I have a new friend from South India who told me that according to his old master the greatest artists can see music, they are able to experience it in its most plastic form, and their functions of life seem to work in harmony with it. On the cover of the Magony String Orchestra’s album György Szabados writes that Ferenc Kovács’s music is "visible". Szabados is right - somewhere deeply things work in the same way all over the world. When I was writing about the first Magony album (Gramophone, the autumn of 2001, 34th) I did not dare to declare what is sure for me when I listen to the new double album that Kovács is the greatest well known violinist rooted in folk music all over the country. His qualifications contribute in an ideal proportion to his inherited Hungarian-rustic sounding, his idea of freedom. The members of his orchestra (Sándor Budai, Kálmán Oláh, Beáta Salamon - violin, Csaba Novák - double bass, Ferenc Németh - voice) are all highly qualified musicians with qualifications in classical music. The Magony compositions – especially in the concert recordings of the first album, but also in the accompaniment written for the TranzDanz company – evoke with a good sense of proportion the boundless, flitting and grieving freedom of the Hungarian folklore which is never bombastic. His rhytms are always very precise – his qualification is manifested the most obviously at this point – and they give an artistic limit to the cantating sound of the violin. The world of his music evokes the Hungarian people’s most ancient memories by an intensive force. Ferenc Kovács’s French horn can also be heard at the end of the first disc - the solo in the folk song played commemorating Imre Soós is simply beautiful. We are grateful to the Gramy Publishing House which published this precious production without any support, only by its own resources.