After deepening the piano works of Francesco Pennisi, Stefano Cascioli undertakes the exploration of the work of the Hungarian composer Ferenc Farkas (1905-2000).

The Hungarian composer had particularly close ties to Italy. This, however, was not only of decisive importance in his career but also an influence on the development of Hungarian music history through his students, which even indirectly left a mark on European music.

Farkas was the head of the composition department of the Budapest Academy of Music from 1949 to 1975; and his class produced such excellent composers as György Ligeti; György Kurtág; Emil Petrovics; Sándor Szokolay; Miklós Kocsár; Zoltán Jeney; Zsolt Durkó; and Attila Bozay. His legendary lessons played an important role in turning the interest of Hungarian composers toward Latin culture and loosening the grip of the German influence that lasted for centuries.

Farkas followed Respighi’s example both in his approach and in his referencing the musical past; but in terms of style Alfredo Casella and Gian Francesco Malipiero were closer to him. His songs and chamber works were soon successfully presented in the Italian capital; where the Teatro Indipententi performed the comedy of Amelia Della Pergola (stage name Diotima) Non ci sono più donne with his music on March 15, 1930.