The pseudonym Fluidian hides Emil Gherasim, a composer, musician and sound artist born in Carei, whose work includes electroacoustic and electronic music, chamber music, film and theatre scores, sound illustrations for contemporary dance and visual performances, and ambient soundscapes. Fluidian is best known for his solo performances, but has also collaborated with artists such as Arve Henriksen, Tibor Szemző and Roland Heidrich. This time, he will engage in an improvisational chamber music dialogue with Moment's Notice Trio member László Gőz and Moment's Notice's regular guest artist Kornél Fekete-Kovács, who, like Fluidian, both illuminate the interconnections between jazz, classical-contemporary and electronic music as seasoned masters of music born in the moment.   With the friendly support of Ernst von Siemens Music Foundation. With the support of the National Cultural Fund of Hungary.

"Daniel's works show great control and versatility on all levels. Being equally at ease with the jazz and symphonic idiom, both his compositions and arrangements show complete awareness of what is relevant in today's orchestral music. His affinity with drama and his gift to encompass this in music make him a natural film composer." - Jurre Haanstra, composer  Daniel Mester travelled around the world to find his own musical universe, which accommodates the melodies of Anatolia, Indonesian scales and imaginary Hungarian folk songs. He began his musical studies as a classical clarinetist, and later started to learn jazz saxophone playing. He graduated at the Conservatorium van Amsterdam, and he not only had the opportunity to perform in many parts of the world (South Korea, Indonesia, Turkey, Brazil, Morocco), but also to learn about musical heritages outside of Western musical traditions. He composed a couple of filmscores, and studying Turkish classical and folk music is another current inspiration for him, the impact of which is echoing in his compositions. His long-cherished dream of founding his own trio came true with the pandemic. He invited two talents of the young Hungarian jazz generation, guitarist Péter Cseh and drummer Tamás Hidász into this musical adventure. This evening, they will also be joined by the virtuosic master of the cimbalom, Kálmán Balogh. www.mesterdaniel.com

Thérapie de couple – we are talking, of course, about the Germany-France couple, the engine of Europe, which now and then finds itself in crisis. Saxophonist and bandleader Daniel Erdmann is the ideal counsellor because he knows the differences, the similarities, the possible misunderstandings, the psychology of these two countries very well. He is particularly pleased to have been invited to put together a new German-French sextet and, in selecting musicians, has opted for a combination of those he already knows very well – and the security that comes with that –, and inviting completely new people who bring with them the desire and magic of uncertainty. Daniel Erdmann has been travelling between Germany and France for over 20 years. German-French and European projects are at the centre of his work, in which he has been supported by Philippe Ochem and the Jazzdor Festival from the very beginning. Jazzdor is once again a partner and sponsor for the new band. Projects over the past 20 years include bands such as Das Kapital and Velvet Revolution, but also quartets, trios and duos with Heinz Sauer, Christophe Marguet, Vincent Courtois, Aki Takase, Henri Texier and many others. Two musicians from France, with whom Erdmann has played a lot in recent years, have agreed to join him in the new project: violinist Théo Ceccaldi, member of the band Velvet Revolution, and cellist Vincent Courtois, with whom Daniel Erdmann has been working in various bands since 2008, first in a quartet with Frank Möbus and Samuel Rohrer, then in Vincent’s trio with Robin Fincker and on the side in various projects with painters, actors, singers. All these common experiences can be a basis for imagining a band sound when composing. Other band members who have accepted the offer of this new collaboration include the young French clarinettist Hélène Duret, who is currently touring all the clubs and festivals in France with her band Suzanne. Her velvety clarinet sound combines wonderfully with the saxophone sound of Daniel Erdmann. The rhythmic basis of this sextet is formed by drummer Eva Klesse and bassist Robert Lucaciu, two now established greats of the German jazz scene, who in turn know each other well from the Leipzig jazz scene. A solid rhythm section that can also go unexpected ways, different generations and individual voices that can also put themselves at the service of the group sound. A German-French couple therapy full of the joy of playing with some of the best musicians of both countries. That is Daniel Erdmann’s idea for this new adventure. Before the concert, they are recording their debut album to be released on BMC Records in the near future.

Pianist György Pataj graduated from the jazz department at the Franz Liszt Academy of Music in 1997. Over the past fifteen years he has played with such prestigious Hungarian musicians as Aladár Pege, Imre Kőszegi, Gyula Babos or the Cotton Club Singers. Pataj Jazz Quintet, his own band was founded in 2009, and after a few changes, the present solid lineup of prominent musicians of the Budapest jazz scene came to being. The quintet revives the hard-bop genre of the '60s and '70s: their sound reflects the world of groups led by outstanding personalities of the period (Miles Davis, Art Blakey, Freddie Hubbard, McCoy Tyner, Lee Morgan, Benny Golson, Cannonball Adderley).

Manel Ferreira and Márton Stummer's acquaintance began with the European Guitar Award’s 2021 edition in Dresden, where they both won a prize. But this is only one of the many things they have in common: they both build a colourful musical universe with a penchant for Latin American, classical-contemporary and flamenco guitar music, mixing these influences with jazz. This diversity also extends to the lineups, as this concert will feature solo, duo, trio and quartet performances of their original compositions and Latin American guitar pieces. In the rhythm section we find two members of Márton Stummer's new trio, Ambrus Richter and Márk Miskolczi.

“Sassoon is a fascinating original, her piano world inhabited by Keith Jarrett’s lyricism and driving hooks and Steve Reich’s minimalism … This is music that splices lyrical shapeliness with bursts of take-no-prisoners abstraction, but Sassoon’s sensitivity to that balance is as alert here as her listeners have come to expect.” – John Fordham / The Guardian Whoever immerses themselves in the music of British pianist and composer Julie Sassoon will be rewarded with nothing less than an adventure, with sounds that can be lyrical and gentle, abstract and edgy, full of twists and turns, mysterious and unpredictable, yet highly accessible. Listeners are drawn into a world that offers more than one level of perception. ‘Voyages’, the latest album by Sassoon's renowned quartet, was nominated for the German Record Critics' Award for good reason. Born in Manchester and based in Berlin since 2009, Julie Sassoon is known for taking her audience on exhilarating and unpredictable journeys - whether solo, ‘Inside Colours Duo’ with saxophonist Lothar Ohlmeier, her duo with drummer Willi Kellers, her quartet or with other ensembles. What makes Sassoon's music so appealing is that this woman's musical thought processes are far removed from convention, that her imagination is always seeking new paths, new forms of expression.  

