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Farewell to Miklós Kocsár

We bid farewell to the composer Miklós Kocsár, a teacher of generations, and a respected figure in the musical public life, who passed at the age of 86,

His career began with chamber music, especially music for wind instruments.  He wrote songs, cantatas, masses, oratorios, orchestral pieces and solo instrumental pieces, while a considerable proportion of his œuvre consists of choral compositions. His works are sung worldwide; he was a celebrated composer for choirs, guest of honour at choir competitions. Many of his choral pieces were composed to verses by Hungarian poets; at different periods of his life, the works of different poets have occupied his attention. He composed his works for children's choir to verses by Sándor Weöres; in his pieces for female and mixed choirs, he has used verses by Gyula Juhász, László Nagy, Imre Csanádi and Sándor Kányádi, among others.  Characteristic features of his compositions are his quest for beauty of sound and his insistence on strict formal proportions.

Since 1972 he taught composition at the Béla Bartók Music Conservatoire. From 1974 until 1983 he was head of the folk music section of Hungarian Radio, then until 1995, he worked as deputy head of their General Department of Music. In recognition of his achievements as a composer, in 1973 and in 1980 he was awarded the Erkel Prize, in 1987 the title of Artist of Merit, in 1992 the Bartók-Pásztory Prize, in 2000 the Kossuth Prize, in 2014 the title of Artist of the Nation. 

Before the premiere of Alabama March: A talk with Máté Balogh

Máté Balogh's Alabama March was commissioned by the Huntsville Symphony Orchestra of Alabama. The premiere will take place on September 27, 2019, in Huntsville. We asked the composer about composing for orchestra, his relationship with tradition, and the meeting of different cultures.

How did it come to this commission?

Last December, Gergely Vajda, the chief conductor of the Huntsville Symphony Orchestra, asked me to compose a short piece to mark the 200th anniversary of the founding of State of Alabama. It immediately occurred to me that I was going to write a symphonic march. I liked the idea so much that I completed it in two days. In hindsight, it occurred to me that maybe Weill's Alabama Song from Mahagonny might influence me. At the Franz Liszt Music Academy, I was teaching the history of Sprechgesang, so I did a lot of work with Weill at the time.

March is an existing musical movement and it helped a lot; it has a traditional instrumentation structure that provided security. I used the soloistic melody types used in the genre, partly the usual accompaniment figures. In an earlier piece of mine, Pseudomarsch, I used similar motifs. Although that work was only for brass band, I was not thinking of chamber music, but rather of bulky sound. With Pseudomarsch I won first prize at a composer competition in 2017; since then it has been recorded by the Hungarian Radio, has been broadcast several times, and in the meantime, I have received commissions from brass bands to compose marches – thus, to put it overstated, composing marches has become almost my trademark.


György Kurtág awarded by the J. F. Kennedy Center

The J. F. Kennedy Center of Washington D.C., among other Hungarian artists, awarded György Kurtág this year's Gold Medal for the Performing Arts. Deborah F. Rutter, president of J. F. Kennedy Center, emphasized at the ceremony, held at the US Embassy in Budapest, that György Kurtág's music influenced people across continents. The award was taken over by Dr Tünde Mózes-Szitha, general manager of UMP Editio Musica in Budapest.
Ambassador Cornstein, Iván Fischer, Éva Marton, Deborah F. Rutter, Ádám Fischer, Tünde Mózes-Szitha, and Stepánka and Karel Komárek (Photo: US Embassy / Attila Németh)

In the previous months, Kurtág's opera Fin de partie won the International Opera Awards and the Franco Abbiati  Award of Italian music critics.

Benjamin Appl on Kurtág

Dortmund Konzerthaus celebrates György Kurtág in five concerts between 2 and 6 February 2020. The series Zeitinsel (Time Island) reviews the output of “the last living great composer of the 20th century.” Besides vocal and instrumental chamber music, the Westdeutscher Rundfunk Orchestra performs Grabstein für Stephan, a work for guitar and instrument groups, as well as Stele for big orchestra. Such experienced performers of Kurtág’s music will contribute as the Arditti String Quartet, playing four quartets by Kurtág, or Pierre-Laurent Aimard, who blends piano pieces of the Games with Bach. Caroline Melzer will sing Scenes from a Novel and other songs.

