Quality Time in NYC is a vocal jazz project by Erik Leuthauser, recorded in New York with esteemed collaborators such as Alan Broadbent, Ken Peplowski, Allen Farnham, Steve LaSpina, and Rich DeRosa. The album features 19 tracks, including standards, rare gems, and one bonus track with Erik's original German lyric to Miles Davis's "Little Willie Leaps"

Toccata Classics continues its exploration of the music of Hungarian composer Ferenc Farkas (1905–2000) with this selection from his huge choral music output. It ranges in mood from the folk-like simplicity of the Missa Secunda in honorem Sanctae Margaritae and his bright carol settings via the astringency of some late a cappella pieces to the fresh and buoyant Christmas Cantata. This recording is also the first by the new London-based chamber choir Ascolta founded in 2015 by Peter Broadbent, one of Britain’s leading choral conductors, known for his consistent commitment to contemporary music.-- S

REVIEW:

Ferenc Farkas (1905–2000) was a beloved professor at the Budapest Academy of Music and a composer whose music had eluded me up to now. I am glad to make his acquaintance because he wrote classy, charming fare that doesn’t have to work overtime to make its points. Several of these works are accorded their first-ever recordings by Maestro Broadbent’s Ascolta Ensembles, and we are the better for their efforts.

Farkas’s 12-minute Mass is an affectionate, straightforward take on the liturgy. (I’d love to sing it someday.) The carols and ‘Ave Maris Stella’ are the true charmers of the set. The Emmaus Cantata after St Luke is made of sterner stuff and is also worth getting to know.

-- American Record Guide

Gian Carlo Menotti was sent by his mother from Italy to study at the Curtis Institute of Music in Philadelphia and achieved nearly immediate success following his schooling: when he was just twenty-two, 'Amelia Goes to the Ball' was performed at the Metropolitan Opera. 'The Consul' followed several years (and operas) later, and was greeted with critical acclaim, both for its musical and dramatic strengths, but for its topical nature. The story of a young family yearning for freedom from oppression had great resonance in 1950.
Menotti writes both words and music for most of his operas, resulting in an extraordinarily well-suited marriage of words and music. His sense for setting the English language--particularly for a non-native speaker--is finely tuned, and his vocal lines are always sensitive to both the notes and the words, rather than the music dragging the text along.
This recording of 'The Consul' comes from a production produced and directed by Menotti at the Spoleto Festival in 1998. The presence of the composer and the keen musical and dramatic aspects of the conductor and performers make this an excellent set.