with the resident, Soviet, political authorities, who then dominated Hungary's cultural scene. Consequently, the composer withdrew the work.

It borrows material from his score for the 1950 film "Felszabadult föld (Liberated Land)", and is in four-movements. The first sonata form one [T-7] has a "Moderato (Moderate)" introduction hinting at a vehement, scurrying theme (VS) that's soon to come. Then the pace turns "Allegro agitato (Fast and excited)" as a full version of VS [01:14] launches the remaining portion of this movement as well as the exposition.

VS bridges into a related, contemplative thought [04:13], and both ideas undergo a thrilling development [05:18]. Then the latter invokes a dramatic recapitulation [09:01], having a valiant coda [10:12]. It ends this movement heroically with a sense of optimism.

The subsequent "Elegia (Elegy)" [T-8] is a contemplative prayer of thanks, seemingly felt by the Hungarian people after their liberation from tyrannical foreign forces. In that regard, it has an opening preface [00:00], followed by a related hymnlike theme [01:15]. The latter is the melody for the "Pleni sunt coeli et terra" segment of Hungarian composer Zoltán Kodály's (1882-1967) Budavári Te Deum (1936). It brings things to a devout conclusion.

Then there's a capricious, rondo-like "Scherzo" [T-9]. This begins with a perky ditty [00:00], which is repeated [00:18], and fosters several subsequent, related numbers. These range from gyral [00:59] to flighty [01:43], pensive [02:19, 02:41, 03:03], nonchalant [03:42] and searching [04:14, 04:53]. Then an impish one [05:47] ends this movement in a devil-may-care way.

The splendidly scored "Finale" [T-10] is a beatific paean with a striking preface [00:01], which calls forth a magnificent, related, chorale-flavored theme (CF) [00:24]. Then CF parents increasingly joyous passages [02:10]. These wane into more circumspect ones [04:26] that become a dazzling version of CF [05:37]. Then this ebbs into an increasingly raucous rendition of CF [07:32], which ends the work with great finality.

Filling out this CD, there's Farkas's "Preludio e fuga (Prelude and fugue)" for large orchestra (1944-47), in which he toyed with twelve-tone technique. Consequently, due to Soviet censorship of Hungarian concert music during the 1940s and early 50s, this piece wasn't performed until 1957.

Oddly enough, the "Fuga (Fugue)" was written first (1944), and the "Preludio (Prelude)", three years later (1947). While the themes are dodecaphonic, their subsequent handling doesn't conform to the rigid principles of Serialism.

The "Preludio (Prelude)" [T-11] is a Bach-like Sinfonia with three, catchy, adjoining themes [00:01, 00:39 & 01:11]. These are repeated [01:22], and then this part ends with a forceful version of them [02:46]. As for the "Fuga (Fugue)" [T-12], it's a double one with two, related main subjects that are respectively, melancholy [00:01] and flighty [01:35].

What's more, both are somewhat reminiscent of those ideas in the "Preludio (Prelude)". Then the ones here wax and wane into sad, clarinet-solo-tinged passages [04:57]. They bring the work as well as this release to a tranquil conclusion.

These performances are by the Budapest Symphony Orchestra MÁV (MÁVSymO) under Hungarian conductor Gábor Takács-Nagy (b. 1956). They deliver commendable accounts of all three selections. Those who liked Toccata's previous volume of this composer's orchestral works (see 31 January 2018) will definitely want this one.

The recordings were made during 2016 (15-17 & 20-25 June), 2017 (24-26 April) and 2020 (13-14 January). They took place in Budapest at Hungarian Radio's Studio 22 as well as the one associated with this orchestra. However, there's no indication as to when or where each piece was done.

Generally speaking, they all present consistently hefty sonic images in pleasant, warm surroundings. What's more, there's no feeling of that confinement frequently associated with "studio" recordings. The orchestral timbre is characterized by acceptable highs, a good midrange and clean bass. Had this been an SACD, it probably would have gotten an "AUDIOPHILE" rating.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P251031)

German composer-conductor Julius Otto Grimm (1827-1903) was the child of German-born parents in what's now known as Pärnu, located some 80 miles south of Estonia's capital of Tallinn. He had a nascent fondness for music, and studied philology at the University of Tartu about 100 miles east of his hometown.

