Elsa Valle, who masterfully channels Afro-Cuban rhythms and melodies, returns to the Opus stage with her most ambitious and personal production to date. During this exclusive premiere, she will present new original compositions that elevate her artistry to even greater technical and emotional heights than before. The evening’s program unfolds through duets and exciting musical dialogues between her voice and the instruments, brimming with drama and dynamism. The concert promises to be a captivating, magical experience that will hold the audience spellbound from the first note to the last, sweeping them straight into euphoria and redefining the concept of Latin jazz.

Networking for Musicians – Connections, Opportunities, CommunitiesGreat opportunities often begin with a simple conversation. But how do you start? Where do you meet people? And how can you become part of the international music community where collaborations, inspiration, and new ideas come to life? In this interactive workshop, we'll explore networking in the music world in a way that feels natural, authentic, and true to who you are. Through practical tips, real-life examples, and open discussions, you'll gain confidence in building meaningful professional connections — both locally and internationally.Come along, meet new people, ask questions, get inspired, and discover where a great connection can take you!Moderator: Endre Tóth, musicologistProgram: Béla Bartók: Romanian Folk DancesKarina Manukyan  – violinAaron Francesco Lechiguero Ochoa  – piano Alexander Scriabin: Piano Sonata No. 2 in G-sharp minor, Op. 19 “Sonata-Fantasy” Amira Satey – piano NextGen Musicians: Ukrainian and Hungarian Youth Summit  This concert is part of “NextGen Musicians: Ukrainian and Hungarian Youth Summit”, a project organized by the V4 Music Foundation (Hungary) in partnership with the NGO Cultural Platform (Ukraine).The project is co-financed by the governments of Czechia, Hungary, Poland and Slovakia through Visegrad Grants from the International Visegrad Fund.  The mission of the fund is to advance ideas for sustainable regional cooperation in Central Europe.Moderator: Endre Tóth, musicologistRoundtable participants: Angela Draghicescu, Andrii MurzaProgram: Francis Poulenc: Sonata for Clarinet and Piano, FP 184 (1&2 movements)Dávid Timkó  – clarinet Claude Debussy: Première RhapsodieCeylin Gökalp – clarinet Zoltán Almashi: ElegieLiubomyr Hliievyi – violoncello Myroslav Skoryk: Carpathian RhapsodyNadiia Mamich – clarinet Wolfgang Amadeus Mozart: Flute Quartet in D Major, K. 285 II. Adagio & III. Rondeau Margherita Alajmo – fluteSofiia Muzychenko – violinSofia Drachynska – violaSofiia Redka – violoncello Wolfgang Amadeus Mozart: Clarinet Quintet in A Major, K. 581 III. Menuetto & IV. Allegretto con variazioni Krzysztof Galbarczyk – clarinetSofiia Holovchuk – 1st violinMariia Khmurchyk – 2nd violinTyrone Tidwell Beatty – violaJoanna Maria Kacymirow – violoncello Johannes Brahms: Piano Quintet in F Minor, Op. 34Solomiia Syvak – 1st violinYulianna Hrudinina – 2nd violinMaria Dębina – viola / brácsaHanna Maria Błażejewska – violoncelloAdrien A. R. Rauline – piano C.P.E. Bach: Duet for Flute and Violin, H. 598 – 2nd Movement: AllegroDamian Georgiev  – violinLeon Elek - flute Igor Stravinsky: Three pieces for clarinet soloMáté Papp  – clarinet Johann Sebastian Bach: Sonata in G major for Viola da Gamba and Harpsichord, BWV 1027I. Adagio & II. Allegro ma non tantoSofiia Redka – violoncello Ludwig van Beethoven: Trio for Clarinet, Cello and Piano in B-flat major, Op. 11 – I. Allegro con brio Nadiia Mamich – clarinetLiubomyr Hliievyi – violoncelloAnna Várterész – piano Claude Debussy: Children’s Corner, I. (Doctor Gradus ad Parnassum) Franciska Varga – piano Frédéric Chopin: Polonaise No. 4 in C minor, Op. 40, No. 2 Franciska Varga – piano

Five artists from vastly different musical backgrounds come together in search of common ground. The art of playing this fugue – exploring overlays, intersections, and juxtapositions of musical worlds – is Die Kunst, dem Fuge. With recorder, trumpet, synthesizer, and drums. With Johann Sebastian Bach, Anton Webern, Wolfgang Amadeus Mozart, jazz, funk, and trap. With ingenuity, virtuosity, humor, and passion. Die Kunst, dem Fuge demonstrates that diversity is a fertile ground for innovation. “[...] the young band Chez Fría overturns all expectations of classical musicians and conventions. Their innovative and unconventional approach to reinterpreting very old music fascinates not only through its unexpected sonic experience but also through the highest level of technical perfection”, stated the jury of the Hubert von Goisern Kultur Preis. Photo: Sophie Salfinger  

Mihály Borbély and Sára Tímár’s new concert program is a unique blend of the rich soundscapes of jazz, world music, and folk music. Mihály Borbély arranged the songs selected by Tímár for a quintet: folk melodies and original compositions written by the duo in the spirit of these melodies are reborn, accompanied by wind instruments, cimbalom, double bass, and percussion. Among the band’s members are young talents from the Hungarian jazz scene, Áron Horváth (cimbalom) and Lőrinc Mohácsy (double bass), as well as Csaba Gyulai, a well-known percussionist on the world music scene. The convergence of three musical styles and three generations promises an exciting concert experience. Photo: Benjámin Timár  

At the UMZE Ensemble’s season-opening concert, the bassoon’s 21st-century facets will be showcased with the help of guest soloist György Lakatos. Three mini-concertos, including a world premiere and two Hungarian premieres, will guide the audience through new ways of playing the bassoon and the exciting aesthetic results that emerge from them, all blended with music of contrasting character. The orchestra’s virtual international guest – with the Hungarian premiere of her work torsion: transparent variation – will be Austrian composer Olga Neuwirth, while Balázs Horváth’s piece POLY will serve as a tribute to György Ligeti, who passed away 20 years ago this year. Photo: Kriszta Falus

The Yanchammer Trio is based on an unusual instrumental combination: the trio of piano, guitar, and bass guitar rarely appears as a standalone jazz lineup, yet it offers a particularly transparent sound and a high degree of musical freedom. In the absence of drums, the shaping of rhythm, harmony, and melody is shared among the three instruments, so their roles are constantly shifting. The band’s repertoire is based on compositions by the three members. These songs are deliberately open-ended: the musical direction is defined, but leaves ample room for new forms, emphases, and connections to emerge during the performance. Thus, the trio does not play the same pieces night after night, but reinterprets its own material at every concert. The three musicians represent different generations and musical backgrounds. János Nagy’s compositional approach, András Párniczky’s distinctive guitar playing, and Milán Nagy’s fresh, creative bass guitar playing do not establish a hierarchy, but rather come together as an equal, carefree music-making experience. One of the defining characteristics of the trio’s concerts is their chamber-music-rooted approach: even the slightest dynamic changes, tempo shifts, or improvisational ideas immediately redirect the entire band’s playing. It is this constant interaction that gives the group its character.