The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. The mythical magic of the Far East and the Balkan or Asia Minor have often influenced pieces of recent Hungarian music history, they now provide the thematic link to the oriental music programme. An unmissable piece in such a programme is the orchestra leader Kornél Fekete-Kovács's suite Yamas and Nyamas, of which the movement Tapas is based on an Indian raga. Actually, Bartók also collected folk music in Asia Minor, and in recent years the MAO has systematically adapted Bartók's works, such as the 15 Hungarian Peasant Songs, to its own sound. Some compositions by the in-house composers of the Modern Art Orchestra have also revealed Balkan, Indian and Arabic musical influences.

The poems in the lyrics contribute to the innovative world of Ötödik Évszak (Fifth Season), as do the use of both Hungarian and French, the immersion in the values of folk music that are not commonly known, the creative understanding of folk culture and the joy of chamber music. Their music playfully combines an urban environment and respect for tradition, and runs the gamut of emotions: their compositions alternate between dynamic, virtuosic, melancholic and life-affirming. The core of their songs is the folk music of the Carpathian Basin, which is expanding into the world of improvisation. Sometimes featuring guest musicians, the Fifth Season sees traditional folk music as a legacy of European culture, in which the creation as an intellectual heritage is also a community's contemporary imprint. Formed in 2018, the band has enjoyed great professional success, in 2020, they represented Hungary on the stage of the Womex Regional Showcase. The members of the Fifth Season are prominent representatives of the Hungarian music scene, who have already demonstrated their love of music in numerous productions (Buda Folk Band, Lajkó Félix, Dresch String Quartet, Hungarian State Folk Ensemble, Ifjú Szívek String Quartet or Ephemere).  

Jegesmedvék Szicíliában? Repülő disznók és party a kísértetházban? Várostrom medvékkel és majdnem gonosz varázslóval? Ezt mind és még sokkal több izgalmat zsúfoltunk ebbe az új ifjúsági kalandzenébe, melyet Dino Buzzati gyönyörű és vicces meséje nyomán zenekarunk megrendelésére komponált Antonio Casagrande. Egy igaz történet becsületről, szeretetről, klímaváltozásról és a természet gyógyító erejéről. Karmester, szöveg és mesélő: Hámori Máté Zeneszerző: Antonio Casagrande Koreográfia: Góbi Rita Látványtervező: Vermes Nóra Animáció: Illés Haibo Rendező: Fodor Orsi

Think Big is an unprecedented quartet which has the air of a libertarian manifesto. A ground of experimentation furiously alive. The French double bass player Thibault Cellier and the French saxophonist Raphaël Quenehen got to know each other for 20 years within the collective of artists “Les Vibrants Défricheurs” and the band “Papanosh” (Laureate Jazz Migration 2013, Echoes of France selection Jazzahead 2015). Along with them, Mike Reed, drummer and composer, hyper-activist on the Chicago’s scene and member of the AACM, plus Ben Lamar Gay, his long-time partner, trumpetist and multi-instrumentalist coming from the same galaxy. Think Big toured twice in Europe, it’s the first introduction of the quartet in the USA. They also record a new album, to be released on BMC Records. Think Big has been made possible through Jazz & New Music, a program of Villa Albertine and FACE Foundation, in partnership with the French Embassy in the United States with support from the French Ministry of Culture, Institut français, SACEM (Société des auteurs, compositeurs et éditeurs de musique) and the CNM (Centre National de la Musique). Le collectif Les Vibrants Défricheurs est conventionné par le Ministère de la Culture et de la Communication / DRAC Normandie et par la Région Normandie, soutenu par les Villes de Rouen, Sotteville-lès-Rouen et Le Petit-Quevilly (76)

The brilliant and versatile Roy Hargrove summoned this parade 30 years ago, documented on 73+ minutes. Hargrove (1969-2018) created wonders: in addition to his quintet albums, he founded a big band and opened wide doors to hip-hop and R&B. Here, as one of the ambitious young lions, he provides yet another example of positioning his generation in the jazz tradition, while happily savouring every minute of musical encounters. The Cyrus Chestnut-Rodney Whitaker-Gregory Hutchinson rhythm section features saxophonists in their 30s: Ron Blake, Branford Marsalis and Joshua Redman, as well as grand masters Johnny Griffin, Joe Henderson and Stanley Turrentine. Hargrove shines as a bandleader, composer, soloist and host, smiling as he opens the door to the parade of saxophone stars. Kristóf Bacsó, János Ávéd, Árpád Dennert and Balázs Cserta - almost the entire MAO saxophone chorus - take turns interpreting the music of their great predecessors, while Kornél Fekete-Kovács takes the trumpet part.    

Vasakon represents a surprising soundscape, especially considering its members’ musical backgrounds. Imre Németh (aka Virgács) was part of the Ugar Records circle (Yonderboi, DJ Palotai, Miraq i Miro) in the early 2000s touring Europe, and has since produced numerous albums for Rutkai Bori. As a drummer, András Halmos has honed his improvisational skills in Jü, Tariqa, The Mabon Dawud Republic, Gadó Gábor's bands, and various other formations, delving deep into Afrobeat and Gnawa traditions. Together, they create a musical atmosphere that, despite its purely improvisational nature, results in an experimental creation in another way: a pure, minimalist IDM beauty from scratch. Each concert is unique, as they perform with different guest musicians without prior preparation. They prefer to remain in the background, providing their guests with an inspiring foundation and space. The ensemble’s name refers to the electronic instruments they play on: Vasakon, in Hungarian slang, literally means "on gear," referring to their hardware-driven setup. Each performance is a new narrative, a unique, personalized occasion, and their list offuture guests is long, exciting, and diverse.  

The Baló Project was founded in 2015 with the aim of presenting the same music in several lineups, always in a slightly different way. The members choose musical devices according to the ideas they want to express, drawing on elements of jazz, rock, folk and contemporary music. Their main ambition is to become so immersed that their creative energies can be unleashed and unite with their professional skills in a force that engages and captivates the audience. Now they aim at this with a special line-up, featuring guest appearances by László Dés, Máté Pozsár and András Dés.

Romanticism – Grieg, Dvořák and Tchaikovsky Shouldn't we get carried away by the extremely powerful musical motifs or melt away listening to the melodies gently finding their way to our hearts? Of course, we should! The Franz Liszt Chamber Orchestra intends to achieve just that with the programme compiled from the best-known Romantic compositions. Among the three great Romantic masters, there is a Czech composer whose name might sound somewhat unknown. Josef Suk, however, does belong to the 'family', Dvořák’s family: first, he was Dvořák's student, and then later, he joined privately as well. At the age of 19, he managed to write his Saranade in a nearly perfect Dvořákian style as the follower of his future father-in-law.