A special event is dedicated to Benjamin Appl, where the star baritone sings Hölderlin-Gesänge, an opus rarely heard, twice in one evening. Appl came to Budapest in early May to work together with Kurtág on the interpretation. The experience of the time spent with Kurtág was summarized by Appl: I got an impression of a universally educated and sophisticated man. He has all this knowledge in his pack, he has all the songs of the repertoire, and literature, and history present in his mind. And he expresses it all in just one line in music, or in an interval. And behind each interval, every single mark in the score there is a huge mountain. It was wonderful within these four days I could spend with him, to be able to open a door and to look behind it; not seeing the whole ocean of his knowledge but only seeing tiny glimpses of light coming through. I’m just thinking on a new program where I could put Hölderlin-Gesänge next to Kerner-Lieder by Schumann as I found out the Justinus Kerner was looking after Hölderlin for a short while in Tübingen. This coupling would mean that one has texts dealing with mental health by Kerner and texts by Hölderlin who was declared mentally ill but who probably understood more of life and universe than “healthy” people usually do.

Salon Budapest – Contemporary Hungarian Chamber Music in Montréal

The Canadian Bozzini String Quartet presented Hungarian chamber music to the Montréal audience at three concerts in early April. Most of the works have been presented as first performances in Canada. Besides one work of older masters, György Ligeti and György Kurtág (… pas à pas – nulle part…), respectively, László Vidovszky (12 String Quartets) and Gyula Csapó each had a string quartet, and the last night’s program included three works by Zoltán Jeney.

György Kurtág's Opera in Amsterdam

Leigh Melrose (Clov) and Frode Olsen (Hamm) (Photo: Ruth Walz)

Four months after its premiere in La Scala, on March 6, Kurtág’ Fin de partie was revisited in the Dutch National Opera. The cast was identical with that of the world premiere: Frode Olsen (Hamm), Leigh Melrose (Clov), Hilary Summers (Nell) and Leonardo Cortellazzi (Nagg); the Nederlands Radio Philharmonic Orchestra was conducted by Markus Stenz, the performance was directed by Pierre Audi.

Enthusiastic press echoes underline Kurtág’s masterly handling of voices and orchestra, his dramatic verve and absolute fidelity to Beckett’s text. As John Rockwell puts it: “A more perfect marriage of text and music could hardly be imagined. … Kurtág’s music has long been concise; yet as the opera goes on, the music seems to expand, wrapping the characters and their lines in warm, elegiac sadness. By the end – maybe throughout – it is very, very beautiful.”

Read more…

Gloomy Sunday Variations: a new orchestral composition by Gergely Vajda

In 1933, at the time of the Great Depression, Hungarian musician Rezső Seress wrote the hit Gloomy Sunday, which soon became world famous. In connection with the adhering urban legends, the song is known as a Hungarian Suicide Song. The title of this song was borrowed by Gergely Vajda’s new orchestral composition, which was premiered on February 11 by the Hungarian Radio Symphony Orchestra in the Grand Hall of the Budapest Academy of Music. Whether the variations borrowed more than the title, the opinions were divided after listening to the new work. The author says, “all the sounds and chords come from the original Seress melody and its most common harmonization,” but actually it is not easy to recognize them. “As a starting point for my work,” Vajda continues, “I was looking for a ‘standard,’ as jazz terminology would call it, which is known worldwide but is also Hungarian-related, and whose melody is familiar to the listener, even if they cannot name the title or the author. However, the famous, notorious hit of Rezső Seress does not appear in its entirety in my piece, so the audience is constantly forced to search for it, which, I hope, turns the process of listening into a game in the noblest sense of the word.