The Modern Art Orchestra’s Fall 2026 concert series pays tribute to the 100th anniversary of John Coltrane’s birth. One of the most influential figures in the history of jazz, Coltrane was not only an instrumental revolutionary, but an artist who redefined the relationship between improvisation, form, and spiritual expression. This four-concert series traces key stages of his artistic journey: from his hard bop roots through the reinterpretation of standards to his most lyrical, vocal expressions. The selected albums represent not only different periods, but distinct ways of thinking — a path that leads from tradition toward the creation of a unique and universal musical language. The musicians of the Modern Art Orchestra recreate these iconic recordings in their original instrumental settings, preserving their spirit while bringing them to life with their own voice, from a contemporary perspective. The opening concert of the series focuses on John Coltrane’s first album as a bandleader. While Coltrane is still rooted in the language of hard bop, it already reveals the unmistakable personal voice that would later transform jazz at its core. The distinctive horn textures and rich harmonic environment create a unique balance between traditional forms and an emerging individual vision. The soloists of the Modern Art Orchestra evoke this formative musical world, sensitively tracing the early yet remarkably intense phase of Coltrane’s artistic search.

The repertoire of Márton Stummer’s acoustic ensemble consists of Brazilian guitar songs and his own compositions. Afrosamba blends elements of Brazilian samba and Afro-Brazilian jazz. While building on this style, Márton Stummer’s compositions draw equally on classical music, jazz, and contemporary music, while also leaving room for free improvisation. The quartet’s sound is primarily inspired by the playing of Brazilian guitarist Baden Powell. Dominik Kosztolánszki, one of the most outstanding saxophonists of his generation who is at home in several styles, joins the band as a special guest. The title of their new program and concert is Coisas mágicas (Magical Things), a reference to the representation of magical realism in music.

Sakobi brings together three distinctive voices of the Czech jazz scene: saxophonist Radek Zapadlo, double bassist Vilém Spilka, and drummer Martin Kleibl. Having performed together for years in various projects, the trio shares a strong musical connection and an intuitive interplay on stage. Their repertoire combines jazz standards with original compositions from their two albums released on Bivak Records. While all three musicians contribute as composers, Vilém Spilka provides much of the material, drawing inspiration from sources ranging from his hometown of Brno to Japan, reflected in the band's name and album titles Banzai! and San. Rooted in jazz tradition yet open to influences from folk and other contemporary styles, Sakobi creates music that is dynamic, colorful, and full of character. Photo: Gabriel Fragner  

Jorma Panula is one of the most renowned conductors of our time. Although during his active career he served for decades as music director of major orchestras, his fame is due above all to his outstanding pedagogical work. The art of conducting fundamentally differs from instrumental performance, since the artistic result is realized through the collaboration of other musicians. A few decades ago, Panula was often referred to worldwide as “the miracle of conductor training,” after a remarkable number of his students went on to achieve international fame, including Esa-Pekka Salonen, Sakari Oramo, and Jukka-Pekka Saraste. Beginning in 1973, he taught future conductors at the music academies of three capitals — Helsinki, Stockholm, and Copenhagen — while also leading masterclasses around the world. At the initiative of the MÁV Symphony Orchestra, an international masterclass is also held in Budapest, where participants have the opportunity to conduct the orchestra themselves. The success of the program is reflected in the fact that this year marks the 12th edition of the event, whose closing gala concert features the students of the course appearing on the podium as conductors.

Since meeting in 2010, Michèle Pierre and Paul Colomb have played together continuously, their playful musical dialogue giving rise to Duo Brady. In La Vie d’après – a post-Covid repertoire conceived as a reverie about our possible futures – they blend melancholy with hope and celebration. Everything that made the duo so compelling – lyrical depth, virtuosic improvisation, and seamless interaction – is heightened by new influences: acoustic techno, progressive rock, and contemplative pop. Make way for the body, for dance, and for trance – as if moving forward, together, through the winding roads of an uncertain future. (Raphaëlle Tchamitchian) From the White Stripes to the Black Keys, the drum/guitar duo is to rock what the piano/bass/drum trio is to jazz: a classic format. But reducing Oasis Boom’s music to a single aesthetic would be a mistake. Inside the “car radio of the cactus bus” – the name of the single extended piece they perform live – you’ll find greasy rock, yes, but also surf music, drone, lullabies, and club rhythms. The machine rolls on at breakneck speed, transforming, soaring, teleporting. It’s direct and relentless. Through windows stained with red dust, we glimpse the hallucinatory vistas of Piton de la Fournaise, the languid bends of the Niger River, and the dry immensity of Arizona. When it’s over, Melissa Acchiardi and Vincent Duchosal step down in silence, hands blackened by electricity, eyes still filled with melting horizons – and we realize that the journey hasn’t really ended. It never does. (Hélène Gant) Photos: Duo Brady by Zoe Cavaro, Oasis Boom by Julia Gat  

“Together with twelve of our exceptionally talented and wonderfully skilled students from the Academy of Music – who have recently graduated or will graduate in the near future – as well as Oszkár Varga and István Varga, we will perform Beethoven’s four piano trios, the finest examples of the composer’s chamber music oeuvre and the fruits of our intensive summer work. Interestingly, the various combinations of our twelve musicians will vary even within a single piece: a different group will perform each movement,” said Gábor Csalog. The pianist has been organizing summer courses for nearly two decades, the results of which are presented by the young musicians and their teachers in a spirit of joyful collaboration at the closing concerts known as the “Pajta Concerts.” The programme for these concerts has also been performed at the BMC in recent years – this year, we’ll hear the Budapest edition of the concert held at the Landhaus in Dörgicse. Photo: Bálint Hrotkó / BMC