Montreux competition winner Nikoletta Szőke is one of the most popular jazz singers in Hungary. In addition to concert halls and festivals in Hungary, she has performed with great success in New York, Tokyo, Brussels, Copenhagen, London and Berlin, singing with Michel Legrand, Bobby McFerrin, Kurt Elling and Gregory Hutchinson, among others. She has released seven solo albums to date, with her latest album Moonglow produced by Grammy Award-winning producer Helik Hadar. Since the beginning of her singing career, Nikoletta Szőke has been a committed advocate of accessible vocal jazz; in 2006, she paid tribute to one of her greatest idols, Ella Fitzgerald, with her first national tour. In this concert, she will perform the standards made famous by Ella, her most iconic songs, with arrangements typical of the golden age of jazz.  

It is no coincidence that Motus Quartet chose the opening piece of Beethoven's first quartet series to head the programme: it was the work that marked the beginning of the four musicians' collaboration, and it is also the starting point for Beethoven's inescapable oeuvre for string quartet. György Kurtág's official oeuvre starts with a string quartet from 1959. He composed again for this ensemble in 1977, condensing the gestures and atmospheres of chamber music into vivid miniatures of less than a minute with 12 microludes. The programme concludes with another work with Viennese connections, Schubert's string quartet Death and the Maiden, one of the fondest pieces in the quartet repertoire, never to fully reveal the secret of its popularity. To perform it is not a mere reward, as the young musicians strive not to let the hundreds of existing recordings determine their own interpretation, but to dig down into the deepest layers of the music where never-before-heard discoveries await.

Bálint Gyémánt's trio brings a special colour not only to the Hungarian, but also to the international jazz scene. Together with two brilliant artists, the bandleader guitarist creates a unique atmosphere, while inviting his listeners on a unique journey. Perhaps our country's most ambitious power trio, they released their first album, Vortex of Silence less than a year ago on Jazzhaus Records in Germany. After numerous concerts abroad and Europe's biggest jazz showcase, jazzahead!, the new album was premiered in Budapest, at Müpa Budapest, at a sold-out concert. Their spring highlight concert will be hosted by Opus Jazz Club, where they will tell their new stories in the language of music.    

György Kurtág has had an exceptionally influential career, which is of course no coincidence: in him, the world has discovered a composer and professor whose vast knowledge, unparalleled intensity at work and uncompromising humility towards music continue to fascinate and inspire artists to this day. This concert will honour György Kurtág on the occasion of his 99th birthday with Hungarian musicians working on the borders of jazz and contemporary music. In addition to Kurtág's own pieces, the programme will also feature new compositions, arrangements, and improvisations inspired by his works.

What's the best way for a musician to celebrate his birthday? With a joyful music session. And that's exactly what István Tóth is planning, this time with bass guitar in hand, together with an entire big band of musician friends and surprise guests, with whom he has formed a special band, creating a programme and arrangements from his favourite songs for this occasion. The programme will pay tribute to the defining jazz-funk bands of the 1970s, with Weather Report and Headhunters as the main tracks, and István Tóth and his band will also evoke the musical world of Jaco Pastorius' album The Birthday Concert.

The majority of Schumann's chamber music was composed in a single year, 1842: three string quartets, a piano quintet and quartet, and four fantasy pieces for piano trio. For his first “real” piano trio, however, the audience had to wait another five years: the Piano Trio in D minor, completed in 1847, was admittedly the fruit of hard times. The work bears the influence of Mendelssohn's trio of the same key, written nearly 10 years earlier, as well as clearly shows the Schumanns’ intensive counterpoint studies in action – Clara also completed her own piano trio in G minor around this time. Schumann wrote his Piano Trio in G minor three years later, which has almost completely disappeared from the repertoire; as with all the composer's late chamber works, many critics suggested that it shows a decline in creativity – its performance by Dénes Várjon, Antje Weithaas and Marie-Elisabeth Hecker will reveal how unjust this verdict is. Photo credits: Pilvax Studio, Kaupo Kikkas, Harald Hoffmann, Iréne Zandel

Immerse yourself in the world of Callisto, where innovation meets tradition and sonic landscapes are painted with bold strokes of creativity. Saxophonist Peter Van Huffel’s latest project is a bass-less quartet that skews the line between composition and improvisation. Featuring Peter on baritone saxophone and electronics, Canadian trumpeter Lina Allemano, Greek pianist and electronics artist Antonis Anissegos, and German drummer Joe Herstenstein, Callisto offers a unique and profound approach to modern jazz with their debut album, "Meandering Demons.” Peter's innovative compositions serve as the backbone for this project, weaving intricate tapestries that combine structured elements with the spontaneity of free improvisation. Some pieces are expansive and suite-like, taking the listener on a journey of musical adventure and surprise, while others offer a slow build which develops gradually through subtle harmonic twists and layering of sound. The absence of bass in this ensemble offers the piano an extended space in which to explore the vast range of the instrument while trumpet and baritone highlight frequencies at opposite ends of the spectrum, giving the four-piece band an almost orchestral presence. With the addition of electronics subtly incorporated into the sound of the piano and blended at select moments with the resonance of the acoustic horns, Callisto is a captivating musical experience that transcends genre and resonates with jazz enthusiasts and adventurous listeners alike. Callisto’s inaugural album “Meandering Demons” was released in March 2024 on the renowned Portuguese avant-jazz label Clean Feed Records. This carefully selected collection of tracks showcases the quartet's unquestionable chemistry, pushing the boundaries of the jazz tradition and inviting listeners into a realm of sonic exploration.  

The new production of harpist Anastasia Razvalyaeva, singer Veronika Harcsa and composer Bálint Bolcsó translates Schubert's music into contemporary musical language. After their album Debussy NOW!, released in 2020 on BMC Records and acclaimed internationally, the artists adapted the songs of another composer to their own instruments and language. Improvisations, timbres between classical and jazz vocal techniques, and live electronic effects further expand the infinite, sensual and eerily beautiful universe of Schubert's songs, while at the same time enhancing the expressive tools of the human voice, and the harp. The well-known, perennial songs are transformed into a truly contemporary spatial experience in the trio's performance. The full material of the album Schubert NOW!, to be released in early 2025, will be heard live for the first time at this concert, in the Concert Hall of BMC.  

The Electric Bebop Band Budapest was founded in early 2023, inspired by Péter Cseh. The connection with Paul Motian's band of the same name is obvious, which, under the leadership of the legendary jazz drummer, acted as a kind of musical incubator in the last decade of the previous millennium – names like Kurt Rosenwinkel, Ben Monder and Joshua Redman turned up there in their youth. For the six members of this unique, multi-generational band, the search for and experience of freedom is the most important common denominator. The repertoire is made up of now-classic pieces by outstanding figures of the bebop era, such as Monk, Parker and Bud Powell, which give new generations of musicians the opportunity to reinterpret and express themselves through them.

