Pianist and composer János Egri Jr. has been an active participant in the Hungarian and international jazz scene since the age of 18; his playing is characterized by an open and natural blend of modern mainstream jazz, classical traditions, and influences from contemporary and popular music. His distinctive sound, technical confidence, and improvisational freedom have been praised by world-renowned artists such as Antonio Faraò and Tony Lakatos. With his trio, he achieved outstanding success at the Müpa Jazz Showcase, where he won four special awards, followed by a series of concerts including at London’s 606 Club and the International Leibnitz Jazz Festival. His partners are the lyrically sensitive János Egri on bass, who shapes grooves with a sure hand, and the virtuoso Dávid Hodek on drums, who plays with elemental energy, both of whom create an inspiring and dynamic rhythmic foundation for their collaborative music-making. Attila László, a Liszt Ferenc Prize-winning jazz guitarist, composer, and teacher, enriches the trio’s sound with new dimensions as a guest artist. The concert program features primarily the band members’ own compositions, with a focus on the energetic, groove-centered world of fusion jazz – a meeting of modern sound, free improvisation, and lively, interactive music-making.

The Zoltán Kalmár Quartet reinterprets outstanding compositions from the classic hard bop era: they present the works of Wayne Shorter, Joe Henderson, Herbie Hancock, Miles Davis, and other jazz giants in new arrangements of their own. Their program also includes several original pieces that fit perfectly into this musical world. The quartet, which has been active for nearly ten years, is comprised of well-known figures in the Hungarian jazz scene: Balázs Raboczki (saxophone), Gábor Cseke (piano), Viktor Hárs (double bass), and Zoltán Kalmár (drums). At this concert, they will perform a selection from both their second album, Growing Roots, released last year, and their first album, Living Legacy.   

The Danube is not only one of Europe’s most important rivers, but also a meeting point for cultures, peoples, and musical traditions. The concert builds on this shared cultural heritage: it invites the audience on a unique musical journey through the musical worlds of Austria, the Czech Republic, Slovakia, Hungary, and Ukraine. Just as the Danube connects ten countries into a single river, so too do the sounds of different nations intertwine on this evening. Each country preserves its own language, history, and musical tradition, yet together they form a rich, diverse whole—a harmony of differences. The concert focuses on the composers who have shaped the cultural heritage of the Danube region, as well as prominent figures in contemporary Ukrainian music. It is particularly symbolic that the Danube reaches its final destination in Ukraine – the Black Sea – thus connecting the cultural worlds of Central and Eastern Europe. The evening’s performer is the 27-member Kyiv Camerata, an ensemble of Ukraine’s National Soloists, which has been one of the country’s most significant chamber orchestras for more than forty years. The ensemble plays a prominent role in presenting contemporary Ukrainian music, regularly performs in prestigious international concert halls, and collaborates with the world’s leading artists. This evening is not just a concert, but also a cultural encounter: a celebration of music’s ability to build bridges between countries, histories, and people. The Budapest concert is one stop on the international concert tour, which connects Prague, Vienna, Bratislava, and Budapest. The tour aims to showcase the shared cultural heritage of the countries along the Danube and the values of contemporary Ukrainian music at Europe’s leading concert venues. Sponsor: Ukrainian InstitutePartners: Friends of the Philharmonic Ukraine; Energizing Ukraine; Embassy of Ukraine in HungaryProject & Tour Manager: Richard Simon

The Black Tea Group is an underground jazz band formed by students from the jazz department of the Liszt Academy of Music in Budapest; the four young musicians have been playing together in this lineup for a couple of years. Their repertoire draws primarily on the early days of avant-garde jazz, which at that time was associated with a very different image than it is today: it was considered a vibrant, energetic genre. However, the quartet is also drawn to drum’n’bass grooves, folk music elements, or even free jazz influences – in addition to their own compositions, they will perform jazz standards and folk song arrangements at this concert.

Péter Ajtai (double bass), János Bujdosó (guitar), Ádám Czitrom (guitar) and Attila Gyárfás (drums) are veteran characters from the Hungarian alternative jazz, rock, fusion and experimental music scenes, known from bands such as Qiyan, Mingus! Mingus! Mingus!, Bujdosó Trio, Pop Ivan, Európa Kiadó, Balaton, Jazzékiel, Quelquefois, and others. The quartet was formed in 2023 originally as a one-time formation, by invitation of Inverted Spectrum Records for the release event of the compilation album The Underground Jazz Scene in Budapest Today, but the captivating result of this novel combination of performers led to a long tenure within the Budapest avantgarde music scene. The improv quartet’s unpredictable concerts move freely in between gentle fusion, aggressive punk jazz, noise, psychedelic atmospheres, and other, unidentifiable territories, like a surreal sequence of moving images, as the four musicians that come from differing backgrounds and inclinations push their skills, energy, and creativity to their outer limits, alternating between the common grounds they occasionally find and the uncommon grounds they keep collectively exploring.