The collaboration between Bori Orbán and Valami Swing dates back nearly a decade. For their new album, released in 2024 and titled Chanter la vie, l’amour, they have compiled a selection of their favorite songs together, blending chanson, jazz, swing, and manouche. Bori Orbán’s chanson-inspired style and Piaf-like, distinctive voice, and Valami Swing’s unique, virtuoso sound, rooted in gypsy jazz, come together in harmonious unity to bring old and new songs to life, preserving a world that lives on through these songs. Bori Orbán’s regular musical partner, Kristóf Pánczél, will play the piano as a guest artist. Photo: Sandro Valentini

Luca Kézdy is one of the most distinctive violinists on the Hungarian jazz and contemporary music scene. Her playing is at once meditative and passionate – a musical journey woven with improvisation, electronics, and delicate textures, where the boundaries between genres blur. At her solo concert, we can explore the frontiers of jazz, contemporary music, and improvisation alongside her: every moment gives rise to something new and unrepeatable. Luca Kézdy’s first solo album, Home, was released in December 2022, followed in 2023 by Unseen Landscapes, which she premiered on the Opus stage; at the same time, her first and second solo exhibitions, bearing the same title, opened. Photo: Levente Baltay  

Dear Guests, Due to health reasons, Chris Joris unfortunately cannot perform at this concert. Contrary to the line-up originally announced, the trio's drummer will be Nico Chkifi. Thank you for your understanding,BMC – Opus Jazz Club This acoustic trio explores the frontiers of contemporary blues infused with jazz and African music. Through the organic interplay of guitar, saxophone and percussion, this multi-generational ensemble creates an intense musical experience driven by innovation. Their sound is both lyrical and deeply expressive, capable of shifting in an instant into realms of atonality and chaos, leaving the listener exhilarated and disoriented. Each composition unfolds as a sonic landscape, a kaleidoscope of textures in which rhythm and groove often take centre stage, only to dissolve into other forms of expression and musical dialogue. This ever-changing interplay keeps audiences on the edge of their seats, balancing delicately on the wire of musical exploration. Beyond its sheer musicality, the trio’s music carries a profound spiritual and emotional dimension. It conveys the powerful message that light is always greater than darkness. While chaos is an inevitable part of life, it can be transformed into something positive and beautiful. This transformative spirit resonates throughout their compositions, evoking a sense of hope and possibility. Like an echo of the modern age, their music invites listeners to immerse themselves in an ocean of sound where melodies intertwine and emotions awaken. It is a journey through intricate harmonies and pulsating rhythms, with the musicians painting a vivid sonic landscape. Their artistic exploration reflects the complexity of the human experience, offering a glimpse into the depths of the soul. Their debut album, titled Midnight Sun, was released in December 2024 by IGLOO Records, followed by the digital live recording Midnight Sun Live in 2025. Capturing the trio’s remarkable onstage chemistry, the album features evolved live versions of eight tracks from their debut.  Photo: Lucinde Wahlen  

Johann Sebastian Bach’s Cantata No. 82 and Franz Liszt’s Angelus! are two outstanding works in the history of sacred music. Bach composed his cantata in Leipzig; in many respects, it is linked to the spiritual and musical world of the St. Matthew Passion, written during the same period. Angelus! is one of the most characteristic examples of Liszt’s late piano style; as one of the rare exceptions, the composer himself arranged it for string quartet and string orchestra. The concert is framed by a string symphony by Carl Philipp Emanuel Bach, the most original thinker among Bach’s sons, and Grieg’s popular suite dedicated to the memory of playwright, historian, and philosopher Ludvig Holberg, a contemporary of Bach. Photo: Bekker Films

Krisztián Oláh's music is equally rooted in classical compositional techniques and the improvisational, abstract rhythms of contemporary jazz. His central artistic drive is the organic synthesis of these two worlds, shaping a dynamic, lively vision of contemporary music. His most important musical project, the Krisztián Oláh Quartet uniquely blends composition and improvisation into a coherent artistic language. The band consists of leading figures of Hungarian jazz, contemporary and alternative music scenes. While their programme is built around the bandleader's compositions, all members are outstanding improvisers. As a result, spontaneous and collective improvisation forms an essential part of their performances, carrying the spirit and musical vocabulary of our time, and shaping a fresh, complex sound for the quartet. Photo: Botond Sepsi  

Thirty years ago, the Budapest Music Center’s activities began with the founding of the Hungarian Music Information Center and Library – and it is here that our half-day series of events organized to mark this anniversary begins. The program features works by two contemporary Hungarian composers that do not require a performer to be played. One of the best-known pieces in this unconventional genre is Poème symphonique, composed for one hundred metronomes started simultaneously but at different speeds. The Etudes for MIDI piano use machine-controlled traditional piano sounds to realize compositional ideas that the physics of the human body would not allow. Artikulation brings to life the electronic musical interpretation of human speech articulation on magnetic tape, while Autokoncert is one of the most startling audiovisual works in Hungarian music history, in which the instruments are not played but are left to their own devices. Composer Marcell Dargay will guide the audience through the program in Hungarian.

We are celebrating the 30th anniversary of the BMC’s founding at the Concert Hall with a cycle by Johann Sebastian Bach, the most influential figure in music history: the thirty variations written for Johann Gottlieb Goldberg will be performed by thirty pianists, many of whom have been active participants in the BMC’s three-decade history, whether from the side of classical and contemporary music or jazz. As an anthology of Hungarian piano performance, the concert aims not only to draw attention to the richness of the country’s music scene but also to highlight the starting point of the BMC’s activities, the collection and cataloging of Hungarian artists and works. The Kurtág family, whose history is closely intertwined with that of the BMC, will also take part in the celebration: the opening Aria movement will be played from a private recording by Márta Kurtág, while the final variation will be performed live by György Kurtág.

❗ Please note that the concert will begin at 8.00 PM and will last until 9.00 PM, without an intermission. ❗ The half-day concert series organized to celebrate the BMC’s 30th anniversary will come to an end in the Opus Jazz Club, with a performance by the world-travelled quartet that includes BMC’s founding director, László Gőz. The music of the Moment’s Notice Quartet is framed by electronic effects, which are then filled by instruments that differ in both sound and character, engaging in a sensitive and magical chamber music dialogue. The band takes to the stage without discussing anything but the basic concept – their sounds emerge without prior planning, born in the fleeting reality of the moment, illuminating the interconnections between jazz, classical, contemporary and electronic music. At this concert, the four musicians will again demonstrate the highest art of spontaneous music-making.

