"Yet there are still more delights to savour. Romanian-Hungarian composer, Levente Gyöngyösi‘s Sonata, composed for Seattle’s Zart Dombourian-Eby in 2009, is another example of excellent repertoire being composed (at last) for the until recently overlooked piccolo. In the first movement, [Jordi] Torrent (piano) and [Jean-Louis] Beaumadier (piccolo) are utterly impressive in their clean execution of the dramatic rhythms.


"The entire piece is characterised by an uninterrupted, rich invention, a brilliant composing technique in terms of both form and scoring, and an obvious “audience-friendly” tone. All of this, consequently, almost predestines the piece for a popularity unusual in the case of contemporary music. This was also supported by the enthusiastic welcome of the premiere.”


"The symphony, both in details and as a whole, shows signs of order and careful formation and even if we can recognise the sources of Gyöngyösi’s thoughts on a scale from jazz and Mahler, through Kodály, Bartók to folk music, I assume that Gyöngyösi is stubbornly working on building his individual world of music. The consistent devotion to his own way is by all means honourable and congenial. Iván Fischer and his orchestra approached the piece with undiminished concentration and respect and the suggestive and chiselled performance was enthusiastically welcome by the audience."


"To me, the following Ubi caritas seemed the most excellent composition with its polished and quite expressive harmonies, wright and pinking musical texture as well as a steady and economical formation. Nevertheless, the closing Confitemini also presented some innovation with the virtuosity and dancing sound of its Alleluia and again, a grateful challenge for the choir."


"Even though the improvised introduction of Gábor Hollerung, preparatory to the concert, did not adjust Gyöngyösi’s First symphony and Beethoven’s Ninth into an entirely dialectic unity, his enthusiastic words intended to tune the audience of a growing interest towards contemporary music, opening a way to the symphony written for the Dohnányi Orchestra of Budafok. Hollerung succeeded but Gyöngyösi’s piece deserved attention anyway because the fact that was acknowledged years ago is now evident: Gyöngyösi is an outstanding talent, a composer of a forever audience-friendly music of his generation."


"Despite Gyöngyösi's musical characteristics being quite difficult to place upon first hearing them (since the majority of his quotes and style-imitations can only b identified effortlessly by those familiar with European music history), I am still convinced that those without much insight into classical music would also soon get the feeling.  Especially if they start listening to Cantici Fratris Sole, track 6 on the CD. Extraordinarily genial is the soprano aria to the organ (track 9) which could hold on its own as a character song and the choir movement composed as a passacaglia (track 11)."