Hungarian-born composer Miklós Rózsa may always remain best known for his two decades of familiar film scores, from Double Indemnity to Ben Hur and even The Green Berets. He started out writing concert music, however, and even in the midst of writing epic four-hour film scores he continued to accept symphonic commissions. The story of the one for the lovely Hungarian Nocturne, Op. 28 (1964), is told in the booklet notes here; it was requested by a Southern American patron who wanted music that "charms and soothes," a ...
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Hungarian-born composer Miklós Rózsa may always remain best known for his two decades of familiar film scores, from Double Indemnity to Ben Hur and even The Green Berets. He started out writing concert music, however, and even in the midst of writing epic four-hour film scores he continued to accept symphonic commissions. The story of the one for the lovely Hungarian Nocturne, Op. 28 (1964), is told in the booklet notes here; it was requested by a Southern American patron who wanted music that "charms and soothes," a condition Rózsa only partly fulfilled. With large cycles of Rózsa works underway from the Chandos and Naxos labels, the composer's star would seem to be on the rise. This disc partially duplicates the contents of a BBC Philharmonic recording made under conductor Rumon Gamba; here, Mariusz Smolij, leading the Budapest Symphony Orchestra MÁV, is a bit more leisurely, giving the orchestra's horns two minutes of extra space in the Hungarian Serenade, Op. 25 (a work whose premiere was...
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