After graduating in 1848, Julius moved to Saint Petersburg, Russia, where he became a home tutor for a wealthy family. His first compositions were published around this time. And then the years 1851-52 saw Grimm pursue musical studies at the Leipzig Conservatory (aka University of Music and Theatre Leipzig), some 110 miles southwest of Berlin.

In 1853 he met Johannes Brahms (1833-1897), who liked Julius's music, and became a lifelong friend. Then during 1855, Grimm held "Professor of Music" as well as "Choral Conductor" positions in Göttingen, 140 miles west of Leipzig. And 1860 saw him become conductor of the Musikverein (Music Society) in Münster, 150 miles north-northwest of Göttingen.

For the next 40 years he would distinguish himself there. More specifically, he was appointed that city's "Royal Director of Music" (1877). Grimm also held a professorship in addition to getting an honorary doctorate at the Royal Theological and Philosophical Academy (now the University of Münster) during 1885. Then in 1890, he became a full member of the Berlin-based Prussian Academy of Arts.

Julius would live out his days in Münster, and leave a meager number of works. We're treated to two orchestral ones here, the first being his four-movement "Symphony in D minor", Op. 19. This was probably written in 1852 at the Leipzig Conservatory (see above), and to paraphrase the composer, "caused him five weeks of truly furious work, tribulation, and labor".

The first movement [T-1] has a "Sostenuto (Sustained)" pensive introduction [00:02] hinting at what's to come. Then the "Allegro (Fast)" remainder of it [03:20] begins with an impressive theme [03:27]. This is followed by a related, more lyrical second [04:28], which gives way to a fortissimo, "marcato (Forceful)", hymnlike third [05:27].

After that, these ideas are repeated [06:16], and the first two nourish a contemplative development [09:00]. Then the latter bridges into a thrilling recapitulation [12:18], which also includes that hymnlike number [13:32]. And subsequently, all of the foregoing evokes a pause followed by a nostalgic postscript. It has a powerful coda [15:52] that brings this movement to a boisterous conclusion.

The second one [T-2] is an "Andante (Slow)", stately "Trauermarsch (Funeral March)" [T-2]. It starts with a striding thought [00:00] that surrounds a lachrymose section [03:24-09:00], and ends things full circle.

A "Presto (Very Fast)" brisk, "Scherzo" follows [T-3]. Its similar outer sections feature a flighty ditty [00:00] having a couple of songful moments (SM) [00:51, 01:48]. Moreover, the former bracket a comely, SM-based trio [02:28-03:38], and end this movement in the same spirit as it began.

The "Allegro vivace (Fast and spirited)", merry "Finale" [T-4] is a festive rondoesque affair. It has an expeditious, refrain-like, thematic nexus with scurrying first [00:00] and "Dolce (Tender)" second [00:46] ideas. This alternates with related, respectively yearning [02:45], valiant [03:24], amorous [05:16] and capricious [06:01] segments. Then the latter bridges into festive remembrances of that nexus [07:46]. It has a jubilant coda [08:39] that ends the work with great gusto.

After that we get this composer's "Second Suite in Canon Form in G major", Op. 16. It was completed in 1870, and dedicated to Brahms, who thought highly of it. Incidentally, some program notes of the time called this a "symphony in canon form", and in that regard, it has four movements.

The opening "Allegro con brio (Lively with spirit)" one [T-5] begins with a vivacious, baroque-like tune [00:00], followed by a related, more regal, "risoluto cantando (decisive and singing)" idea [02:09]. Then the foregoing is reworked [02:52], giving rise to an accomplished developmental episode [05:22].

Subsequently, the latter calls up an affecting recapitulation [07:56] that waxes and wanes into a moving afterthought [09:57]. This has a triumphant, timpani-reinforced coda [10:57], which concludes the movement definitively.