The composition is dedicated for the 75th birthday of Péter Eötvös, and it also refers to an opera on Seress that Eötvös planned but never realized. The dedicatee thanked Gergely Vajda: “The gloomy Sunday became a cheerful Monday because I have listened to and read it all today, and one enjoys himself so greatly before jumping into the Danube. Completely new for me is this Gergő Seress – Zappa’s pieces for synclavier had this kind of frivolity.”
Photo: Bálint Hrotkó / Péter Eötvös Foundation

Hesperus by Máté Bella premiered in Paris

On 16 February, Ensemble intercontemporain premiered Máté Bella’s Hesperus for viola and chamber ensemble at Radio France's Présence Festival. The composition was commissioned by EIC, soloist was Odile Auboin, the concert was conducted by Dylan Corlay.

Photo: Ensemble intercontemporain

About Hesperus, Máté Bella wrote: "In Greek mythology, the name Hesperus refers to the evening star, or the planet Venus, that appears in the evening sky after sunset. In this work, I primarily use low dynamics and fast, almost meccanico rhythm. For a long time, I have been interested in writing slow and long musical processes where we progress from noise-like musical elements to sounds, or from sounds to noise. The tone of the work aims to create a world for the listener, where they are looking at a scintillating star in the night sky. I chose the apparatus to create sounds that are soft and smooth, as if I was painting with watercolour on a great canvas. The viola solo emerges from this timbre with its lyric or dramatic melodies. In the piece, I also experiment with creating undetermined sound with metric notation. The rhythm does not have a pulsation in the classic sense, the described time signature is primarily to help synchronizing the performers.” 

Announcing the release of Péter Wolf's Wolf-temperiertes Klavier

The model for the Wolf-temperiertes Klavier, as the title might suggest, is Johann Sebastian Bach’s keyboard cycle Das Wohltemperirte Clavier. In line with this, Péter Wolf’s collection of 24 piano pieces uses each of the twelve notes of the octave from C to B as home keys (both major and minor) for the movements. It differs from the Bach work in having no fugues, only freely composed praeludia, or as Chopin would have called them, preludes. Péter Wolf is more strongly linked to Chopin and the Romantic and twentieth-century prelude tradition he engendered than directly to Bach, insofar as etude-like virtuoso movements are interspersed with meditative, sentimental pieces in a series that takes us through the world of 24 keys, and the piano technique required is closer to the age of Romanticism than to the Baroque.


Announcing the release of Zoltán Kodály: Choral Works for Mixed Voices

Universal Music Piblishing Editio Musica Budapest is proud to announce the release of the extended and revised edition of Zoltán Kodály: Choral Works for Mixed Voices.

Seventy-five years after their first release, the time has come for Kodály’s collected choral works for mixed voices to appear in a completely new, expanded edition. This collection contains six compositions that were not included in earlier editions. It is printed in a slightly larger format than previous editions and is available in a hardcover version as well as a softcover version for practical purposes. We whole-heartedly recommend the canvas-bound edition to libraries, collectors, and Kodály enthusiasts alike.

This is the most complete and most authentic collection of Kodály’s mixed choruses to date, and it contains new easily-legible music scores and an informative epilogue written by Péter Erdei.

More information on the publications can be found here.

Kurtág's opera Fin de partie premiered in Teatro alla Scala

Leigh Melrose (Clov) és Frode Olsen (Hamm); fotó: Ruth Walz

On November 15, Teatro alla Scala premiered György Kurtág’s opera Samuel Beckett: Fin de partie, scènes et monologues. In the long-awaited opera Kurtág set Beckett’s drama, which he had seen as a theater performance in 1957 in Paris. The textbook was compiled by the composer, using about half of the playwright’s play, strictly following the process of the drama.

The cast of the world premiere included Frode Olsen (Hamm), Leigh Melrose (Clov), Hilary Summers (Nell) and Leonardo Cortellazzi (Nagg); the orchestra of La Scala was conducted by Markus Stenz, the performance was directed by Pierre Audi.

The performance was created as a joint production with the Dutch National Opera, and further performances will be shown in Amsterdam on March 6, 8, and 10, 2019.

