Newspaper reviews

Concerning the Concerto for Three Violins and Orchestra, opus 78 : *

“… This piece, comprising four movements played without interruption, was created in close collaboration with the three soloists, who in return were rewarded with parts that suited them perfectly: virtuoso, dazzling and ebullient, in a catchingly playful style typical of Frid. …”
(Rogier Starreveld, Het Parool, 20 October 1970.)

“… a real musician. Someone with elegance and bravour, who doesn’t worry about a note more or less, and the soloists engulfing the hall dynamically, glitteringly and with aplomb. …”
(H.J.M. Muller, De Telegraaf, 20 October 1970.)

“… The significant orchestral part possesses a penetrating but lyrical character that this music demands. The piece was a great success. Soloists, composer and conductor Leo Driehuis received several curtain calls. …”
(Wouter Paap, De Waarheid, 23 October 1970.)


Concerning the Concerto for Two Violins and Orchestra, opus 55 : *

“… Even the tumultuous applause for Bach’s double concerto was surpassed when Olof and Krebbers presented Frid’s Concerto for Two Violins. […] The concerto is a real showpiece that the composer has intended for not only insiders, but for the wider public. …”
(Gerrit van Praag, De Waarheid, 23 October 1952.)

“… good-sounding music with a healthy sense of humour but without a trace of triviality. And this was achieved with a level of perfection that masked completely the various technical problems that certainly had to be overcome. …”
(J. van Voorthuysen, Haagse Courant, 23 October 1952.)


Concerning Paradou, opus 28 : *

“… The première, in the hands of Eduard van Beinum in the Concertgebouw, evidently pleased the audience considerably. Géza Frid had – a rare phenomenon – to return to the podium three times to acknowledge the applause. …”
(Algemeen Handelsblad, 16 October 1949.)

“… robustly constructed, melodiously warm and lyrical, and moreover most lucid. …”
(H.N., de Maasbode, 16 October 1949.)

“… The performance was a great success for the composer, which was not surprising, for it is fresh and candid music, exceptionally well executed, free of weighty problems. …”
(Bertus van Lier, Het Parool, 16 October 1949.)