Fischer’s idiomatic foray into this well-worn repertoire is distinguished by tonal lustre and high spirits, with the authentic gipsy violin of Jozsef ‘Csocsi’ Lendvay lending a touch of added spice to No. 3 (i.e. the piano No. 6) and a tangy cimbalom much in evidence throughout. Rubato is legion, though more improvisatory than schmalzy. Liszt’s orchestrations are used for Nos. 4-6, with Liszt and Doppler in No. 3 and Doppler alone – more an elaboration than a straight orchestration – in No. 2. I’ve never particularly liked Doppler’s version of the Second, but Fischer’s performance is so vivid, so imaginative of phrasing, that I am almost won over.
Charm is in generous supply everywhere. Just try the jaunty ‘second theme’ 5'41'' into the First Rhapsody, or the gentle brush of cimbalom tone 4'39'' into the Second, or the cadenza sequence in No. 2 (starting with clarinet and swooping, gipsy-style double-basses at 2'15''). There is plenty of power, too, with meaty brass and growling crescendos at the start of No. 4, and a riot of colour to close No. 6. Fischer’s Hungarian Rhapsodies are as frisky as foals and as flavoursome as goulash, and are further aided by excellent, full-bodied sound (especially impressive at high playback levels). Those wanting something a little less free might prefer Dorati and the LSO on Mercury (drier sound but with no less impact), but for my money Fischer’s are as dashing and as dancing as anyone might want. Strongly recommended.'