For the band’s 10th anniversary, Jan Galega Brönnimann, Moussa Cissokho and Omri Hason present their third album, I Nia Yelle. In Mandinka, the language of a West African ethnic group, this means: Open Your Eyes. JMO are not only the initials of the three musicians, but also the three main influences in their music: jazz, mandinka and oriental. The music of this trio brings the art of storytelling back to life. The sparkling, clear sound of the kora (traditional African bridge harp with 22 strings) meets the sonorous, smoky tones of the bass clarinet and is supported by Omri Hason’s various percussion instruments. The interplay between Moussa Cissokho, Jan Galega Brönnimann and Omri Hason captivates with beautiful melodies and rhythmic elegance – in their unforgettable live concerts, the three oscillate between magically transfigured moments and rhythmically explosive flights of fancy. The result is authentic and contemporary chamber music. The trio crosses boundaries between traditional and modern sounds from Africa, Europe and the Orient. The repertoire comes from all three musicians and shows their different influences. The encounter of the three cultures, the selection of instruments and the rich pool of ideas, melodies and rhythms makes the music an unforgettable listening adventure. Influenced by the cultural heritage of West African Griot songs, Moussa Cissokho sings about life in Africa and Europe today. His lyrics are about longing, mysterious rivers or experiences at border controls in Europe. He belongs to the 42nd generation of the great Kora dynasty and Griot family Cissokho, which has shaped the tradition of West African music for over 1000 years. Photo: Christa Engstler  

Weird Ugly Fish, the duo by Aistė Kalvelytė (drums) and Julius Čepukėnas (electronics) perform music that goes beyond genre boundaries. In their creative work, we can sense influences from various music styles, starting with free jazz, krautrock, punk rock, including but not limited to IDM and ambient. The compositions of Weird Ugly Fish are long, dynamic musical journeys that contrast improvisational elements with rigid constructions. The duo’s first public performance happened in the summer of 2021. Since then, they have been actively performing in Lithuania and abroad, most notably at the Vilnius Mama Jazz Festival, the Lt.art Vienna Festival, the Claws Of Saurtopia Noise Fest, the Vilnius Jazz Festival, and the jazzahead! 2025. In October 2024, the band released their second album, Cannot Disappear. Photo: Rytis Šeškaitis  

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The opening concert focuses on the meeting of Kornél Fekete-Kovács and Bob Brookmeyer. Brookmeyer was one of the greatest innovators of modern big band writing. His music is characterized by transparent forms, finely layered textures, and sophisticated harmonic thinking. His work fundamentally shaped the sound of contemporary large ensemble jazz inthe late twentieth century. The compositional world of Kornél Fekete-Kovács approaches form and orchestral color with a similar sensitivity: structural clarity and lyrical expression are equally essential elements of his music. This evening is not only about influence, but about the encounter of genuine musical mindsets — where Brookmeyer’s transparent complexity finds a contemporary continuation.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The opening concert focuses on the meeting of Kornél Fekete-Kovács and Bob Brookmeyer. Brookmeyer was one of the greatest innovators of modern big band writing. His music is characterized by transparent forms, finely layered textures, and sophisticated harmonic thinking. His work fundamentally shaped the sound of contemporary large ensemble jazz inthe late twentieth century. The compositional world of Kornél Fekete-Kovács approaches form and orchestral color with a similar sensitivity: structural clarity and lyrical expression are equally essential elements of his music. This evening is not only about influence, but about the encounter of genuine musical mindsets — where Brookmeyer’s transparent complexity finds a contemporary continuation.

Janáček’s first string quartet was inspired by Tolstoy’s short story, Kreutzer Sonata. The piece’s vivid imagery, dynamic shifts in mood, and formal and technical innovations faithfully reflect the literary source’s passionate style, emotional language, and narration. Although we do not know whether Schubert was similarly inspired by a reading experience when composing his String Quartet in G major, Op. 161, the music’s nuances, colors, bold modulations, and sharp emotional outbursts could have drawn from the realm of literature just as well. His genius as a song composer spurred Schubert to develop distinctive, unusual forms and narratives in every area of his oeuvre, as well as to make free, evocative use of keys and harmonies – a characteristic that is also evident in his final quartet. Photo: Andrea Felvégi The members of the Korossy Quartet began working together in 2018. The following year, they won the Leó Weiner National Chamber Music Competition, organized by the Liszt Academy of Music Budapest, and in 2021, the ensemble was awarded five special prizes at the International Bartók Competition. Their work is supported by renowned artists, including Eberhard Feltz, Barnabás Kelemen, András Keller, Katalin Kokas, György Pauk, Günter Pichler, András Schiff, and Gábor Takács-Nagy. In addition to performing at Hungary’s largest concert venues, they have participated in international festivals such as the Lockenhaus Kammermusikfest, Kamara.hu, Arcus Temporum, Bartók Spring, Festival Academy Budapest, and the Mahler Festival in Toblach. The BMC audience may also be already familiar with the quartet: in the fall of 2023, they launched a series to perform all of Béla Bartók’s string quartets at the Concert Hall, while during the 2025/26 season, they played Kurtág’s works at the Kurtág100 festival, and later gave a joint concert with Zoltán Fejérvári. In the 2026/27 season, they are launching a new series titled Refractions, which, over the course of three concerts, will shed light on various facets of the genre through pieces rarely associated with each other. Further concerts in this series: 2027.02.26. Korossy Quartet: Refractions 3/2.2027.05.21. Korossy Quartet: Refractions 3/3.

Lilla Orbay is one of the most prominent and versatile members of the younger generation of Hungarian jazz, participating in the work of her own band as a singer, composer, bandleader, and pianist. Their music draws inspiration from the melody-driven, atmospheric world of the 1970s, blended with modern arrangements and the band members’ distinctive improvisations. The band has gained recognition both in Hungary and internationally, having performed at festivals such as EuroJazz in Mexico City and the Amersfoort World Jazz Festival in the Netherlands, among others. Their first single, titled Paradise Ablaze, was released in December 2023. Photo: Wanda Martin    

Georg Philipp Telemann's Pimpinone (1725) remains just as fresh, witty, and relevant three hundred years after its premiere as it was when audiences first encountered it. Originally conceived as an intermezzo for Handel's opera Tamerlano, the comic musical work quickly gained popularity as an independent piece – a success that is easy to understand. Pimpinone is at once a sparkling Baroque comedy, a subtle social satire, and a remarkably modern story about two clashing personalities. Vespetta, a clever and resourceful maid, enters the household of the ageing and somewhat awkward merchant Pimpinone as a servant, only to take control of the situation step by step. What begins as light-hearted comedy gradually develops into a battle for power within a marriage, filled with humour, irony, and an entertaining portrayal of human weakness and the complexities of relationships. Telemann's music follows the tensions and dramatic turns between the characters with remarkable sensitivity. The lively recitatives, virtuosic arias, and playful duets are both elegant and immediate, while the fusion of Italian and German musical styles gives the work a uniquely vibrant, almost cinematic pace. Gamba Produkció's production highlights the theatrical vitality and enduring relevance of the work while preserving the intimacy of historically informed performance and the direct expressive power of Baroque music. It offers a rewarding discovery for audiences encountering the genre for the first time, as well as a unique experience for those who appreciate fresh, engaging, and deeply human approaches to classical music and the Baroque tradition of commedia dell'arte. Between the acts of the intermezzo, movements from the Ouverture Suite in B-flat major (TWV 55:B1) will be performed. This production was staged by Gamba Produkció.  