An artist with little need for introductions, Elliot Galvin is a long-time trailblazer in the UK jazz firmament with four solo albums that have seen him top album of the year lists at the likes of Downbeat and Jazzwise, as well as being a member of the Mercury nominated Dinosaur, and collaborating with Shabaka Hutchings, Emma-Jean Thackray, Norma Winstone, Marius Neset and Mark Lockheart. Scheduled for release in February 2025 via independent London tastemaker label Gearbox Records (Binker & Moses, Abdullah Ibrahim, Cahill//Costello), “The Ruin” marks a new start for Galvin. This is his most personal album to date, written on his childhood piano and inspired by the bleak yet beautiful landscapes of his hometown, the music free-flows between serpentine piano and modular synth lines weaving and colliding around ephemeral vocalisations, deceivingly groove-heavy percussion, and intricate, soulful flute improvisations, featuring a who’s who of estimable guest musicians and friends from the UK scene including a secret special guest on flutes, renowned bassist and vocalist Ruth Goller, Polar Bear drummer and Patti Smith / Damon Albarn collaborator Sebastian Rochford, and longtime collaborators The Ligeti String Quartet.

In 1706 Antonio Vivaldi became violin teacher at the Pio Ospedale della Pietà, an orphanage for girls in Venice, and remained associated with the institution for the rest of his life. During this period, the orchestra of orphans was gaining increasing recognition throughout Italy. Vivaldi composed most of his concertos, cantatas and church music for them. He wrote more than 500 concertos alone, including works for solo instrument – mostly violin or bassoon – and orchestra, as well as pieces for string ensemble, more reminiscent of later symphonies. The highly successful concert series of bassoonist György Lakatos and Concerto Armonico is based around Vivaldi's concertos, and this time they will not only perform a selection of works by the Italian Baroque master, with a musical introduction by György Lakatos, but also offer an insight into the workshop of music teachers with 15 bassoon students: Ivett Bazsinka, Anna Beleznai, Kinga Kelemen, Laura Kolozsi, Luca Losonci, Borbála Marics, Sarolta Nagy, Flóra Németh, Valéria Novák, Petra Stankowsky, Szellő Szőllősy, Anna Török, Luca Varga, Vera Zöld, and Dominika Zsargó.

The artistic goal of Bence Dóczi (imdb) and the DDT trio is to combine the classical elements of hip hop with the freedom of improvisation to create a unique sound and express the diversity and limitless possibilities of music. In addition to instrumental virtuosity, which guarantees a technically high level of playing, the use of electronic effects and sound recordings plays an important role, adding a new dimension to the music. Some songs have psychedelic influences that take the listener on a journey, others are more groove-driven, which guarantees a sense of dynamism. In addition, improvisation allows the four young musicians to take advantage of the inspirations of the moment and share them with the listeners. The band's first album was released recently, and now they take their chemistry even further with cimbalom player Áron Horváth.  

The Jasna Jovićević Quinary is a groundbreaking ensemble redefining chamber jazz through artistic research, improvisation, and a deeply contemporary approach to composition. Formed in 2016, the group has established itself as one of the most innovative musical collectives in Serbia and the broader region. The Quinary combines the dynamic energies of string quartet instrumentation with the fluid versatility of woodwinds, voice, and percussion, crafting a unique soundscape that transcends conventional genres. The Quinary’s music is a form of conceptual program music, designed to explore the intricate relationships between sound frequencies, perception, and well-being. This visionary work integrates elements from the yogic tradition of Nada Yoga (the Yoga of Sound) with modern jazz aesthetics, creating compositions that resonate with the mind and body alike.  At the heart of the Jasna Jovićević Quinary is the seamless integration of composed and improvised music. Jasna’s compositions are uniquely tailored to highlight the strengths and distinctive styles of each member, allowing for a collaborative creative process that reshapes and refines musical ideas in real time. This approach fosters a collective expression of unity, empathy, and innovation, qualities that resonate deeply in today’s extraordinary times. The Jasna Jovićević Quinary challenges traditional notions of chamber music. With a deep commitment to innovation, the ensemble reimagines the roles of soloist, accompaniment, and ensemble interplay, allowing for an organic and fluid musical dialogue.  Critics and audiences alike have recognized Jasna Jovićević as one of the most intriguing figures in contemporary Serbian music. Described by Politika as “realizing her talents across numerous fields,” and by Jazzwise as “an excellent avant-garde player,” Jasna and her ensemble continue to push the boundaries of musical exploration.  

The members of the Szabó Dániel Quintet are top musicians active in Hungary and internationally. They mostly perform the compositions by the bandleader: progressive, but accessible and stimulating music. The repertoire is characterised by intense and joyful interaction between the members, complex rhythmic world, lush melodies and modern harmonies. They will play favorites from Intersections, the album recently released by the American version of the band (Daniel Szabo Quintet), along with several new compositions.  Szabó is active both in Hungary and in the US, having worked regularly with musicians such as Peter Erskine, Chris Potter and Joe LaBarbera, as well as with the younger generation of American musicians. His most recent album, Visionary, was a chart-topper in the prestigious American magazine JAZZIZ, with Brad Mehldau and Esperanza Spaulding. Chick Corea's management has asked Szabó to perform the final movement of Corea's Bartók-inspired Jazz Piano Concerto, dedicated to Müpa Budapest, with John Patitucci and Dave Weckl, in the spring of 2022. With his former mentor, the Grammy-winning Danilo Perez, Szabó gave a two-piano concert in December 2023.   

With their outside-of-genres, song-centric compositions, Subtones has become a favourite concert band on the Hungarian jazz-pop scene in just a few years. In order to connect even more directly with the Hungarian audience, their award-winning album Lángolj features only Hungarian-language songs with lyrics written by Mátyás Szepesi and Péter Závada. Subtones, founded in 2019 by trumpeter Gábor Subicz, is one of Hungary's most exciting supergroups. The arrival of vocalists Vera Jónás and Flóra Kiss has pushed the band towards vocal forms. "Right from the beginning, when this line-up was born, it became clear to me that I wasn't driven by a desire to communicate. With Subtones, I want to make music that I enjoy listening to. People often ask whether Subtones plays jazz or something else. For me, jazz is a mindset: you have to leave as many possibilities open as possible, while excluding playing music just out of habit. I love it when I don't know what other people are going to play, and those are my favourite moments when we kick the chair out from under us. There are so many different elements to our music, we play on quite a variety of stages, from TV studios to jazz clubs to festivals, and I feel that our music is relevant everywhere. With Hungarian lyrics we want to get closer to the audience. I feel that in a local context, English lyrics are a bit of a hiding, a mask. In our own mother tongue, the effect is much more instinctive, the song flies directly into the listener's ears", says Gábor Subicz, band leader and mastermind behind Subtones.  