Kurtág, listening to Beckett

This year, the 27th Milano Musica Festival – connected to Kurtág’s opera Samuel Beckett: Fin de partie, to be presented at La Scala on November 15th – focuses on the oeuvre of György Kurtág. From October 21st to November 26th, 22 concerts provide an overview of the composer's work: instrumental and vocal pieces, chamber and orchestral music. The festival presents Kurtág's conversations with his forerunners and contemporaries (Bach, Schubert, Bartók, Stravinsky, Ligeti) and the emergence of important topics of modernity in his art. In connection with the opera, special attention is paid to the works related to Beckett's writings, such as What is the Word or Pascal Dusapin’s Watt for trombone and orchestra.


Gergely Madaras with the Kurtág-couple and György Kurtág Jr.

At the opening concert, La Scala's orchestra was directed by Gergely Madaras. György Kurtág Jr., who also played on synthesizer, presented Zwiegespräch, written together with his father; the  original string quartet parts of Kurtág have been set for orchestra by Olivier Cuendet. In this composition – as one of the critics claimed – "two ways of thinking and performing music" came into dialogue with each other. Two days later Quartetto Prometeo performed Italian premiere of some compositions for string quartets (Secreta – In memoriam László Dobszay, Clov’s last monologue) besides Hommage à András Mihály – 12 microludes and 6 Moments musicaux.

György Kurtág Jr. and Gergely Madaras in La Scala (photo by Margherita Busacca)

In the forthcoming concerts in November there come performances of such well-known compositions like Messages of the Late R. V Troussova (sung by Natalia Zagorinskaya, directed by Andrea Pestalozza) and rarely heard works, such as the choir compositions Omaggio Luigi Nono and the Eight Choruses to Poems by Dezső Tandori (the vocal ensemble Les Cris de Paris is directed by Geoffroy Jourdain).

A vocal chamber concert with Sophie Klussmann encompasses almost four decades, presenting Seven Songs on poems by Amy Károlyi and Einige Sätze aus den Sudelbüchern von Georg Friedrich Lichtenbergs, followed by Scenes from a novel. Particular attention should be paid to the concert of the RAI Symphony Orchestra, in which Heinz Holliger conducts Stele and Pierre-Laurent Aimard presents the world premiere of some piano pieces from the forthcoming 10th volume of Games for piano.

Works for clarinet by Gergely Vajda on a new CD

Three compositions by Gergely Vajda, Clarinet Symphony for two clarinets and orchestra, Alice Études for clarinet and string quartet, and Persistent Dreams for solo clarinet, have been recorded on a new CD, released by the Budapest Music Center Records. This offered the occasion to ask Gergely Vajda about his versatility.

Clarinettist, composer, conductor – you have all these in your biography. Which is your priority order of these three “c”-s?

I think creating something from nothing is probably the “king” of all activities, that’s how you can get closest to “Creation” as a human being. 


New signing: Alessio Elia

Alessio Elia was called "the rising star of a new generation” by Elena Abbado. Besides his Italian home country, Elia studied in Germany, Norway and Hungary. He has been supporting his composing activity with scientific research, which is related to different tuning systems that he labels as "polysystemism". His orchestral and chamber music works have been performed in many places and he has received commissions in Italy, Germany, Switzerland and Hungary. His Octet for wind instruments was commissioned by the wind ensemble of La Scala, Milan, and has recently been released on CD by Warner Classics.


Our new seat from 1st August: H-1146 Budapest, Hermina út 17. Building B, 8th floor

Gergely Vajda's Bartók-Pásztory Award

(Photo: Steve Babin)
Gergely Vajda composer, conductor has been awarded the prestigious Bartók-Pásztory Prize of 2018, donated by the Budapest Music Academy. Gergely Vajda's quintet for clarinet and strings, Alice études, inspired by Lewis Carroll's books, has recently appeared in our catalogue. Two stage works of the composer will be performed in the following months: his opera Barbie Blue will have a concert performance on June 5 in Budapest, and his puppet opera The Giant Baby will be premiered at the Armel Festival on 3 July in Vienna and then, on 7 July in Budapest.