A "Tempo di Minuetto (Minuet tempo)" marked second [T-6] opens with an appoggiatura and dotted note spiced, courtly dance [00:00]. It gracefully moves about, and after a brief pause, there are related, somewhat austere passages [3:05]. However, the initial ones reappear [05:48], thereby ending things uneventfully.

Next, there's a G-minor, "Molto adagio, cantabile (Very slow and songful)", third movement [T-7]. It's a theme and Variations, which commences with the strings playing a solemn idea [00:00]. And after that, the latter appears in several, varied guises. These range from sprightly [02:36] to yearning [03:26], hopeful [04:07], pert [04:53] and nostalgic [05:17, 05:43]. But a euphoric one [06:24] brings the movement to a peaceful conclusion.

Then it's back to G major for an "Allegro assai, alle breve (Very fast and concise)" marked "Finale" [T-8]. This starts with a vivacious ditty [00:00] followed by two tuneful counter-melodies [00:35 & 01:24]. The foregoing material is briefly examined [01:59], and parents lengthy, rhapsodic passages [02:35]. However, they finally wane into a joyous rehash [05:24] of the opening measures, which end the work and disc with a smile.

Both performances are by the Sinfonieorchester Münster (Münster SO) under German conductor Golo Berg (b. 1968). They give us superb readings of music that in lesser hands could come off as somewhat mundane. Those liking the Brahms symphonies, should investigate this release. For that matter, classical collectors fond of early romantic orchestral works will probably relish it.

A co-production of CPO and Westdeutscher Rundfunk (WDR), the recordings were made 27-28 September [T-5 thru 8] and 14-15 December [T-1 thru 4] of 2021 in Theater Münster. Despite the different occasions, they project consistently, generous sonic image in warm, pleasant surroundings. The instrumental timbre is characterized by pleasant highs, a good midrange and clean bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P251030)

Over the past four years this American composer-pianist-organist-teacher has appeared annually in our newsletters (see 31 August 2021, 31 March 2022, 30 June 2023 and 31 October 2024). Here she is again on a recent, magnificent Naxos release. This time around we're treated to three concertos as well as a splendid orchestral arrangement of some infectious dances for the piano.

Florence Beatrice Price (1887-1953) led a very interesting life, and would leave a significant body of works across most genres. That said, the program here begins with her "Violin Concerto No. 1 in D major" (1939).

An extensive, three-movement work, it starts with a lengthy, "Tempo moderato (At a moderate tempo)" marked one [T-1]. This has a winsome orchestral preface [00:03] soon followed by the soloist playing a lovely theme [01:25] set to a stirring tutti accompaniment. The latter is food for a sweeping serenade [02:00] with frequent, virtuosic violin tidbits as well as a sprightly cadenza [06:57-07:37].

Subsequently, there are respectively forceful [07:43], amorous [07:59], searching [08:36], melancholy [09:00], and anxious [09:48] segments that are followed by an extensive cadenza [10:57-11:59]. Then charming, folklike passages [beginning at 12:00] with bravura moments conjoin frisky ones [15:52], which end the movement smilingly.

The "Andante (Slow)" second [T-2] is beautifully scored, and has lovely cantabile melodies. It opens with a winsome tune for the orchestra [00:00], which is soon succeeded by the soloist playing a related, somewhat blues-like number [00:52]. Then there are rhapsodic passages [02:03] with a tiny violin spasm [03:07-03:20]. But the music continues in yearning fashion [04:00], thereby gently closing this movement.

It's followed by an "Allegro (Fast)" third one [T-3] that's a serene perpetuum mobile. This starts with a flighty orchestral melody [00:00] plus an attention-getting moment for the soloist [00:32]. Then the violin takes off with a catchy ditty [01:19]. This parents contemplative passages [01:42], which meander about, while becoming increasingly agitated. But that initial violin tune reappears [03:38] and ends the concerto in sprightly fashion with some final flourishes for all [05:20].

