Well said.

It seems to be Lake Balaton in Hungary.

Yes, it is at the Lake Balaton, I think the photo was taken from the castle of Szigliget. The mount which looks like a small volcano (as it was a volcano) is called Badacsony. Anyway, thank you for the upload!

@@domonkosdergez5645 Thanks for the additional info. Would you recommend this place for someone wishing to visit Hungary?

@@moussetache1815 Of course! I think this is one of the most beautiful places in Hungary. Good wines, beautiful castles, etc. I would recommend.

Thanks a lot

26:46 the 3rd movement

@@user-overload This is what I meant. "Taken in" , rather than "taken from" too should have pointed that out for you.

@@user-overload No bad feelings.

I look at it this way. Hubay was born in 1858, within a decade of the crushing of the revolution (in 1849 by the Habsburgs with the force of the Russian Tzar), i.e. well before the Compromise of 1867, i.e. in an atmosphere of utmost despair in Hungary. No wonder Hubay's talent practically emigrated and became famous first and foremost in WEurope. Moor was born 5 years later but practically grew up in the optimistic atmosphere following the Compromise. No wonder he didn't really find other than a kind of hotch-potch style, which is, sorry for my honesty, is prevalent in this concerto, albeit with nice, likeable moments within. The next composer you mention, Dohnányi, was born a full decade later, followed by Bartók, and then Kodály in 1882. Apart from the huge geographic distances among their birthplaces, I wouldn't call the time span between 1858 and 1882 just a "handful of years", considering the enormous historical changes in those almost 25 years. They could loosely be considered belonging to the same generation but even that is questionable, at least Hubay looking a bit out of place. But while the last three are widely and highly considered greats in Hungary, Hubay is only revered from a distance as a partner to Brahms and a lot less as a composer, with very little influence on later generations, at least incomparable with the last three and Weiner Leó, who you've forgotten although he was born only a mere 3 years after Kodály and who had a huge pedagogical impact, partly due to his quality as a minor composer, Moor Emil, or Emanuel Moor is totally forgotten in Hungary. At least in my several decades of listening to the classical radio channel(s) there almost incessantly, regularly browsing concert programmes and listening to many of them, I haven't ever seen or heard his name coming up, not to mention that he has never been played. Perhaps a pity, but, again, honestly, this is not such a really good piece meriting a mention alongside the above-mentioned greats. Or, forgetting him could be attributed to the academia again, which is, has always been, besotted by the great names we are accustomed to? Who knows.

@@petersimon5231 thanks for your thorough view. From my perspective, well, we can argue forever about the taxonomy and whether 25 years are a "handful" or "a lot". One can even legitimately always believe that the other "forgot" a name or that has included one in the bunch that should not. That's not an issue at all. Ultimately that a composer is revered more or less than others, more or less forgotten, more or less coming up in broadcast or live concertos or whatever, may have several degrees of explanation, sometimes clearer sometime not, and may perfectly be more or less unjust. It happened, happens and will happen again. I have an issue, though, with the hotchpotch definition of his music. I have to respect tastes and opinions but I have to voice that I disagree, entirely. That is also not an issue, of course. I sense Moór should be known more than he actually is, not that he should be reputed a forgotten genius. However his music is at least worth to be regularly performed and appreciated. Not only the "innovative" composers who influenced following generations are worth a place in a concert hall, I believe!

@@pietrolandri6081 Agreed.

@@petersimon5231 Thanks and best regards!

Wonder if John Williams is a fan.

@@musicstewart9744 No I believe he's actually an air-conditioner.

Not only championed - Moor actually composed this and some other pieces for Casals ("Hij componeerde ook een Tripelconcert voor het pianotrio Cortot-Thibaud-Casals") and others of the elite of the day. The Hungarian and English Wikipedia articles, though different, don't provide much info about such aspects but the Dutch one does! An important source if you are interested.

Brahms? I thought after the first bars.

Maybe when a woman is pregnant any music she often listens to gets absorbed into the rapidly forming brain of the fetus. If mother was into this perhaps you were being programmed to be susceptible when hearing it later in life. Just a theory but many things now taken for granted were once just theories.

Same chords as Brahms yeah. Thought the same thing, love it though