In the early 20th century, his music found its way easily into the affected world of operetta with Das Dreimäderlhaus, and his oeuvre is full of light, casual pieces written for the music lovers of early 19th-century Vienna, yet few in the history of Western art music have gone as far as Franz Schubert in capturing human hopelessness. “All is going shamefully,” he wrote to a friend in the early 1820s, “for in this miserable world it is the fate of almost every sensible man. And what are we to do with happiness when unhappiness is now our only stimulant.” The biographical reasons for this unhappiness (ranging from love disappointment to financial difficulties and fatal illness) are less interesting than how we listeners today, 200 years later, can experience the hopelessness represented in Schubert's music – in this case, in the grand Piano Sonata in A minor composed in 1825. In the first half of the evening, pianist Gábor Csalog and music historian Gergely Fazekas will discuss how the feeling of hopelessness can be expressed in music, using examples from other works too. The language of this conversation is Hungarian.

Founded in 2018, the Korossy Quartet aims to transmit the famous Hungarian string quartet tradition, and to present the broadest possible repertoire to Hungarian and foreign audiences. In 2021, the ensemble was awarded 5 different special prizes at the international Bartók World Competition, and a year later they were accepted into the class of Günter Pichler, first violinist of the legendary Alban Berg Quartet, at the Reina Sofia School of Music in Madrid. The Korossy Quartet's Bartók series, starting in autumn 2023, includes all of Bartók's string quartets in 6 concerts over 2 years, paired with a selection of works by the greatest composers of music history. Béla Bartók's String Quartet No 5 is perhaps the most outstanding reflection of his genius in the genre. While each movement in the bridge form is an exemplar of musical streamlining, each note captivate the listener with an elemental expressive and magnetic quality. Mozart also shows the very best of his composing abilities in his last String Quartet in F major. Both works are characterised by wise structures, and stunningly perfect and sensuous formal design. The instruments exist both in their individual capacity and in community, so that they can sometimes become instruments of the most intimate confession. This kind of dramatic writing also refers these two works in the highest ranks of string quartet literature. Photo: Andrea Felvégi

Six composers, six pieces, sixty-six years, but nothing diabolical. In fact, several aspects of the season’s only performance to be hosted at the BMC will direct the audience’s gaze skywards towards the heavens. We may rightfully label the evening a contemporary concert, although only one of the pieces on the program, featuring works composed between 1940 and 2006, was written after the turn of the millennium. The BFO’s musicians will present composers, both legendary and lesser-known, who stood up to resistance encountered in their time, stuck to their innovative visions and produced oeuvres which have found their ways to the hearts not only of other professionals, but also audiences. The works incorporate a diverse range of formations, unique sounds and exciting back stories, with themes covering rain, copper, Bach, economizing on musical notes, essentially “anything” and the new year. Water is one of the key motifs in the art of Japanese Tōru Takemitsu, as he interprets the water cycle of the world as a fluid process. Rain Spell, which employs fluid and mysterious music, places the colorful and magical phenomenon of rain at its center, with the help of the sounds and silences of the flute, the clarinet, the harp, the piano and the vibraphone. “My father was a geologist and mining engineer,” Joan Tower has said, describing her attraction to minerals and stones. She has composed music about topaz and silver; and her 2006 piece, Copperwave, spotlights heavy, soft copper – naturally enough, on the brass winds. The Latin motifs of the piece evoke the years Tower spent in Bolivia as a child. Mentored by Shostakovich and blacklisted by the Soviet Union, she was even more driven to be liberated through her art. Sofia Gubaidulina drew inspiration from so many quarters; her main role model was nonetheless Bach. It was shortly before he passed away that Bach worked on the slow choral theme which appears in Gubaidulina’s work, representing the Baroque master’s ascent to heaven using string instruments and the harpsichord. Of the twelve bagatelles he composed earlier for the piano, Ligeti arranged six for a wind quintet in 1953. The movements exude “imaginary folklore” and “limping folk music.” The short, succinct bagatelles, using only few notes, feature dissonant, cool, moving, wild and passionate music, and even funeral music paying tribute to Bartók. John Cage was able to turn literally anything into music. His piece Living Room Music, for four performers, was intended to be performed using any household object, and can thus be played even in the living room. The polyrhythmic first movement is followed by a prose part for the phrase, “once upon a time;” then, after a melodious movement, downright pleasant rhythms serve as the ending. Paris was home to a special New Year’s concert on January 4, 1998, featuring Guillaume Connesson’s sextet in three movements, a truly entertaining and humorous piece. Following the variation movement Dynamique, evoking American repetitive music, a calm nighttime part (Nocturne) follows, featuring a clarinet solo; the piece concludes with a festival atmosphere including fireworks. ***** Did you know? Takemitsu’s piece premiered on January 19, 1983 in Yokohama; Tower’s Copperwave premiered in New York on May 4, 2006; Gubaidulina’s Meditation was first performed on August 25, 1994 in Tokyo; Ligeti’s Six Bagatelles was composed in 1953 (with the premiere taking place on October 6, 1969 in Södertälje); Cage wrote his Living Room Music in 1940; Connesson’s Sextet premiered in Paris on January 4, 1998; the Budapest Festival Orchestra most recently performed Ligeti’s Six Bagatelles on October 16, 2023 in Rome; this will be the BFO’s first performance of the other pieces. Contemporary events: Polish composer Witold Lutosławski’s Symphony No. 3 premiered in Chicago on September 29, 1983 / Canadian author Alice Munro’s collection of stories The View from Castle Rock was published in 2006; the author would later be awarded the Nobel Prize / On April 1, 1994, Hungary submitted its request to join the European Union / American author John Updike’s novel Brazil was published in 1994 / Dutch graphic artist Maurits Cornelis Escher produced his lithograph Relativity in 1953 / Austrian composer Arnold Schönberg’s Violin Concerto premiered in Philadelphia on December 6, 1940 / As part of preparations for Operation Seelöwe (“Sealion”), the German air force began the systematic bombing of England on August 1, 1940 / Spanish painter Salvador Dalí painted his depiction The Face of War in 1940 / English author J. K. Rowling published her novel Harry Potter and the Philosopher’s Stone in 1998.