Price's "Violin Concerto No. 2 in D major" (1952) is in a single movement, which has numerous, adjoining segments. It opens "Tempo moderato (At a moderate tempo)" with commanding orchestral passages [00:00]. These are followed by a heady entrance for the soloist [00:39], who plays a wily theme [01:35] that's cause for a delightful, perky episode [03:36]. Then the latter gives way to a lush, melodious, second idea [03:58].

These two thoughts parent respectively vivacious [05:42], spiritual-like (SL) [07:31] and gallant [09:28] sections with some captivating violin work. Then there's a salient moment [13:08] succeeded by a wild episode [13:23] with cadenza-esque fireworks [14:18]. However, another lovely SL one [14:41] is followed by a dazzling afterthought [15:47] that brings this succinct work to a magnificent ending.

The score for Florence's "Piano Concerto in One Movement in D minor" (1933-34) was apparently lost soon after its first performances during the early 1930s. However, the initial manuscript was found in 2018. Then thanks to the editorial efforts of American engraver-orchestrator-composer, Nicholas Greer as well as the Utah Symphony Orchestra's (USO) principal librarian, Clovis Lark, we have our next selection, which is their realization of the original work.

As presented here, it falls into three movement-like segments, where each is given a separate track [T-5 thru 7]. The "Andantino (Ambulating)" first [T-5] begins with a fetching trumpet call [00:00] intermittently picked up the rest of the orchestra [00:03].

This prepares the way for the piano, which makes a grand entrance [00:29] playing a very Romantic music flavored, bravura main theme. The latter then appears in various versions, which range from profound [03:17] to spirited [05:10] as well as commanding [05:36]. And after that, a rather animated one [07:30] with flamboyant piano passages ends the first segment triumphantly.

The "Adagio cantabile (Slow and songlike)" middle one [T-6] has a gentle orchestral introduction [00:00] hinting at an enamoring melody soon played by the soloist [00:37]. This is the material for a gorgeous oboe-piano duet [00:49]. It has a nostalgic episode for the soloist [03:49] that closes the segment tenderly.

Subsequently, Florence serves up a catchy third [T-7]. It has an "Andantino (Ambulating)" orchestral opening [00:00], which suggests an engaging number soon played by the piano [00:23]. This is an "Allegretto (Lively)", folksy Juba dance that becomes increasingly spirited. Then it makes a wild last appearance for all [03:02], thereby bringing the work to a sensational ending.

Mrs. Price wrote many solo piano pieces, one of her most winsome being a suite of three titled "Dances in the Canebrakes" (1953). Then shortly after her death, Florence's colleague, American composer William Grant Still (1895-1978) orchestrated it, giving us what's next.

It evinces 19th-century African-American music, the first dance being titled "Nimble Feet" [T-8]. This is a fascinating frolic, where there's never a dull moment. As for the following "Tropical Noon" [T-9], it's set to a persistent, habanera-like rhythm that's reminiscent of Afro-Caribbean music. Then there's "Silk Hat and Walking Cane" [T-10], which is a spunky Cakewalk. It ends this piece and disc in a most engaging manner.

These performances feature the Malmö Opera Orchestra (MalOpO) based in Malmö, Sweden, some 380 miles southwest of Stockholm. Under American conductor John Jeter, they deliver outstanding support to both soloists, French violinist Fanny Clamagirand (b. 1984) and Taiwanese pianist Han Chen (b. 1992). Maestro Jeter and this orchestra then go on to give a superb account of those dances.

The recordings were made 19-22 March 2024 at the Malmö Opera House. They project consistently cogent sonic images of these works in a choice venue, with both soloists centered and well highlighted against the orchestra. Fanny's violin tone is concert quality, while Han's piano is well-captured. The overall instrumental timbre is about as good as it gets on conventional discs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P251029)

With the Russian invasion of Ukraine (2022), composer-pianist Valentin Silvestrov (b. 1937) found it necessary to leave his country. This involved a harrowing departure (see the album booklet), after which the Silvestrov family took up residence in Berlin. They now live there quite comfortably, but greatly miss their homeland.

