If works are to live they need constantly to renew their executant
champions. We cannot always be sustained by past exemplars and
lofty long-dead heroes. For this reason it is good to have this
collection which rather like the Telarc recording of the Rózsa
concertos for violin and cello offers a more natural perspective
than the fierce almost ill-tempered intensity of Heifetz and Piatigorsky.
Rózsa's often tempestuously aggressive Sinfonia Concertante
is here given a concert hall ambience that places the two
soloists further back and allows the orchestra more of the spotlight.
There is plenty of Bartókian point, barb, grit and resin in the
performance as well as a most poetic yield ((8:20 in I) that gratifies.
I think you will learn more about this work in this understated
and Delian approach than you will from the unremitting glare of
other performances. I am sure that Christopher Palmer - such a
champion of Rózsa - would have loved this version especially in
the green-leaved ecstasies of the Tema con variazioni
has that long-day-ended warmth also to be
found in Kodály's Summer Evening
. This is Rózsa
at his considerable best. Amongst the ‘Hungarianisms’ do
I also hear a laid-back cowboy Hollywood romance? It’s
reminiscent of Shenandoah
and the great rivers -
a sort of rolling Vltava
. It’s a lovely piece extremely
here receives its second recording having
been premiered by Dorati with the National Symphony in Washington.
Its first recording came late on with David Amos, while a third
has just arrived courtesy of Chandos (see review
I first encountered the work in a studio concert broadcast in
the 1970s for one of Rózsa's birthdays. It was enthusiastically
done by Ashley Lawrence with the BBC Concert Orchestra, heroes
of a thousand studio tapes and - in repertoire terms - a far more
significant orchestra than their third-tier reputation suggests.
is in three movements - now there’s a surprise!
The first is a vicious little bubbling Intrada
, eager with
the vehement aggression of one of his film noir
of the 1950s. The Intermezzo Arioso
is typically haunted
- a landscape lent ominous monotone by a solar eclipse; there
is a chill in the air. An explosive Waltonian Finale - allegro
brings things to a wild-eyed end after a slackening
of tension in the central core. This piece would pair neatly with
say Moeran's Sinfonietta
or Constant Lambert's Music
Nicely done if you would like to hear a less obvious Rózsa orchestral