FÖLD ÉS ÉG

1. "Manticore Érkezése I" (1:50) straight into the Keith Emerson-like classical piano exposition! Quite dynamic. Flute (and drums) join in during the second minute. (4.5/5)

2. "Manticore Érkezése II" (6:37) leave the piano and switch into full ELP prog symphonia. So well executed and recorded (especially the keys and drums)! Even the joinder of the vocal works--great melodies! As if ELP released something new and fresh--and better than much of their previous discography. (9.25/10)

3. "Enigma" (1:25) one of the band's classic pseudo-monastic vocal weaves. Cello, trumpet, and tuned percussion in support. (4.5/5)

4. "Rondo" (3:40) drums open this before piano and bass join in with a frenzied jazzified piece. Hammond organ takes the lead in the second verse. Well-constructed and -performed ragtime jazz. (8.75/10)

5. "Zene Gitárra" (3:20) solo classical guitar performed over Nature/bird noises. Perhaps it was recorded in a garden! Impressive playing though the composer's melodic sense is not very familiar or comfortable to me. (8.667/10)

6. "Leltár" (4:02) opens with more church-like choral vocals--a cappella--this time sounding more like the Slavic or Balkan folk or Orthodox traditions than Western monastic. They definitely sound as if they're singing with quite some respect even reverence. A lone oboe fills the final minute, repeating the same melody that the vocalists had used. (8.875/10)

7. "Cisz-Dór Koncertetüd" (3:22) back to Emersonian piano expression--another one sounding like one of Keith's interpretations of some more recent jazz-influenced classic master like Aaron Copeland. Solo piano throughout. Impressive playing. I just like a little more rock to be integrated into my prog. (8.667/10)

8. "Puer Natus In Betlehem" (6:02) complex "strings" (keyboard) arrangement with trumpet soloing over the top, playing a slow dirge-like piece. Again, very respectful bordering on reverent. Nice tune--especially for use as a church processional or wedding warm up. (8.75/10)

9. "Júdás" (9:40) back to the rock/prog forms and sounds, this one sounds almost stage-ready like something for a Broadway musical. Nice performances--especially from Ferenc Torna's Robert FRIPP-like guitar and Péter Pejsik's bass. Musically, this could very well have come from some 1970s RPI master like PFM, BANCO DEL MUTUO SOCCORSO, or MUSEO ROSENBACH. The excitement builds the further one gets into the song until all is lost and the music and mood become quite somber, almost sad. (17.5/20)

10. "Bár Éjszaka Van" (7:06) very spacious, almost arid and deserted soundscape within which a male voice narrates a story with some theatricity while the band's individual instruments add their independent contributions with intermittent flourishes, barely disturbing the otherwise-stark background. I very much like this as it performs a function that I believe progressive rock music is very well suited for: that of agent of storytelling. I no not what the narrator is saying, but I very much appreciate it and believe that his story has a most excellent vehicle to support and deliver it. Again, I feel that there is a very strong connection to the RPI traditions with this song. (13.75/15)

11. "Kétezer Év" (13:20) a perfect expression for all of this band's extraordinary talents: composition, Emersonian, classical, folk and religious. A truly wonderful prog conveyance. (29.5/30)

Total time 60:24

A whole bunch of independent songs intended to showcase particular band members' talents à la Yes' Fragile, only this album has much more of an orientation to classical and folk traditions rather than rock and prog. I very much appreciate the band's commitment to their own native musical and linguistic traditions.

A-/five stars; an excellent collection of classically-oriented songs expressed by some very serious and dedicated musician/artists--something any true prog lover would appreciate and enjoy in their more solemn and sober moods. Another minor masterpiece of music for this under-appreciated band.

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