Organ master class - closing concert
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.
Swinging Woody - Orsi Kozma Quartet
With her unique voice, Orsi Kozma is one of Hungary's most versatile female vocalists and a key figure on the country's jazz scene. She gained nationwide exposure as a member of Jazz+Az, and later with the Cotton Club Singers. Credited as a collaborator on more than 100 albums, she has worked in the recording studio with artists like Gábor Presser, László Tolcsvay, László Dés, Péter Novák, Ildikó Keresztes and Tony Lakatos. She has also played lead roles in musicals and made countless appearances at clubs and festivals both in Hungary and around Europe. For more than a decade, she has been living parallel lives straddling the pop and jazz worlds: in the former with her solo albums co-created with songwriter Krisztián Szakos, and in the latter at the head of the quartet that has borne her name since she founded it in 2008. Their first studio album was immediately nominated for a Fonogram Award. Currently working on her fourth solo record, Orsi will be whisking tonight's audience all the way to America and the New York of Woody Allen and swing music. The director, then known primarily as a stand-up comedian, started making his jazz-infused films in the city in the 1960s. Ever since, nearly all his films have been set in the "Big Apple” to the sounds of swing. As a fan of Allen's films, the great international metropolis that serves as their setting and their swing soundtrack, Orsi is giving her concert the feel of a trip to the iconic scenes, sites and eras of the director's cinematic oeuvre. Helping in this regard is one of Hungary's most qualified experts: actor András Kern, who not only provides Allen's Hungarian "voice” in dubbed versions of his films, he has also for decades played the lead in performances of Play It Again, Sam at the Comedy Theatre of Budapest.
Magdalena Kožená: Spanish Baroque Songs and Flamenco
José Marin, Serqueira de Lima, Juan Hidalgo, Santiago de Murcia, Sebastian Duron and José Martínez de Arce, all products of the 17th century, have something else in common as well: their compositions are almost never performed in Hungary's concert halls. Now, Magdalena Kožená - who developed an intimate relationship with the Spanish song repertoire and flamenco music while preparing for a production of Carmen - will demonstrate how the Iberian Baroque style matches the Spanish music of the 19th century in exoticism and passion. Interspersed between the Baroque songs will be the sounds and sights of flamenco, a type of folk singing accompanied by musical instruments and dance that was popularised by the Gypsies of Andalusia in the 18th and 19th centuries. It is no coincidence that this style of music combining the cultures of two peoples - each with their own gripping history and known for their fiery temperaments - has captivated the world ever since it first emerged from the Iberian peninsula. One of the foremost singers of our time, Kožená approaches every kind of music with the same utter devotion, bringing to the stage an evocative personality marked by subtle melancholy and enchanting charm. Her partners - the members of the Compañia de Flamenco led by dancer and choreographer Antonio Ríos Fernández, known as Antonio El Pipa, and of the nearly two-decade-old Private Musicke under the direction of Pierre Pitzl, the "Jimi Hendrix of the Baroque guitar” - are themselves artists of no mean accomplishment. The latter ensemble has already given memorable concerts with the Czech mezzo-soprano, in addition to making several excellent recordings with her. The concert will be preceded from 6.30 pm by a conversation entitled Prelude, where ticket holders will be invited to get to know the performing musician and the works to be performed more closely.