Kocsis

If anybody is, then Zoltán Kocsis is truly a musical artist in the Renaissance sense: he explores ever greater areas of his profession, and takes possession of new realms. Initially, we looked on with incomprehension, asking why as a pianist of genius, he did not devote himself exclusively to his instrument. Why was he dissipating his creative energies is so many fields: teaching, conducting, writing essays, creating concert programs, forming societies and building an orchestra – and of course, there was his composition as well. But these days, we really have to acknowledge that with Kocsis, this is not some sporting achievement, but utilising the Wagnerian term – a kind of “Gesamtkunstwerk” activity.

This is quite simply one of the most important and consistently superbly executed recording projects of all time. Bartók's piano music isn't exactly overrepresented on disc, being as it is without doubt one of the most important piano oeuvres ever composed, and in the hand of Zoltán Kocsis, doubtlessly one of the greatest pianists alive today, one should expect some superb discs where the works at long last receive the treatment they deserve. In fact, the actual result surpasses any possible expectations.

Decca presents the Complete Philips Recordings of Zoltán Kocsis on 26 CDs with the original jackets. Bringing together Kocsis' benchmark recordings of Bartók's solo piano works, acclaimed recordings of Bach's Art of Fugue, Chopin, Debussy and Dohnányi; Liszt, Rachmaninoff, and Bartók concertos; a disc of piano transcriptions by Liszt and Kocsis of Wagner; and the first CD release of Greig's Sonata in E minor.

So what if Liszt spent most of his life in France and Germany and never learned to speak Hungarian? The music of the Magyars' fiery favorite son played by a hot-blooded local boy is an irresistible combination. Even the delightful Dohnanyi filler (variations on ''Twinkle, Twinkle, Little Star'') doesn't really douse the flames. Put it in the CD player and let 'er rip! Just be sure to remove all flammable vestments first. (Entertainment Weekly)

Excerpts from Wagner operas have, on countless occasions, been transcribed for piano. A fairly long list of transcribers could be made, starting with Joseph Rubinstein, the first transcriber of an extract from Parsifal, going on through Bülow to Brassin, then from Carl Tausig to August Stradal, to speak only of those who were pupils of Liszt. It is an established fact that Liszt, the greatest master of transcription and paraphrase, made very little use of Wagner’s works. In this highly-regarded recording the transcription honours are shared between Liszt and Kocsis.

SOMM Recordings celebrates the mastery of a 20th-century original with superb new recordings of Kurt Weill’s Violin Concerto and Second Symphony by Tamás Kocsis and the Ulster Orchestra conducted by Jac van Steen.

It is obviously not the sentimental aspect of Rachmaninov's music that has attracted Zoltan Kocsis to record all of the piano concertos for Philips. His view of the composer is more involved with making an impact through spine-tingling virtuosity, balanced by moments of poetic insight.

It is obviously not the sentimental aspect of Rachmaninov's music that has attracted Zoltan Kocsis to record all of the piano concertos for Philips. His view of the composer is more involved with making an impact through spine-tingling virtuosity, balanced by moments of poetic insight.

One might call this delightful collection “Richard Strauss in Hungary”, so obvious – and nourishing – is the German master’s influence on both composers. Bartok’s two early essays are, like Beethoven’s first published piano concertos, catalogued in reverse order – the ‘Op. 1’ Rhapsody having been composed after the ‘Op. 2’ Scherzo. Both combine Lisztian exuberance with a notably Straussian sound-palette.