Zoltán Kodály - Háry-János-Suite; Psalmus hungaricus (Ferenc Fricsay)

Information

Composer: Zoltán Kodály

• (01-06) Háry János Suite
• (07)      Marosszéki táncok (Dances of Marosszèk)
• (08-12) Galántai táncok (Dances of Galanta)
• (13)      Psalmus Hungaricus, Op.13

Ernst Haefliger, tenor (13)
Chor der St. Hedwig's-Kathedrale (13)
RIAS Kammerchor (13)
RIAS Kinderchor (13)

Radio-Symphonie-Orchester Berlin (1-6)
RIAS-Symphonie-Orchester Berlin (7-13)
Ferenc Fricsay, conductor

Date: 1953-1961/1999
Label: Deutsche Grammophon
https://www.deutschegrammophon.com/en/cat/4577452

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Review

Reference Recording: Fricsay’s Epic Háry János

Kodály’s Háry János Suite is a difficult work to perform badly, not that is hasn’t been done. Tuneful, colorfully scored, and full of folksy charm, it has been brilliantly recorded by the likes of Szell, Kertesz, Dorati, and Fischer. Fine as those versions undoubtedly are, though, no interpretation has ever quite matched Fricsay’s for its soulful, singing qualities in the slow movements, and it’s uproarious gusto in the quick ones. Fricsay finds characterful touches in the music that other versions only hint at–consider his hilarious spotlighting of the saxophone in the Battle and Defeat of Napleon. It’s a conception that spoils you for any other; it really does. This performance (in stereo), Fricsay’s last recording, is irreplaceable.

The same might was well be said of the (very good) mid-50s mono recordings of the two dance suites and Psalmus hungaricus. The Dances of Galánta, in particular, feature an irresistibly vivacious forward impulse, especially in the final section (sound clip). In the choral work, Ernst Haefliger is his usual reliable self in the tenor solos, while Fricsay secures excellent results from the combined choirs of St. Hedwig’s Cathedral and the RIAS. As I said, there are many fine versions of all of these pieces, but even in a crowded field Fricsay’s are special. When a conductor of genius takes lighter music seriously and lavishes on it his full, loving attention, the results can be far more profound than in more avowedly “heavy” repertoire. They sure are here.

-- David Hurwitz, ClassicsToday

More reviews:
http://www.musicweb-international.com/classrev/sept99/kodaly.htm
https://www.amazon.co.uk/Kodaly-Janos-Marosszeker-Psalmus-Hungaricus/dp/B00000IX83
https://www.amazon.com/Kodaly-Janos-Marosszeker-Psalmus-Hungaricus/dp/B00000IX83

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Zoltán Kodály (16 December 1882 in Kecskemét, Hungary – 6 March 1967 in Budapest) was a Hungarian composer, ethnomusicologist, pedagogue, linguist, and philosopher. He is best known internationally as the creator of the Kodály Method, which is widely taken up by pedagogues in Hungary and many other countries. His compositions blended Western-European style of music, including classical, late-romantic, impressionistic and modernist, with the knowledge and respect for the folk music of Hungary. Kodály and his compatriot Béla Bartók were lifelong friends, and champions of each other's music.

https://en.wikipedia.org/wiki/Zolt%C3%A1n_Kod%C3%A1ly

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Ferenc Fricsay (9 August 1914 – 20 February 1963) was a Hungarian conductor. Fricsay was born in Budapest and studied music under Béla Bartók, Zoltán Kodály, Ernst von Dohnányi, and Leo Weiner. He was known for his interpretations of the music of Mozart and Beethoven, as well as that of his teachers Bartók and Kodály. From the 1950s until his death, He spent much of his time in Germany as music director of the Bavarian State Opera (1956–1958) and as conductor of the RIAS Symphony Orchestra, the Deutsche Oper Berlin and the Berlin Philharmonic, recorded for the Deutsche Grammophon record label.
http://en.wikipedia.org/wiki/Ferenc_Fricsay

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