Despite his rather short walk of life Clifford Brown had an immense effect on his contemporaries as well as the musicians who came after. He passed away in a car accident at the age of 25 but left behind an exorbiting mass of recordings. Besides his unquestionable proficiency in music and playing the trumpet he was greatly admired by his fellow musicians due to his sober way of life as well. After his appearances on R&B records with J. J. Powell, Brown worked with Tadd Dameron, Art Blakey, J. J. Johnson and Lionel Hampton, among others. Hard bop records issued under the name of Brown and Max Roach are points of reference for jazz musicians until this very day. Lee Morgan, Freddie Hubbard and Miles Davis considered him a primary influence. In spite of his tragically early death, Clifford Brown has left us a complete life-work to absorb which is not only outstanding regarding its quantity but its quality as well. The stream will focus on the material of the record titled New Star On The Horizon The live stream will feature an interactive discussion with the members of the Modern Art Orchestra.

On March 25, 2021, we celebrated the 140th anniversary of the birth of Béla Bartók. The MÁV Symphony Orchestra couldn’t hold their festive concert scheduled for the anniversary day due to the pandemic, but remembering Bartók is still very topical now, a few weeks later. Divertimento is Bartók's last work, composed before emigration, in the shadow of World War II. Within the framework of the entertainment genre inherited from ancient times, he expresses his despair over the catastrophe threatening the whole world, but also his hope for a better future in the future. The genre of violin competition was created by Vivaldi, his example was soon followed by J.S. Bach, with two great violin concerts and a two-violin concerto. The three-part Concerto in A minor offers the soloist beautiful material to play. It was composed around 1720, but its sound and meaning are indeed "timely" for today's students. The soloist, Júlia Pusker continued her studies at the Royal Academy of Music in London after attending the Liszt Ferenc Academy of Music, and boasts outstanding competition results and many successful performances. At the age of 17, Mozart composed his 29th symphony in order. It was then that he left Salzburg for the first time after his great travels as a child, spent more time in Vienna and learned a lot. The fruit of this happy era is the Symphony in A major, an expression of pure, cloudless, cheering joy.

"I am most attracted to Baroque music and to the music of ages before the Baroque, and of course to the music by my contemporaries," said Bánk Sáry recently. In his freshly completed composition, “The Eternal Poem,” however, he looks far farther, both in time and space: with the piece, he summoned a Chinese poet who was active 1300 years ago. But how was all this received in China? Janáček's piece for string ensemble refers to a baroque genre, and László Sáry's work, completed in 2017, was created for the 200th anniversary of the birth of the poet János Arany. Arany's famous “Old man with the tambourine” is summoned; he sometimes recalls old songs, or comes up with his own, with lyrics that are “highfaluting, with a German melody”. Maybe Arany (or László Sáry) was thinking of Bach? But what makes the hour of our death sweet, and who can we long for it? We can promise that in Classic Lights, there will be no questions left in the air after the new season of the concert series.

The most successful composer portrait concerts of recent years reprised at Budapest Music Center as live streams.

Az Arcus Temporum „időívéhez” idén térbeli távolság is társul, méghozzá nemcsak az online közvetítés révén, hanem azért is, mivel a pannonhalmi fesztivál most kivételesen Budapestre települ. A program egyik kompozíciójának címéből kölcsönözve a szót, ez hát egyfajta metamorfózis lesz – ámde olyan, amely az Arcus Temporum lelkét és szellemiségét csorbítatlanul megőrzi majd. Erre garancia az elmúlt évek során művészeti vezetőként közreműködő Keller András, de éppígy Csalog Gábor személye is, s persze ugyancsak ezt szavatolja a zenetörténeti korszakokon átívelő és azokat összekapcsoló, egymás mellé rendelő műsor. Így ezen a koncerten Vidovszky László 2015-ben bemutatott, eredendően dramatikus elemeket is alkalmazó, s most vibrafonos verzióban felhangzó Promenade-ja nyomában Bach billentyűs versenyműve következik, majd az az időskori Strauss-mű, amely a címével és a keletkezéstörténetével is elénk fogja idézni az átváltozások jelentéskörét, s egyszersmind az ihlető Goethe-vers (Senki nem eszmél magára) bölcs sorait. Az utolsó 6-7 perc pedig a kései Beethoven-kvartettek elrévült szépségű tételét, az op. 130-as vonósnégyes áhítatos Cavatináját ígéri a műsor zárása és betetőzése gyanánt.

This concert presents four pieces from the last decade by composers who work closely with the UMZE Ensemble.

After a break of nearly three years, Kelemen Quartet takes to the stage in a new form, though Barnabás Kelemen and Katalin Kokas did not turn their backs on the genre in recent times. They formed ad hoc ensembles with such great musicians as Vilde Frang (Norway), Nicolas Altstaedt (Germany), Mon Puo Lee (Taiwan) and Dmitry Smirnov (Russia). As they now join forces with Greek violinist Jonian Ilias Kadesha and British cellist Vashti Mimosa Hunter, they have their eyes set on long-term collaboration, as is evident from their intent to perform all of Bartók’s string quartets at two concerts. “The six quartets are the essence of Bartók’s œuvre,” with the form playing the same role for him as for “Beethoven or Haydn. And I live here, in the context in which these works originated, and Bartók’s music is indeed my mother tongue,” said Barnabás Kelemen a few years ago.

After a break of nearly three years, Kelemen Quartet takes to the stage in a new form, though Barnabás Kelemen and Katalin Kokas did not turn their backs on the genre in recent times. They formed ad hoc ensembles with such great musicians as Vilde Frang (Norway), Nicolas Altstaedt (Germany), Mon Puo Lee (Taiwan) and Dmitry Smirnov (Russia). As they now join forces with Greek violinist Jonian Ilias Kadesha and British cellist Vashti Mimosa Hunter, they have their eyes set on long-term collaboration, as is evident from their intent to perform all of Bartók’s string quartets at two concerts. “The six quartets are the essence of Bartók’s œuvre,” with the form playing the same role for him as for “Beethoven or Haydn. And I live here, in the context in which these works originated, and Bartók’s music is indeed my mother tongue,” said Barnabás Kelemen a few years ago.

Serenades, strings and brass –  Budapest Strings Chamber Orchestra is joined by Szabolcs Zempléni on horn and András Fejér on trombone for a special classical and contempory programme that includes the horn version of the tenor aria from  'Love And Other Demons' by Péter Eötvös.