The National Philharmonic Orchestra opened the season with a Bartók concert. The conductor Zoltán Kocsis also featured as a composer. Bartók transcribed five (nos. 1, 2, 11, 14, 12) of his Twenty Hungarian Folksongs (1929) for orchestra, but Kocsis now presented the whole work in an orchestral version. It is perhaps not an exaggeration to […]
When I first chanced upon the announcement of the National Philharmonic Orchestra's April 27th concert in the Concert Calendar, I immediately knew that that was the place for me. The choice of programme is virtually a symbol for Zoltán Kocsis's efforts at developing both the orchestra and the audience. Two Stravinsky works, which are rarer […]
If the names Béla Bartók and Zoltán Kocsis appear on a single concert programme, I make sure that I listen to the concert. And why shouldn't I? Because this evening embodies the opportunity for the spiritual encounter between composer and performer. An encounter, which soars high above the burgeoning but in many aspects, nonetheless shallow […]
The musicians are already tuning up in the rehearsal room of the National Philharmonic Orchestra. Manager László Samu gives instruction how items are to be packed up at the weekend. Some things are to sent to a warehouse in Soroksári Rd, others to the Castle District – because by September 30th, they all have to […]
The National Philharmonic Orchestra performs Bartók's Twenty Hungarian Folk Songs in a transcription by Zoltán Kocsis. On Thursday, the National Philharmonic Orchestra will perform Bartók's Twenty Hungarian Folk Songs, conducted by Zoltán Kocsis who has also orchestrated some of them. Two questions immediately strike the average music lover: what is this work? And why does it […]
The National Philharmonic Orchestra performs Bartók's Twenty Hungarian Folk Songs in a transcription by Zoltán Kocsis. On Thursday, the National Philharmonic Orchestra will perform Bartók's Twenty Hungarian Folk Songs, conducted by Zoltán Kocsis who has also orchestrated some of them. Two questions immediately strike the average music lover: what is this work? And why does it […]
Katalin Károlyi was the weak link at the latest concert of the National Philharmonic Orchestra, which is primarily surprising because audiences generally react better to concert pieces featuring a human voice. The orchestra's concert otherwise comprised of rarities: Stravinsky, a barely known Bartók (Four Orchestral Pieces), Rachmaninov orchestrated by Respighi, all things to alarm audiences. […]
This disc is not a true SACD, the two works for piano and orchestra being licensed from Philips recordings made in the mid-1980s, so I am limiting this review to regular stereo (which I have to confess I prefer anyway, at least to most surround-sound recordings). Zoltan Kocsis' performances of the early but delightful Rhapsody […]
This disc is not a true SACD, the two works for piano and orchestra being licensed from Philips recordings made in the mid-1980s, so I am limiting this review to regular stereo (which I have to confess I prefer anyway, at least to most surround-sound recordings). Zoltan Kocsis' performances of the early but delightful Rhapsody […]
This disc is not a true SACD, the two works for piano and orchestra being licensed from Philips recordings made in the mid-1980s, so I am limiting this review to regular stereo (which I have to confess I prefer anyway, at least to most surround-sound recordings). Zoltan Kocsis' performances of the early but delightful Rhapsody […]