Pianist Károly Gáspár is one of the leading figures on the Hungarian jazz scene. He has released five highly successful albums to date: with his trio he recorded The Outsider, Salvation, Philosophy, and, most recently, Tribute to Giants, while as a soloist he has released a solo album entitled Centuries Suite. These recordings predominantly feature Gáspár's own compositions, but also include jazz standards. Their repertoire prepared for this concert will consist of well-known jazz evergreens, performed with excellent saxophonist Bálint Uher-Győrfi as special guest.  

The experimental music project Kada ad Libitum, founded in 2005, uses mostly broad structures and sets of rules instead of songs, and creates new content in each concert and recording situation based on their possibilities. Its members come from different musical cultures, so the ensemble cannot really have genres or typical styles – instead, each person plays in the way that is authentic to him or her and inspired by the musical process in creation. In January 2025, the band releases their second album, a sonic imprint of a project consisting of 3 concerts and 2 studio sessions. One of the concerts took place at Opus in May 2024. During the evening, however, the six musicians will also play in different lineups than on the album. On the one side of the vinyl album, the keyboardist is Máté Pozsár, while on the other it is György Bartók. Both of them will now take to the stage in a joint live production that is sure to impress fans of progressive contemporary jazz and experimental music.  

Lucks, Schlichting und Marien are a miniature brass band, juggling shifting rolls, toggling between rhythm and melody as they traverse a beguiling landscape of free jazz, funk, punk rock, and New Orleans brass band traditions. Collectively, they have been spending an increasing amount of time pushing and stretching their original tunes with a mixture of improvisational brio and body-moving funk. Since 2017, the trio has been on the road with numerous concerts in jazz clubs and at festivals, has received several grants from the Musikfonds and Berlin Senate, and has recently released their third CD on Tiger Moon Records. In 2023, the Insomnia Brass Band was awarded the German Jazz Prize as „Band of the Year”.

The fruitful collaboration of French-born saxophonist-clarinetist Robin Fincker and British pianist Kit Downes goes back decades. Their life paths have taken them from London to two different countries in Europe, and they met again three years ago when they teamed up with Irish singer Lauren Kinsella to set traditional songs and contemporary poetry to music. After their first album Ombres, released on BMC Records in March 2024, they are now presenting their newest project Many Moons, also to be recorded before the concert. With Many Moons, Shadowlands continues its journey between old and new music, shedding light on the unheard corners of past songs whilst unfolding its own version of contemporary folk music. For this new repertoire, the trio has refined its language and has developed a free yet dazzlingly clear way of floating between songs. In this space, traditional Sean Os songs, poems by Emily Dickinson and Yeats and a Sainte by Maurice Ravel cohabit with original compositions. Through the flicking light, the voice of Lauren Kinsella hovers like a planet around which the saxophone and keyboards gravitate and circle, thus creating music of a timeless revolution.  

László Kéringer and László Borbély present a captivating cross-section of Romantic song literature: the backbone of the programme consists of works by Franz Schubert, the king of songwriters, and Nikolai Rimsky-Korsakov, whose songs are far less well-known than they would deserve. Their compositional world is complemented by pieces of French composers Maurice Ravel and Gabriel Fauré, and Richard Wagner. “This programme is a selection of my personal favourites. Singing them is a great pleasure. They all revolve around dreams: from the dreams of childhood through the reveries of adulthood to the final years following the dreams that never came true. Turning with gratitude to those that were realized, with acceptance and resignation to those that remain unrealized. For me, it was a great discovery that these romantic songs, if not considered from the point of view of the performing tradition, can be sang with the same simplicity as the music of earlier periods, Viennese Classicism or the Baroque. In time, these composers worked at a much shorter distance from each other than it seems looking back from 2025. By performing these songs, I want to convey this simplicity, and also the love of singing”, summed up László Kéringer. Photo credit: Lenke Szilágyi, Norbert Balog

Not just the members of the quartet, this album is a legend in itself. Two originals have become standards from it. By 1965, the self-taught Montgomery received many invitations, including one from New York’s Half-Note. The rhythm section, Wynton Kelly, Paul Chambers and Jimmy Cobb, had accompanied Miles Davis for four years. For some reason, only No Blues and If I Could See Me Now have made it from the concert onto the first release, the rest were studio recordings three months later. Two tracks with numbered titles, Unit 7 and Four on Six, became standards from this album, but the bluesy, hidden tension of What’s New is also full of excitement. The almost breathless momentum all the way through is impressive, like a hissing steam engine at full speed, and it’s not just the guitar that gives that feeling. It’s the piano and accompaniment throughout as well, as they reveal simple yet nuanced melodies with the endlessly precise interplay of the whole quartet. The first LP release has been followed by numerous analogue and digital discs since 1965, because this material never gets old. The guitarist of MAO, Áron Komjáti, a master of shades depicting any colour of jazz, interprets the classic tracks as a soloist on the podium.

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In search of new musical challenges, drummer Jim Black gathers some of the most exciting musicians of the young Berlin jazz scene around him: Asger Nissen on alto saxophone, Julius Gawlik on tenor saxophone and bassist Felix Henkelhausen. Together they are Jim & The Schrimps – a rhythmically explosive jazz quartet that captivates its audience with energetic improvisations and irrepressible joy of playing. Inspired by musical role models such as Elliot Smith, Stina Nordenstam, and Ornette Coleman, the four musicians interpret original songs written by Black. They are noticeably influenced by the diverse experiences of the New York drummer but live above all from the energy and individuality of each band member. The result is a raucously energetic sound that challenges both the band itself and its listeners. Michaela Brosi    

Zoh Amba is a young composer, saxophonist, and flutist from Tennessee. Her music blends avant-garde, noise, and devotional hymns. Before studying music at the San Francisco Conservatory Of Music, New England Conservatory and studying with David Murray in New York, she spent most of her time writing and practicing saxophone in the forest near her home. Today, her powerfully unique avant-garde music is full of folk melodies, mesmerizing refrains, and repeated incantations. Amba released two records in 2022. Her debut record O, Sun was produced by John Zorn and released on the prestigious label Tzadik. Zoh Amba’s second record, Bhakti features Micah Thomas, Tyshawn Sorey, and Matt Hollenberg. She has collaborated with a variety of high profile musicians such as Jim White (Dirty Three), legendary bassist William Parker, Brian Chase (Yeah Yeah Yeahs), Frank Rosaly, Thomas Morgan, etc. Amba has also performed at well respected festivals and venues such as Roulette (NY), Ars Nova Workshop (PA), Vision Festival (NY), ReWire Festival (NL), BRDCST Festival (BE), and Angel City Jazz Festival (LA), Big Ears Festival, etc. Bhakti has become the moniker for Amba’s ongoing live and recording ensemble project with ever changing members.  