The Coltrane Legacy sextet was founded in 2017, on the 50th anniversary of Coltrane's death, by one of the most sought-after musicians on the Hungarian jazz scene, bassist György Orbán. In the decade and a half from the mid-1950s until his death in 1967, the saxophonist laid new foundations for modern jazz. He created a legacy of music that has influenced generations of musicians ever since, reaching ever more spiritual dimensions. A seasoned bassist who has played in many bands, György Orbán thought the best way to honour the saxophonist's legacy was to create a group that would play both original compositions inspired by Coltrane's music and new arrangements of Coltrane’s songs. The compositions, of course, take Coltrane's tradition as their starting point and continue to reflect the abstract spirit and tools of our time, thus continuing the spiritual jazz tradition. Coltrane would have turned 100 in September 2026 – we can celebrate this anniversary together with the group at this concert. Photo: Róbert Vatai

András Berecz is a singer, collector of folk tales, and photographer. His son, Mihály Berecz, is a pianist. Perhaps there has never been a precedent in the Budapest Strings’ concert series for performing arts seemingly so far removed from one another to share the stage. Haydn wrote numerous concertos for keyboard and orchestra, and for a long time, other works were also attributed to him. The two concertos performed at this concert are definitely his own compositions. Sándor Veress’s Four Transylvanian Dances was premiered by Paul Sacher, who commissioned numerous 20th-century musical works and became a major figure in both Hungarian and universal music history.

Triology is a newly founded collaboration between three outstanding artists: Ratko Zjaca, an internationally awarded guitarist and composer behind a large international discography, Roland Abreu, the Cuban-born bassist who found his second home in Europe, and Austrian drummer Klemens Marktl. Together, they perform original compositions in a trio format. The peerless combination of guitar, acoustic bass and drums leads to stunning results in terms of sound and arrangement, sparkled with rhythmic ideas, texture and space. The three artists’ enthusiasm, passion, intensity and warmth can be experienced in every moment of their live performance, presenting an inspiring and enjoyable powerhouse of original compositions.  Photo: Jesper de Jong

Kristóf Bacsó is one of the leading figures on the Hungarian jazz scene as a saxophonist, composer and teacher. His wide-ranging work is also reflected in the fact that he has released five albums of his own compositions in recent years, ranging from trio through quartet and quintet line-ups to pieces written for a big band. Bacsó’s latest album, Let It Go, recorded with his band Triad, was released by BMC Records. The quartet will play songs from this album at the concert, but their program consists mainly of new compositions which blend stylistic elements of contemporary jazz, Hungarian folk music heritage and contemporary classical music into a unique musical concept in an exceptionally skilful manner. Photo: Virág Stépán  

Petra Várallyay’s solo project, Circles in Motion, draws inspiration from both the cycles of nature and Eastern martial arts. Centred on the themes of being in motion and cyclicality, live looping plays a key role in the programme, boldly experimenting with the possibilities of polyphonic choral textures and orchestral sounds. Modal improvisation, Balkan asymmetry and South Indian Carnatic music all contribute to the distinctive soundscape, which comes to life on stage in close harmony with Petra’s playing. Petra Várallyay studied jazz piano, jazz singing, classical violin and jazz composition at the Liszt Academy in Budapest and the jazz department of the Maastricht Conservatorium in the Netherlands. As a composer and performer, she has worked with Bobby McFerrin and Yo-Yo Ma, and performed at numerous festivals in Hungary and abroad, covering a wide spectrum of genres. Formed in 2014, her progressive fusion jazz trio has won numerous international awards, including the Audience Award at the Independent Music Awards (USA) for their album Deadline Haze.  Photo: Kristóf Lányi

The Modern Art Orchestra’s Fall 2026 concert series pays tribute to the 100th anniversary of John Coltrane’s birth. One of the most influential figures in the history of jazz, Coltrane was not only an instrumental revolutionary, but an artist who redefined the relationship between improvisation, form, and spiritual expression. This four-concert series traces key stages of his artistic journey: from his hard bop roots through the reinterpretation of standards to his most lyrical, vocal expressions. The selected albums represent not only different periods, but distinct ways of thinking — a path that leads from tradition toward the creation of a unique and universal musical language. The musicians of the Modern Art Orchestra recreate these iconic recordings in their original instrumental settings, preserving their spirit while bringing them to life with their own voice, from a contemporary perspective. This concert focuses on a unique chamber-like encounter: the collaboration between John Coltrane and Kenny Burrell, a masterclass in lyricism and refined expression. The dialogue between guitar and tenor saxophone creates transparent textures and subtle dynamic nuances, while deeply felt interpretations of blues and standard repertoire come to the forefront. In this setting, the musicians of the Modern Art Orchestra emphasize restrained intensity and the power of attentive interplay, revealing a more intimate and lesser-known side of Coltrane.

The Miles Davis 100 Tribute Quintet was formed to mark the 100th anniversary of the legendary trumpeter’s birth. The ensemble not only pays tribute to one of jazz’s greatest innovators, but also reinterprets his legacy from a new perspective: the production centres on a contemporary, European interpretation of Miles Davis’s work. The five exceptional musicians reflect, through their own artistic language, on material drawn from various periods of the Davis repertoire, placing great emphasis on collective improvisation, open forms and a contemporary sound. The end result, rather than being a reconstruction, reinterprets and enlivens the trumpeter’s legacy within the context of contemporary European jazz. The Miles Davis 100 Tribute Quintet’s performance is thus, on the one hand, a tribute and, on the other, an attempt to engage in a dialogue with the past using the language of the present.