The Mario Rafael Trio’s unique sound is characterized by lyrical piano playing, a dynamic yet sensitive rhythm section, and boldly experimental improvisations. On the band’s latest album, the timeless beauty of classical music meets the freedom of modern jazz: Chopin and More rethinks Fryderyk Chopin’s best-known piano works for a jazz trio. The aim of the project is not only to shed new light on these Romantic piano pieces, but also to demonstrate just how vibrant, improvisational, and contemporary Chopin’s music can sound. In the trio’s performance, the subtlety of classical harmonies and the rhythmic freedom of jazz are organically interwoven, creating space for the magic born in the moment. The arrangements featured on the album serve as a bridge connecting the worlds of past and present, classical and jazz music, composition and spontaneity – in this way, the trio both pays homage to the composer and articulates its own musical confession that Chopin’s melodies still remain capable of inspiring, stirring emotions, and resonating in new forms.  

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.

István Grencsó and Lewis Jordan have known each other for more than two decades. At their concerts, a whirlwind of improvisation sweeps them and the audience away, and their collaborative work is documented on two acclaimed albums released by BMC Records (Homespun in Black and White, 2009, and Local Time, 2011). Grencsó employs a whole arsenal of wind instruments, while California-based Jordan – leader of the band Music at Large – plays the alto saxophone and enriches the performance with his poetry. Their collaboration truly flourishes in an atmosphere of free musical exploration – this time, they are joined by Zoltán Kováts and Zsolt Sárvári Kovács in the rhythm section as traveling companions and conversation partners.

The Gábor Horváth Tojás Trio’s latest, sixth album, to be released in the fall of 2026, was recorded in collaboration with the Cheeky Choir, blending the band’s jazz-rooted work with the vibrant hues of world music. What makes this project special is the encounter between instrumental improvisation and choral culture, as well as a fresh soundscape that draws on the freedom of jazz on the one hand and the richness of world music motifs on the other. In addition to the trio’s own compositions, the concert program features arrangements of Bulgarian, Greek, African, and, of course, Hungarian folk music, which the band performs together with the 25-member Cheeky Choir – this collaboration creates a cross-cultural evening whose magic is sure to captivate the audience.    

The Lóránt Péch Quartet is one of the most noteworthy ensembles of the younger generation of Hungarian jazz. Formed in 2023 at the initiative of pianist-composer Lóránt Péch, the band represents a unique musical world in which contemporary acoustic jazz blends elements of modern and traditional sounds, subtly interwoven with classical music influences. The band members are current or former students of the jazz department at the Liszt Ferenc Academy of Music, Budapest. Despite their young age, they have already performed for audiences at numerous Hungarian and international jazz clubs and festivals. This year, the group won the Audience Award at the Müpa Jazz Showcase, in addition to several special awards.

Refrection is the first project by drummer Dániel Serei as a bandleader. The quintet is a musical reaction to the experience of the first decades of the 21st century, to the joyful and traumatic moments lived every day. The contradiction of sometimes frolicking in a world of technological developments and communication networks, and at other times wanting to hide from everything and everyone. Refrection, while pushing genre boundaries and mixing musical styles, focuses on the musical representation of everyday beauty and harmony. The bandleader has previously performed with the Budapest Jazz Orchestra, Pankastic and the Krisztián Oláh Quartet, among others. In 2015, he was named Best Soloist in the Hungarian Jazz Combo Competition.

The Legacy of Native Sense is a duo formed within the walls of the Liszt Academy of Music that draws inspiration from the shared musical world of Chick Corea and Gary Burton. The project takes its starting point from the album Native Sense, reflecting a musical approach that emphasizes openness, curiosity, and the natural convergence of diverse influences. The collaboration between Corea and Burton is particularly exciting because their playing simultaneously embodies the improvisational freedom of jazz, the precision of classical musical thought, and a sensitivity to Latin American and folk music elements. In their work, technical mastery is never an end in itself, but rather a tool for musical communication built on spontaneity and mutual attentiveness. “For us, Native Sense primarily represents a creative attitude in which respect for tradition and the personal search for one’s own musical path are not in opposition to one another, but rather reinforce each other. This duality forms the foundation of the group’s identity and also serves as the starting point for our musical thinking,” said the two young musicians.