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Koncz Kriszta Group's first album, Travel in Time explores a wide range of topics with a distinct musical character: it tells us about childhood, parent-child relationships, the nature of change, moments of creation, the art of letting go, different forms of love, and the passing of time. The singer's own English texts and the songs themselves all reflect her personal experiences and visions. Most members of the group are professional jazz musicians, but classical music, popular music, folk and theatre music also appear among their studies and influences, providing a colourful background to the performance. The repertoire, rooted in jazz, sometimes reminiscent of pop, sometimes of '60s and '70s American folk music, comes to an even brighter life thanks to the orchestration of Ábel Tompa. Kriszta Koncz founded the ensemble in 2023, and they made their debut at the Müpa Budapest Jazz Showcase 2024, winning the Audience Award and the special prize of Veronika Harcsa. The full material of their first album, to be released in February, can be heard live for the first time at this concert.

The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. Big bands achieved their greatest popularity during the swing era, and the Modern Art Orchestra, embracing the jazz tradition, is keen to return to its roots. Recently, trombone player Attila Korb's suite Swinging on the Danube was written entirely in this style, in which the composer plays several instruments, including a memorable bass saxophone solo. Not only Korb performs regularly in traditional orchestras, also some other composers are rooted in the swing tradition, whether in rhythm, harmony or the pulsation of the kind that the Ellington and Co’s song says without swing „it don’t mean a thing”. 

After four concerts in 2023, János Mátyás Stark, Gergely Devich and Fülöp Ránki are announcing a new series at the BMC, now under the name of Trio Haris. The third concert will feature two of the classical giants of the piano trio genre, Haydn and Beethoven. Haydn, as in so many of his works, is making countless subtle jokes in his Trio in E major. Even the string pizzicatos of the main theme at the very beginning of the piece are not out of the ordinary, not to mention the long piano solo in the slow movement and the sometimes breakneck modulations. The work's majesty and loftiness make it an ideal counterpart to Beethoven's 'Archduke' Trio – although their character makes it evident that while Haydn dedicated his trio to a virtuoso pianist, Beethoven's piece is addressed to Archduke Rudolf of Habsburg-Lorraine, to whom the composer dedicated many of his compositions. One of the most large-scale works in the trio repertoire, it is symphonic in scale yet retains the softness of the B flat major tonality and the the intimacy so characteristic of a small chamber ensemble, and its Andante in D major is one of Beethoven's most touching slow variational movements. Further concerts in this series: 5 October 2024 7 PM Trio Haris (Ránki – Stark – Devich) I. | Haydn, Liszt, Schubert4 January 2025 7 PM Trio Haris (Ránki – Stark – Devich) II. | Takemitsu, Schubert, Shostakovich7 June 2025 7 PM Trio Haris (Ránki – Stark – Devich) IV. | Schumann and Brahms

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Among the pillars of StEFREM's broad repertoire are works for male choir by Hungarian composers, primarily Liszt, Bartók and Kodály, as well as compositions dedicated to the ensemble by contemporary Hungarian masters. They have released several albums of these works on BMC Records. The series A Genius Is Born is a tribute to the male choir works by the three greatest Hungarian masters of music, so it is no coincidence that the concerts are taking place on the composers' birthdays. A special feature of the concert programme is that StEFREM's personal selection of works by the classical composers is complemented by outstanding and interesting pieces by their "heirs", the Hungarian composers of the 20th and 21st centuries. StEFREM is a Budapest-based vocal ensemble with a unique sound. The multi award-winning ensemble regularly performs throughout Europe, from London to Bucharest, and has also performed in Africa, India and South America. They have worked with renowned artists such as Abeer Nehme, Victor Solomon, and the King's Singers, and have released 18 albums since 2002. Their rich and varied repertoire includes Byzantine and classical pieces, crossover arrangements and acapella pop songs. Béla Bartók was born 143 years ago on one of the most important Christian feasts: the Feast of the Assumption, also known as the Feast of the Annunciation, on 25 March. Bartók's unique, pure art has quickly become particularly influential for the whole music culture, and continues to be so even 80 years after his death. Out of the Hungarian geniuses, Liszt wrote more than sixty male works, Kodály twenty, Bartók only six, but these are true gems of the genre, and span his entire oeuvre. In particular, the Songs from Olden Times and the Székely Folk Songs are seminal in the literature of men's choral music. In the final episode of the three-part concert series A Genius is Born, Bartók's works will be accompanied by compositions and transcriptions by six contemporary Hungarian composers. Further concerts in this series: 22 October 2024 19:00 St.EFREM: A Genius is Born I. | Franz Liszt and his Musical Heritage16 December 2024 19:00 St.EFREM: A Genius is Born II. | Zoltán Kodály and his Musical Heritage

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Giovanni Pierluigi da Palestrina, one of the most influential Italian Renaissance masters, was born 500 years ago. His legacy continued to be influential for the next half millennium; Kodály, among others, made it compulsory for his students to study and master the Palestrina style. This programme curated by Lorenzo Donati explores this inspiration through works by contemporary composers.

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Under the lens of music understood as intercultural dialogue, this program proposes a musical journey from north to south across Europe and America, framed within the 20th century. It is a voyage that explores the diverse outcomes of musical composition during those decades, shaped by the different sensibilities and characteristics of the various latitudes of both continents. The program is divided into two parts: Europe (starting point of the north-to-south musical dialogue) and the Americas (second half of the journey and the musical dialogue between continents and styles). The Cuarteto Matrice was born in 2016 in Madrid, the city where the musicians met and are currently based and developing their career with the ensemble, always having the objective of communicating with the audience through the different languages of music and performance. The name of the quartet itself comes from the ancient name of the city of Madrid, Matrice, an Arabic term for "mother of waters". The members of the quartet have studied at some of the main musical institutions in Europe, such as the Royal Academy of Music of London, Escuela Superior de Música Reina Sofía, the Royal Conservatory of Madrid or Katarina Gurska Centre in Madrid. They have attended several masterclasses with the Kopelman Quartet’s violist Igor Sulyga. The Quartet have recently performed at some festivals across Spain as the RESIS Festival in A Coruña, Clásicos en Verano in Madrid, Sulayr Festival in Granada and FIAS Festival (Sacred Art Madrid Music Festival), where they performed the world premier of the Cuarteto nº2 by Hugo Gómez-Chao, a piece dedicated to the quartet, having great reviews from both musical press and media. The four musicians of Cuarteto Matrice have also been selected for the Musae Program promoted by the National Cultural Ministry, a project where they performed at the Sorolla National Museum and brought them a Spanish music concert series residency with the sponsorship of CNP Partners. Cuarteto Matrice have recently performed at many cities all around Spain, such as Barcelona, Bilbao and Sevilla, including remarkable venues and music halls like, Teatro Fernando de Rojas, Círculo de Bellas Artes and Athenaeum in Madrid and also Moncloa Palace, house of the Spanish Government, where they performed in 2021 as part of an homage act holded by the Spanish Arts Ministry. They have been selected as part of the MERITA platform 2023 organized by Le Dimore del Quartetto, a program that will take them to an artistic residence in Florence in 2024 as well several concerts across Europe during the current season 2024-2025. The centre of the MERITA project is the 38 quartets, selected from 61 applications received from 27 different countries. These early-career musicians represent a new generation of string quartets, and through MERITA, they will break new ground in European classical music. MERITA, coordinated by Le Dimore del Quartetto, brings together 17 leading musical and cultural organizations from 12 European countries. Each offers a unique perspective on and approach to classical music in the modern world, linked by their commitment to supporting new musicians while keeping alive music’s precious heritage. By connecting emerging talent with experts in performance with impact, MERITA aims to forge a vital and sustainable future for European classical music.