As a composer in exile, Valentin has gained worldwide attention and written a significant body of works across most genres. Two in the orchestral category receive their world premiere recordings on this recent Naxos release. It comes on the heels of one we told you about not long ago (see 31 December 2024).

His "Violin Concerto" (2016) has four adjoining movements, where each is given a separate track [T-1 thru 4]. The first is a somber "Elegie (Elegy)" that begins with an ominous, "Allegretto (Lively)", orchestral introduction [00:02]. It hints at an "Andante (Slow)", dark theme soon played by the soloist [00:54].

Then this idea is the subject of a contemplative dialogue between the two. It has a lovely "Animato (Animated)" segment [04:10-05:32] that gives rise to an "Adagio (Slow)" one [05:33], which conjoins an "Intermezzo" [T-2]. The latter is an "Allegro (Fast)" series of vacillating, violin-gilt passages that call up an "Andante (Slow)" marked "Pastorale" [T-3].

Here the soloist and tutti deliver a beautiful, bucolic reverie with some piquant, pizzicato moments [00:33, 03:30 & 04:49]. Then the foregoing transforms into a lovely, "Andantino (Leisurely)", closing "Serenade" [T-4]. Right from its beginning [00:00], the composer, who was also an accomplished pianist, has a piano mimic the violin. Both instruments, along with some adoring orchestral accompaniment, bring the work to an ethereal ending that simply fades away.

Silvestrov's "Symphony No. 8" (2912-13) completes this CD. It's in six attacca movements, and like the preceding selection, each is given a separate track [T-5 thru 10]. The first [T-5] gets off to an "Andantino (Leisurely)" start with a lengthy, heuristic idea [00:00] that undergoes an "Adagio (Slow)", exploration [01:15], Then the latter transitions into "Più mosso (More lively)" memories [04:00] of the opening measures.

They conjoin the second movement's [T-6] "Moderato (Moderate)", itinerant opening [00:00], which invokes an "Allegro (Fast)" segment [01:55]. Here fretful passages become "Allegro assai (Very fast)", increasingly disturbed ones [01:55]. But they then wane into "Maestoso (Majestic) moments [03:41].

These become a comely, "Andantino (Leisurely)" marked "Intermezzo" [T-7], where that piano (see above) reappears [00:00]. And incidentally, the music here is occasionally spiced with some moderately dissonant strings.

Then the foregoing fades, thereby conjoining the fourth movement's [T-8] sinister, "Andante (Slow)" introduction [00:00]. This erupts into skittering "Allegro assai (Very fast)" passages [01:30]. Then these become "Allegretto (Lively)", reminiscences of past ideas [07:37] that turn "Andante (Slow)" [08:51].

They call up the fifth movement [T-9], which has a "Moderato (Moderate)", malefic opening [00:00]. But this turns "Allegro vivace (Fast and sprited)" [01:55], thereby evoking the "Dolce leggiero (Tender and nimble)" marked sixth movement [T-10, 00:00].

It has an opening, flute-clarinet-piano-initiated ditty [00:05], which sounds somewhat like a succinct, flighty inversion of the Symphony's opening idea. Then the one here floats about in delicate, colorfully scored passages. However, these gradually evaporate, thereby ending the work and this disc uneventfully.

As with that previous Naxos-Silvestrov disc (see 31 December 2024), these performances feature Polish violinist Janusz Wawrowski (b. 1982), and the Lithuanian National Symphony Orchestra (LithNat SO; aka LNSO) under English conductor Christopher Lyndon-Gee (b. 1954). Once again, they give us superb renditions of two more rarities by this composer.

The recordings took place 19-20 [T-1 thru 4] and 21-22 {T-5 thru 10) September 2022 at the LNSO's Hall in Lithuania's capital of Vilnius. Both present lifelike sonic images of the LNSO in a superb venue. Wawrowski's violin as well as those frequent piano appearances are well captured and highlighted against the orchestra. That said, the overall instrumental timbre is a mixture of affable highs, good mids and lean, clean bass. Moreover, this release, like its predecessor (see 31 December 2024), is about as good as conventional CDs get.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y251028)