This journey through three centuries of music history starts with Bach and guides the listener all the way through to the present day. Framing the programme are performances by the teachers of the master class, with László Fassang opening the concert with his own transcription of Shostakovich's Festive Overture and Zsigmond Szathmáry closing it with Liszt's most famous organ work, the prelude and fugue he composed around the notes to the name "BACH”. The nine participants in the course, students from the Franz Liszt Academy of Music, the Bratislava Conservatory, the Hochschule für Musik Franz Liszt Weimar and the Conservatoire de Paris, will be performing representative works from the German, French and Hungarian organ schools. Comprising organ works by Bach, Mendelssohn, Vierne, Messiaen, Ligeti and Zsigmond Szathmáry, the programme also features a unique highlight in the form of Soma Lozsányi's organ transcription for six hands of the scherzo from Mendelssohn's string octet. In singular fashion, this public master class shows listeners the route to the final result, not just the result itself. Teachers and students will jointly seek out the possible answers to the most important question in the performing arts: "How can the ideas that the composer has committed to paper as a score be relayed in the most comprehensible possible manner?” What tools does Müpa Budapest's organ provide in service of this transmission? How can the 92 registers be used to mix the colours that best suit the character of the music? What would the composer say about all this if he were alive? And what about if he were right here with us on the stage? Questions and possible questions through which we arrive at the festive concert delivered to the audience. It will be like watching the staff of an exclusive restaurant prepare a banquet dinner under the guidance of two master chefs.
Playful and sometimes sharply dissonant melodies that have had every age group humming for at least half a century: the second concert in this year's New Orleans Swing Festival will serve as the official début of the István Gyárfás Trio's recently released album, Cartoon Jazz. "Gyafi”, as the trio's namesake is known, founded his line-up consisting of guitar, double bass and drums more than 30 years ago, and it has been going strong ever since, playing with soloists like Joe Murányi, Carol Cass, Sydney Ellis, Agostino DiGiorgio, Tommy Vig, Boško Petrović, Eldad Tarmu, Kim Hutchcroft and Herbie Mann. The band has already released five other records, with collaborators that include Csaba Deseő, Juli Fábián, Béla Szalóky and the American saxophonist Big Red Ron.
Their most recent album draws from a hitherto unexploited goldmine - the masterpieces of Hungarian animated film music. When recording them, they made every effort to preserve the unique character of the songs - and the humour of the jokes they contain. Discussing his work on the album, Gyárfás said, "I started out by getting in touch with Zsolt Pethő, one of Hungary's finest composers, who was enthusiastic about the idea. He said, 'Gyafi, go right ahead and use my songs! I'm sure it will be great!' Sadly, he didn't live to see the record's release, so with this material, we'd like to pay tribute to his greatness as a musician.”
In addition to these popular Hungarian melodies, the concert will also bring its trademark swing pulsations to music from foreign animated and puppet films, with vivacious improvisations from invited guest soloists. Coming to life on the stage will be the adventures of the Mézga and Flintstone families, Gusztáv, Frakk, Mirr-Murr, Mekk Elek, Dr. Bubó and the Pink Panther, but visitors who are more interested in enjoying jazz of the highest order than in the cartoon theme will have nothing to worry about.
Set among the ten-meter-high, slowly crumbling firewalls of Budapest, the troupe's artists embark on a shared journey around the hidden depths of their own personalities, while seeking to fulfill their unattainable desire to fly. In accordance with the philosophy of the genre, the creators do not tell a linear story. Eternal symbols of pre-historic times and representations of well known fairy tale and mythical situations help the audience feel at ease in a world that is trying to engage its emotions rather than its reason.
The title of the show refers to the rebirth of classical circus through the elements of nuovo cirque, a journey from night to day. Accompanied by live piano music, this first Recirquel creation has enchanted audiences across the world and toured in France two times, attracting outstanding critical reviews.
The première was an event of the Budapest Spring Festival.