Bassist Stanley Clarke’s name is at the top of this studio album cover only because of the alphabetical order: the quintet (with Freddie Hubbard, Lenny White and Chick Corea) was mainly known as the Griffith Park Band. Perhaps the biggest star at the time was saxophone legend Joe Henderson, so he got to play the first solo on most tracks. The band, acoustic throughout, presents a wide cavalcade of moods. The musicians move like big cats, stretching lazily and then rushing to attack. It’s no coincidence that the orchestra has more concert than studio recordings. Only a Steve Swallow composition is featured here, the others are original compositions in which both the highly inspirational interplay and the far-reaching impros are perfectly developed. It’s good to experience the giants of jazz-rock bath together in a hard bop river before crossing it. MAO soloists, on the other hand, can reflect on this album with four decades of accumulated musical knowledge. 

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Contemporary – Miho Hazama, U. C. Erkin, Christopher Cerrone, Pavel Fischer Like sports, music also has its 'tools' for performance increase and relaxation. The Franz Liszt Chamber Orchestra highlights 'contemporary' in their programme without inhibitions, as with similar compilations, they have garnered great success with the audience several times before. The globally recognised ensembles strike a perfect balance in the effects by spoonfeeding us with alternating more meditative and lax works with quick and ecstatic pieces. During the concert, the audience can experience a refreshing rejuvenation and recharging of their batteries, just like after a good training session.

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The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. On International Jazz Day, an initiative associated with the name of Herbie Hancock, one of the founding fathers of jazz-rock, it almost goes without saying that the Modern Art Orchestra will be drawing on the extensive repertoire of the jazz-rock genre. Works by the versatile trumpeter-composer Gábor Subicz, pianist Gábor Cseke, saxophone soloist Kristóf Bacsó and bandleader Kornél Fekete-Kovács form the backbone of the programme. A surprise guest will be sitting down into the drum chair.

This album has been overshadowed by an even more legendary recording, but it has a lot of beauty. Saxophonist Paul Desmond is the only member of the Dave Brubeck Quartet, apart from the bandleader, to become a big name outside that quartet. Desmond recorded the album Time Out with the Dave Brubeck Quartet in August 1959 - one of the most successful jazz albums ever made. In September, guitarist Jim Hall, as well as Percy Heath and Connie Kay of the Modern Jazz Quartet joined Desmond for his second solo outing, producing another example of the golden age of laid-back, cool, elegant, swinging jazz. The quartet consistently and unwaveringly performs the hits of the era, which include MJQ numbers and standards, but the CD reissue also includes a Desmond composition. The alto saxophone is lilting and flattering, seductive and reassuring. That's why it was voted number one again in Playboy magazine that year, as the album title suggests. As many of the series’ regulars will have guessed, Árpád Dennert will evoke the sound of one of the saxophone’s unforgettable masters with the MAO's rhythm section.

“These are no longer the happy times when we see the glories of youth around every object, but the fatal realisation of a miserable reality which I try to embellish as much as I can with my imagination (thank God for it).” Franz Schubert wrote these lines in 1824 to his brother Ferdinand. That beauty was central to Schubert's compositional thinking hardly needs to be proved to anyone who have heard even a few minutes of Schubert's music in their lifetime. But it was precisely at the beginning of the 19th century that the concept of “sublime” began to take over the place of “beauty” in musical aesthetics, so the ineffable, unearthly beauty of Schubert's melodies was thus an imprint of an earlier era, that of Mozart and Haydn. The Piano Trio in B flat major (B. 898), which Schubert began to compose in 1827 but only completed next year before his death, offers numerous examples of the musical representation of both the concept of “beauty” and the “sublime”. Before playing the piece, Gábor Csalog, his musician friends and music historian Gergely Fazekas will discuss the change in musical aesthetics and show other examples of Schubert’s concept of beauty. The language of the conversation is Hungarian.

The Modern Art Orchestra's À la MAO... series aims to present compositions and adaptations, sometimes originals, by members of the orchestra in a new context. In recordings and concerts, the orchestra has created a repertoire that is unparalleled in the history of Hungarian jazz. Some of these pieces have never been heard before by old or new followers, arranged in a new thematical, stylistic or other way. Additionally, some of them have never been released on disc or digitally. The Modern Art Orchestra's last concert of the season might as well bring up Herbie Hancock's name again, because this is the title of the Hancock's sextet album released almost 30 years ago.  They have been instrumentally reworking current pop hits. Of course, ever since jazz emerged, it has been using the hits of the day as a starting point to improvise, and the Great American Songbook was almost exclusively made up of musical, pop and film hits from the 1930s. In the last few decades, the freshness of new styles of pop has inspired some of the most famous foreign artists. The Hungarian jazz repertoire has also included songs by the most successful pop ensembles, while composers such as Gábor Subicz, Kristóf Bacsó and the orchestra leader Kornél Fekete-Kovács have also adapted film or stage music, creating a whole series of new jazz standards.

Composer József Sári celebrates his 90th birthday this year. On this occasion, our celebratory concert features his chamber music and solo pieces composed for a variety of instruments, including world premieres, performed by outstanding musicians of the Hungarian contemporary music scene. József Sári is a leading figure of 20th and 21st century Hungarian music, both as a composer and as a teacher. Between the 1980s and the 2000s, his works were frequently performed not only in Hungary but also throughout Europe, especially in Germany. His pedagogical work was just as highly regarded: until his retirement, he taught generations of musicians at the Béla Bartók Secondary School of Music and the Liszt Academy in Budapest, and as a guest professor at master classes. He has received numerous awards at home and abroad.