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The closing concert of the 1st International Vivaldi Festival pays a fitting tribute to Antonio Vivaldi’s legacy while also marking a new chapter in the history of Baroque music in Hungary. The concert’s special guest is the Italian Baroque contralto Sonia Prina, one of today’s most acclaimed interpreters of Vivaldi and Händel. Her singing is characterized by extraordinary power of expression, technical virtuosity, and a deep understanding of the Baroque style. The concert’s host and artistic director is Dániel Szurasenkó, founder and director of the 1st International Vivaldi Festival, who has been committed for many years to promoting Baroque music and introducing historical performance practice. The soloist for the concert will be violinist Márta Ábrahám, whose playing is distinguished by a unique blend of historically informed performance, virtuosity, and profound musical expression. The closing concert showcases the diverse musical world of Antonio Vivaldi: the dramatic power of the opera stage, the virtuosic brilliance of the concertos, and the emotional richness of the Baroque era in general. The program features a selection of both Vivaldi’s best-known and lesser-known vocal and instrumental works. Sonia Prina’s dark, highly distinctive contralto voice, Dániel Szurasenkó’s virtuoso recorder playing, and the Ábrahám Consort’s historical sound collectively evoke the golden age of 18th-century Venetian music. The goal of the 1st International Vivaldi Festival is to become an international meeting place for early music artists, researchers, and enthusiasts. In addition to the concert experience, the festival contributes to a broader understanding of Antonio Vivaldi’s art through educational programs, masterclasses, and professional meetings. The closing concert is not merely a performance, but an invitation into Vivaldi’s rich and captivating world, where virtuosity, passion, and beauty come together in timeless harmony.

The autumn concert of the Egri & Pertis Piano Duo’s “Cross‑Currents” series invites audiences to explore a surprising theme. Is diplomacy an art, and if so, how does it relate to the art of music? Rossini offered perhaps the most incisive answer: “The art of a diplomat differs little from that of a musician. Both must know exactly how long to pause before producing the next note – or uttering the next word – in order to achieve the greatest possible effect.” The concert programme explores the role of music in diplomacy and, alongside renowned composers such as Bach, Beethoven and Mendelssohn, introduces diplomats who also composed music, including Counts Ferdinand Waldstein and Imre Széchényi. The audience will also encounter fascinating examples of the reverse: composers who served in diplomatic positions, such as the piano virtuoso and composer Ignacy Paderewski, who was both Prime Minister and Foreign Minister of Poland, and Darius Milhaud, who worked as a diplomat in Brazil. The concert’s guest of honour will be Ambassador Balázs Bokor, President of the Hungarian Hollywood Council, who served Hungary as a diplomat for 40 years. In a brief on-stage conversation, he will share insights from his four decades of experience, as well as his thoughts on the role of cultural diplomacy and music. The evening will once again be hosted by Szilvia Becze, popular editor and presenter of Bartók Radio. The series is supported by OTP Bank.Photo credit: Mátyás Baranyai and Eszter Gordon

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Music Therapy Club is an open meeting-place of music therapists, medical, educational and social workers, as well as of anybody interested in music therapy. (In Hungarian) 

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Blood Quartet is an experimental band formed in Barcelona in 2015 by New Yorker Mark Cunningham (Mars, Don King, Raeo) alongside Catalan musicians Kike Bela, Lluís Rueda, and Carles Esteban. Their sound, featuring a hypnotic and cinematic aesthetic, combines no wave, jazz noir, industrial rock, and free improvisation. They have published five works: Dark Energy (2015), Deep Red (2016), Until My Darkness Goes (2018), Root 7 (2022), and, in collaboration with Dongyang Gozupa, Terra Ignota (2025).  Blood Quartet's sound combines improvisation, unsettling atmospheres, and freeform structures inspired by free jazz and industrial rock, marked by a clear underground and experimental sensibility. They stand out for their ability to adapt to other disciplines such as cinema, dance, poetry, or performance art, having collaborated with artists like Miguel Ángel Blanca, Konik Thtr., Blanca Haddad, Ben Brooks, Laila Tafur, and musicians including Za!, Seward, and Julio César Palacio. Their sound is characterized by the use of effect-processed trumpet, distorted guitars, heavy bass, and broken rhythms, creating dark, unsettling, eerie and cinematic compositions reminiscent of a soundtrack to a distorted film noir or an abstract thriller – always driven by a strong improvisational presence and a radically free attitude. Photo: Anita Cortes  

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Zoltán Fejérvári, János Mátyás Stark and Gergely Devich are launching a new series at the BMC to mark the Beethoven Year in 2027. At each of the three concerts in the series, one of Beethoven’s piano trios will be paired with a work in the same genre by another German composer.  Beethoven composed his Trio in G major at the very beginning of his career, yet it already reveals his innovations elevating the piano trio genre to a new dimension. These include the expansion to four movements – bringing the duration to just over half an hour – and the versatile treatment of the cello, giving it an unprecedented degree of independence. The entire piece is imbued with cheerfulness and a zest for life, just like the outer movements of Brahms’s Trio in C major – for the fourth movement, the composer even uses the tempo marking ‘giocoso’ (playfully, jokingly). The slow movement, often described by many as a bit Hungarian-style, takes its mournful, plaintive theme from one of Brahms’s early songs. The main sections of the Scherzo showcase the eerie side of the minor key, while the middle section conceals one of the composer’s most beautiful melodies. Further concerts in this series:9 January 2027: Fejérvári – Stark – Devich: Beethoven+ 3/2.29 May 2027: Fejérvári – Stark – Devich: Beethoven+ 3/3.