Kurtág – Cuendet: Games for ensemble has been published

György Kurtág has barely written instrumental works for chamber ensemble, a formation otherwise favored by contemporary composers. Hence, the arrangements of the Swiss composer-conductor Olivier Cuendet from Kurtág’s emblematic collection for piano, Games, represent a significant enrichment of the repertoire. The sequence of 34 pieces can be performed consecutively as an inherent cycle or in different combinations. “The selection is highly subjective – writes Cuendet –, some pieces sounded orchestral already to me when I played them on the piano, others spoke to me through their simplicity or complexity.” These arrangements, authorized by Kurtág, use a flexible orchestration whose range reaches from 4-5 instruments up to a full ensemble of ca 15 musicians.

More about the publication


Universal Music Publishing Group is pleased to announce that the printed music publishing and distribution business of its Hungarian affiliate Universal Music Publishing Editio Musica Budapest Zeneműkiadó Kft. has been transferred to a new entity, Editio Musica Budapest Zeneműkiadó Kft. EMBZ will be owned and managed by a group led by UMPEMB Director of Printed Music László Sigrai. Long-time UMPEMB Managing Director Antal Boronkay will also participate in the direction of EMBZ.

EMBZ will distribute all existing UMPEMB printed music products, and will work closely with UMPEMB to continue to develop new high-quality printed music products in both physical and digital form for the educational and performance markets. EMBZ will also continue to distribute sheet music products of other publishers.

For information, please contact:

For UMPG: Tünde Szitha, szitha­@­emb.huwww.umpemb.com

For EMBZ: László Sigrai, sigrai­@­emb.hu, www.emb.hu

The well awaited 9th volume of GAMES by György Kurtág is published

The piano series entitled Games, written from 1973 onwards, was conceived originally as a piano method. Its early volumes introduced children to the basic elements in piano-playing and musical thinking, and, more importantly still, taught them to play music without inhibitions. As the years went by, the view of the series lost its didactic character. It came to be seen as a document from Kurtág’s workshop, offering a key to his grander symphonic, chamber and vocal works as well. This change is exemplified in the subtitle Diary entries, personal messages added from the fifth volume onwards.
The pieces in the ninth volume date from 1989‒2009, except the youthful Apple blossom, written in 1947. The movements, often aphoristic in their briefness, conceal associations with various aspects of European music history. Many of them are hommage or in memoriam pieces, or subjective personal messages to friends, colleagues, beloved family members or students, and thereby to all music-loving people.

Works by Kurtág, Eötvös and young Hungarian composers in Zürich

The beginning of Máté Balogh’s, Máté Bella’s, Péter Tornyai’s and Balázs Horváth’s musical career is in many ways tied to Péter Eötvös, who was their driving force in the past few years. It is therefore no surprise that the majority of the programme of the Peter Eötvös Contemporary Music Foundation’s (which Eötvös founded in 2004) concert in Zurich on 26 June consists of works composed between 2010 and 2016 by these young composers. Jam Quartet by Máté Balogh, Chuang Tzu’s Dream by Máté Bella, QuatreQuatuors by Péter Tornyai will be performed for the first time in Switzerland, pikokosmos = millikosmos by Balázs Horváth will be premiered in Zurich. The audience in the Tonhalle will hear the music of three generations. Apart from the Swiss premiere of Eötvös’s da capo (Mit Fragmenten aus W. A. Mozart’s Fragmenten), Kurtág’s Brefs Messages will also be performed. The program is conducted by Eötvös himself, performed by the THReNSeMBle, the ensemble of the Contemporary Music Foundation.

More on the concert...

Premieres in Frankfurt – The Works of László Tihanyi and Gergely Vajda

The Frankfurt Radio Symphony will perform a program of Hungarian compositions on 5th May. The title of the concert is 'Eötvös’ Ungarn', and it is a part of the three year cooperation in which Péter Eötvös participates as curator in the work of the orchestra. The programme includes József Sári’s Concertino for orchestra, Levitation for two clarinets, accordion and strings by Péter Eötvös, Passacaglie for viola and orchestra by László Tihanyi and Drums Drums Drums for timpani, drumset, bass drum and orchestra by Gergely Vajda. The last two works were recently published by Editio Musica Budapest. Vajda Gergely is a part of the programme not only as a composer, but he is also going to make his debut as conductor with the Frankfurt Radio Symphony. The concert is going to be recorded and broadcast by Radio Hr2 on 16 May 2017.
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