Frid - Orchestral Music: Historic Recordings
£13.25
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Label: Etcetera
Cat No: KTC1633
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 8th February 2019
Contents
Works
Concerto for 2 pianos and orchestra, op.55Concerto for 2 violins and orchestra, op.40
Etudes symphoniques, op.47
Paradou: Fantaisie symphonique, op.28
Rhythmical Studies for chamber orchestra, op.58
Artists
Theo Olof (violin)Herman Krebbers (violin)
Netherlands Radio Philharmonic Orchestra
Het Brabants Orkest
Conductor
Willem van OtterlooWorks
Concerto for 2 pianos and orchestra, op.55Concerto for 2 violins and orchestra, op.40
Etudes symphoniques, op.47
Paradou: Fantaisie symphonique, op.28
Rhythmical Studies for chamber orchestra, op.58
Artists
Theo Olof (violin)Herman Krebbers (violin)
Netherlands Radio Philharmonic Orchestra
Het Brabants Orkest
Conductor
Willem van OtterlooAbout
This is a stunning performance by the Radio Philharmonic Orchestra of his Concerto for 2 Violins conducted by Willem van Otterloo and with Theo Olof and Herman Krebbers on violin. Geza Frid was born in 1904 in the town of Maramarossziget in north-eastern Hungary, a region that is now part of Romania. He began piano lessons with his mother at the age of four, and later from the director of the local music school; he was able to copy almost everything faultlessly by ear. He gave his first piano recital at the age of seven.
He and his parents moved to Budapest two years later in 1913 so that he could continue his piano studies at the renowned Franz Liszt Academy of Music. In 1924, Frid was the only pupil in the history of the Academy to sit his final examination in two subjects in the same year: piano and composition. He naturally owed much to his teachers Bela Bartok (for piano) and Zoltan Kodaly (for composition), not only because of the unique pedagogical qualities of these two great musicians, but also through their counterbalance to and personal support against the National Socialist and anti-Semitic regime of Admiral Horthy.
The universities at that time were required to limit the numbers of Jewish students to a particular quota; it was thanks to such dictatorial measures and his own hopeless and desperately poor living conditions as a Jewish musician that Frid soon came to decide that he could no longer live in his homeland. He nonetheless remained friends and kept in contact with both Bartok and Kodaly until their respective deaths in 1945 and 1967.
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