At a time of dangerous political, religious, and cultural polarization and xenophobia, Yemen Blues leads by example, creating a color-blind, all-embracing celebration of gyrating togetherness with love firmly at its pulsing core. The four members of Yemen Blues are spread across continents, with roots that span cultures. This global patchwork manifests in their singularly exhilarating polyglot mélange of Bedouin folk, funk, blues, avant-garde, Arabian classical, fuzzed-out rock, psych and jazz. So, wherever you’re from, Yemen Blues speaks your language. Equally a gathering of musicians and a spiritual channeling, Yemen Blues rejects the very concept of taking sides, instead seeing only unity and love as pathways to harmony on both micro and macro levels. They explore intricate and potentially thorny issues through the simplicity of sheer fun – a universal state where we all can meet. With their latest album, Only Love Remains, Yemen Blues delivers a genre-defying album that fuses tradition with raw emotion and contemporary sound. The group weaves together Yemeni roots, Afrobeat rhythms, Arabic soul, funk, blues, and jazz – creating music that is both deeply spiritual and intensely physical. Photo: Dudi Dayan  

The works to be performed at this concert share two features: on the one hand, they explore the compositional possibilities offered by the human voice; on the other, they examine questions of the relationship between humankind and the spirit world. The music of the Mass-oratorio – characterized by the exceptionally rich and colourful sound of the male choir – was inspired by the life of János Esterházy; the Latin movements of the Catholic Mass are separated by Hungarian-language interludes, for which the composer and his collaborator, Boglárka Cziglényi, used excerpts from the prison letters, prayers and diaries of János Esterházy and his sister, Mária. The Birds of Pompeii is a lyrical composition with a delicate sound, in which the themes of passing and remembrance take centre stage. Moving between different time periods and personas, the soloist journeys from her former self – who once lived – through acceptance of passing, to the voice of a bird taking flight after being purified in a dust bath. Finally, we are also introduced to two scenes from Faragó’s forthcoming new opera, Hamlet: first, in the duet between the Ghost and Hamlet, we witness how the young man’s subtle senses are gradually attuned to the presence of his invisible, inaudible father; then, the duet between Ophelia and Hamlet, based on Boglárka Cziglényi’s libretto, presents the deep and passionate relationship that appears only indirectly in the original play.The subject of Béla Faragó’s doctoral thesis – which he recently presented at the BMC Library in a four-part lecture series – is the early years of the Cologne Radio (WDR) Electronic Studio: using computerised sound analysis, sonograms and transcriptions, he analysed every published composition from the Studio’s first year. Through the encounter of creative intentions, processes, formal principles, and the technical possibilities of the time, the author demonstrates how the desire to achieve total mastery over sound gave rise to a whole series of masterpieces.Béla Faragó has been a lecturer in classical composition at the Jazz Department of the Liszt Ferenc Academy of Music since 1990. From 1995 to 2007, he was a founding member and musical director of the Bárka Theatre in Budapest; between 2011 and 2018, he worked as musical director at the Gergely Csiky Theatre in Kaposvár. Since 1977, he has been active as a soloist and in various ensembles (Kis Zenei Stúdió, 180-as Csoport), performing and composing. He has collaborated with leading figures in contemporary music such as Louis Andriessen, Steve Reich, Terry Riley and Meredith Monk. He has released five albums of his own compositions. Seven of his operas have been staged, including a work based on Franz Kafka’s short story The Metamorphosis. His works have received numerous awards, including the Grand Prize for Music at the 7th Naples Video Ballet Festival.

Resignation is the keynote of the old Liszt’s compositional style. As a young pianist and then composer, he had travelled all across Europe and had created some of the most important works of the 19th century: he was universally celebrated. By this time, however, success had stopped to motivate him; he had withdrawn from public life and renounced glamour. He was searching for a way to express the deepest emotions with a single harmony, a single voice, the sigh of two notes. At their special concert, András Szalai and Balázs Fülei will perform some of the composer’s late piano pieces as cimbalom and piano arrangements. The sound of the cimbalom was particularly important to Liszt, who saw it as a symbol of his Hungarian identity, and its characteristic sound and performance mode inspired him to experiment with new ways of playing his own instrument, the piano. Playing material from their record, En Rêve – Liszt Inspirations, the two artists will give new meanings to the late pieces with their arrangements and transform the evening into a musical meditation.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The second concert brings together Illés Szabó and the rich, multi-layered musical universeof Pat Metheny. Illés Szabó is one of the versatile voices of the younger Hungarian jazz generation, active as a guitarist composer, and arranger. Winner of the 2021 Big Band Composer Competition of the Hungarian Jazz Federation, he studied at the Liszt Ferenc Academy of Music and the Conservatorium van Amsterdam. Pat Metheny is one of the broadest musical horizons in contemporary jazz. His music combines lyrical melodic writing, atmospheric textures, and groove-oriented thinking while constantly expanding the boundaries of the genre. His compositions are both accessible and complex, immediate yet deeply crafted. A special feature of the concert is that Metheny’s compositions will be performed in large ensemble arrangements created by the outstanding Bob Curnow and Illés Szabó. The original pieces appear in a new orchestral light while preserving the unmistakable atmosphere of Metheny’s musical world.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The second concert brings together Illés Szabó and the rich, multi-layered musical universeof Pat Metheny. Illés Szabó is one of the versatile voices of the younger Hungarian jazz generation, active as a guitarist composer, and arranger. Winner of the 2021 Big Band Composer Competition of the Hungarian Jazz Federation, he studied at the Liszt Ferenc Academy of Music and the Conservatorium van Amsterdam. Pat Metheny is one of the broadest musical horizons in contemporary jazz. His music combines lyrical melodic writing, atmospheric textures, and groove-oriented thinking while constantly expanding the boundaries of the genre. His compositions are both accessible and complex, immediate yet deeply crafted. A special feature of the concert is that Metheny’s compositions will be performed in large ensemble arrangements created by the outstanding Bob Curnow and Illés Szabó. The original pieces appear in a new orchestral light while preserving the unmistakable atmosphere of Metheny’s musical world.

When Joe McPhee steps on stage, a piece of jazz history enters the room. For decades, the tenor saxophonist has stood for a jazz that knows no compromise – from the early, funky and raw recordings of his album Nation Time to the widely acclaimed solo excursions on Tenor. McPhee never stopped playing, yet it was a new generation of improvisers who rediscovered him in the mid-1990s – not least through his long-standing collaboration with Peter Brötzmann, in whose legendary Chicago Tentet he became a central figure. To this day, his tone is considered one of the finest in the field, even where he ventures into the outer regions of jazz. At his side is Steve Swell, one of the most distinctive trombonists of his generation. Swell treats the technical peculiarities of his instrument not as limitations but as invitations – howling glissandi, chattering chromaticism, and a playfulness that pushes his instrument to its limits and beyond. That he never abandons the ground of postbop linearity is what makes his music so multi-layered: virtuosic and unpredictable at once. The foundation is provided by Mark Tokar on double bass and Klaus Kugel on drums – two musicians who have understood each other intuitively for years. Tokar plays with a concentration and devotion that takes every moment of interplay seriously; his full, unmistakable tone forms the sonic backbone of the quartet. Kugel, in turn, ranks among the most defining drummers in contemporary European jazz: precise, alert, and always in dialogue with his fellow musicians, moving confidently between structural clarity and complete freedom. Together, the two form a rhythm section that distills improvised music into a universal language – the sturdy foundation on which the sound worlds of McPhee and Swell can unfold freely. Photo: Žiga Koritnik  