Virág Czakó is one of the most promising talents of the new generation of Hungarian jazz, who founded her current band four years ago. Although she performs less often in Hungary due to her studies abroad, she regularly returns during the summer to give concerts. The young singer has been inspired by such great performers as Shirley Horn, Carmen McRae, and Diana Krall; at the same time, in addition to traditional pieces, the modern instrumental compositions of Brad Mehldau and Pat Metheny also have a significant influence on her style of performance. The concert will feature popular American jazz standards as well as Latin bossa novas and groove-infused arrangements. The other members of the band – Attila Rieger (guitar), Ambrus Richter (drums), and Péter Czakó – are already well known from outstanding acts on the Hungarian jazz scene. As a special guest, Gábor Cselik will join the band on piano, expanding the lineup to a quintet.

What happens if we cross a violin with a tárogató? We get the first member of the Glissonic family of instruments, the Glissotar. Winner of both the Grand Prize and the Audience Prize at the Guthman Musical Instrument Competition 2022 in Atlanta, this unique instrument is the brainchild of Dániel Váczi, developed in collaboration with designer Tóbiás Terebessy. The main novelty of the Glissonic family of instruments is that instead of holes, the pitch can be controlled with a longitudinal slot and a magnetic strip, so that – like on a violin string – long glissandos, tremolos and microtonal tones can be played, and the instrument can also be used to produce unusual, special effects. In 2026, the Glissopipe – the second member of the instrument family, resembling a flute – was unveiled as part of a successful Kickstarter campaign. Dániel Váczi exploits the potential of this new instrument with his trio. His partners are two great figures of the Hungarian free and experimental jazz scene, Máté Pozsár, with whom Dániel also plays in the Decolonize Your Mind Society band, and Zsolt Sárvári Kovács, with whom Dániel has been playing in various bands for twenty-five years. The band’s first album, Rebus, was released in 2021, followed in 2024 by Interplanetary Posts and, most recently, Urobo. In their current program, they draw on the material of these albums, complemented with new compositions and concepts. The evening’s guest will be the outstanding Swedish saxophonist and multi-instrumentalist Jonas Kullhammar, who is one of the first musicians to play the Glissotar.  

Despite their classic guitar, bass and drum lineup, Abstract is not a mainstream trio: their music offers a unique blend of jazz, folk, blues, avant-garde, ambient, and post-rock. They have been performing at clubs and festivals across Hungary since 2018, and their artistic journey is documented on two albums (Where Are We Going?, 2018; A Fine Line In Between, 2020) and a live recording (Live ‘20, 2022). They explore the open spaces of song-like themes – which provide a great foundation for both expressive outbursts and moments of deep reflection – with a jazz-rooted attitude and the curiosity of experimentation. Their program A Grey Fox Ran Across the Prairie draws on personal impressions and ideas. It consists of narrative-style pieces that give wings to our imagination without becoming program music: they invite listeners to engage in a colorful and exciting game of free association, while searching for moments of freedom, peace, love, and beauty across landscapes that are at times familiar and at times weird.  

Led by saxophonist and composer Maksymilian Wilk, the Polish jazz quartet JuMa is preparing the release of its new album, Between Tides. The record marks the next chapter in the band's artistic development, following a series of concerts, recordings, and appearances at jazz competitions and festivals across Poland and Europe. JuMa's previous releases include the live album JuMa Band – Live in Oliva, Fuzje Trójmiasta, and The Chapel – Live in Narol. Each project documented a different stage in the ensemble's evolution – from capturing the immediacy of live performance, through music rooted in the artistic identity of Poland's Tri-City region, to explorations shaped by architectural space, acoustics, and increasingly open musical forms. With Between Tides, the quartet continues this artistic journey by combining contemporary jazz, collective improvisation, open-form composition, and the spacious sound world associated with Nordic jazz. The music is built around the dialogue between composed material and improvisation, with the musicians collectively shaping the form and direction of each performance. The quartet was selected as a finalist of the Jazz Juniors Competition in Kraków in 2025.  

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.

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.  

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 two world premieres and a Hungarian premiere, 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.

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.

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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.  

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.

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.

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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 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. 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.

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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.  

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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.

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.

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.

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.

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.