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It is only a slight exaggeration to say that the programme of this disc can be considered the apotheosis of orchestration, because the works herein occupy a special place in the composers' oeuvre regarding the treatment of the orchestra. Dohnányi's orchestra, divided into three, positively wallows in the specific orchestral colours afforded by the opportunities of polyphony. Rachmaninov's symphony, although written for a conventional ensemble, is perhaps the composer's most interesting, most daring score, in which the most striking feature is the extraordinarily virtuoso treatment of the three trumpet parts. For my part, I too tried to act free from all anachronism, utterly true to the spirit of Debussy, when I undertook the transcription of an unjustly neglected masterpiece; this would clearly not have occurred to me if the original piano accompaniments had not suggested so clearly the possibility of orchestration. (Zoltán Kocsis)

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Recorded at three concerts, Kocsis brings the same qualities that distinguish his piano playing to his conducting. His control of rhythm and color in the opening, rarely recorded Festival Overture by Dohnányi is incredibly exciting. His control of strength and tempo in the closing, infrequently recorded Symphony No. 1 by Rachmaninov. And his control of the light and hue, light and shade in his never before recorded orchestration of seven songs by Debussy is amazingly apt and effective.

     —James Leonard, allmusic.com

...the clearest indication that there is something special going on in Budapest.

     —David Gutman, Gramophone, November 2004