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MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The third evening centers on the meeting of Cseke Gábor and Maria Schneider. Maria Schneider is one of the defining figures of contemporary big band music. Her compositions are known for their extraordinary orchestral sensitivity, organic sense of form, and powerful emotional arcs. Her music often unfolds like sonic landscapes, filled with subtle dynamics and rich textures. As both composer and performer, Cseke Gábor is recognized for his sensitivity to detail, balancing complex structures with freer improvisational thinking. This concert promises an especially rich and nuanced world of sound, where the big band can sometimes achieve the intimacy and delicacy of chamber music.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The third evening centers on the meeting of Cseke Gábor and Maria Schneider. Maria Schneider is one of the defining figures of contemporary big band music. Her compositions are known for their extraordinary orchestral sensitivity, organic sense of form, and powerful emotional arcs. Her music often unfolds like sonic landscapes, filled with subtle dynamics and rich textures. As both composer and performer, Cseke Gábor is recognized for his sensitivity to detail, balancing complex structures with freer improvisational thinking. This concert promises an especially rich and nuanced world of sound, where the big band can sometimes achieve the intimacy and delicacy of chamber music.

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MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The closing concert of the series presents Attila Korb in dialogue with the legacy of Thad Jones. Thad Jones represents one of the highest peaks of modern big band writing: his music combines driving swing grooves, deep blues roots, and masterful orchestration in a uniquely powerful way. His compositions are energetic, yet full of subtle and unexpected details. Attila Korb’s musical world is also deeply connected to this tradition while striving for a contemporary voice. The concert selection will reflect the atmosphere of the Advent season, where festive moods meet the energy of swing. Through the shared language of blues and groove, the evening offers a joyful yet sophisticated musical experienc — a fitting finale to the series.

MAO meets the masters! – the Autumn Concert Series of the Modern ArtOrchestra What happens when a composer truly encounters the artists who shaped their musicalthinking? They do not simply quote or imitate them — they question, reflect, and continuethe conversation. MAO meets the masters! is the autumn concert series of the Modern Art Orchestra, bringing these deeply personal and artistic encounters to life. Closely connected composers and arrangers of the orchestra enter into dialogue with internationally acclaimed masters — not merely as a tribute, but as a living contemporary reflection. The iconic figures of big band history appear here as sources of inspiration, while today’s composers speak in their own voice. Familiar musical languages meet new ideas, and past and present illuminate one another. Each evening features two performances (6:30 PM and 9:00 PM), offering audiences the chance to experience these unique musical dialogues from different perspectives. The closing concert of the series presents Attila Korb in dialogue with the legacy of Thad Jones. Thad Jones represents one of the highest peaks of modern big band writing: his music combines driving swing grooves, deep blues roots, and masterful orchestration in a uniquely powerful way. His compositions are energetic, yet full of subtle and unexpected details. Attila Korb’s musical world is also deeply connected to this tradition while striving for a contemporary voice. The concert selection will reflect the atmosphere of the Advent season, where festive moods meet the energy of swing. Through the shared language of blues and groove, the evening offers a joyful yet sophisticated musical experienc — a fitting finale to the series.

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Composed in 1890, Chrysanthemums is one of Puccini’s few purely instrumental works; this well-known piece was inspired by the sudden death of the son of King Vittorio Emanuele II of Italy. The mood of Lutosławski’s String Quartet, premiered in 1965, is also reminiscent of funeral music. Throughout nearly the entire quartet, the Polish composer employed aleatoric composition, a method based on chance: in these sections, the parts move freely relative to one another, without synchronization, creating an exceptionally unique soundscape. Beethoven’s String Quartet in A minor, Op. 132, is, like the composer’s other late quartets, a monumental and groundbreaking work. The slow movement is situated in the middle of the five-movement form; Beethoven gave it the following title: Holy Song of Thanksgiving to the Deity from a Convalescent, in the Lydian Mode. The prayerful, chorale-like sections are followed by livelier passages with a triple meter, which represent the patient’s steadily increasing vitality. The members of the Korossy Quartet began working together in 2018. The following year, they won the Leó Weiner National Chamber Music Competition, organized by the Liszt Academy of Music Budapest, and in 2021, the ensemble was awarded five special prizes at the International Bartók Competition. Their work is supported by renowned artists, including Eberhard Feltz, Barnabás Kelemen, András Keller, Katalin Kokas, György Pauk, Günter Pichler, András Schiff, and Gábor Takács-Nagy. In addition to performing at Hungary’s largest concert venues, they have participated in international festivals such as the Lockenhaus Kammermusikfest, Kamara.hu, Arcus Temporum, Bartók Spring, Festival Academy Budapest, and the Mahler Festival in Toblach. The BMC audience may also be already familiar with the quartet: in the fall of 2023, they launched a series to perform all of Béla Bartók’s string quartets at the Concert Hall, while during the 2025/26 season, they played Kurtág’s works at the Kurtág100 festival, and later gave a joint concert with Zoltán Fejérvári. In the 2026/27 season, they are launching a new series titled Refractions, which, over the course of three concerts, will shed light on various facets of the genre through pieces rarely associated with each other. Further concerts in this series: 2026.09.25. Korossy Quartet: Refractions 3/1.2027.05.21. Korossy Quartet: Refractions 3/3.

Zoltán Fejérvári, János Mátyás Stark and Gergely Devich are launching a new series at the BMC to mark the Beethoven Year in 2027. At each of the three concerts in the series, one of Beethoven’s piano trios will be paired with a work in the same genre by another German composer.  Music history attributes the consolidation of the piano trio genre to Haydn, and not without reason: the musical complexity of his works, as well as his style blending weight with a cheerful playfulness, greatly inspired the series’ protagonist, Beethoven. This influence will be evident in the two works performed at the concert: the dramatic tone of the first movement of the Haydn trio, the almost romantic, lyrical quality of the second movement, and the explosive energy of the final movement are all characteristics that also define Beethoven’s well-known Archduke Trio. Beethoven dedicated the Trio in B flat major to one of his most important patrons, Archduke Rudolf of Habsburg-Lorraine – the majestic elegance of the entire work also bears witness to the composer’s respect for him. Further concerts in this series:17 October 2026: Fejérvári – Stark – Devich: Beethoven+ 3/1.9 January 2027: Fejérvári – Stark – Devich: Beethoven+ 3/2.