Two highly productive and innovative composers come together in Trio Haris's program on November 3. Haydn was the first prominent composer in the genre of piano trios. The two works featured in this program are part of a collection of three trios. The collection is dedicated to Therese Jansen-Bartolucci, the outstanding pianist to whom Haydn, having become acquainted with fortepianos made in England, addressed his two most virtuosic piano sonatas, the London Sonata in C major (Hob. XVI:50) and the Sonata in E-flat major (Hob. XVI:52), which are in the same key as these two trios. The correspondingly richly elaborated piano part is embedded in a finely crafted chamber texture. Haydn's flashes of surprises come through at different levels, in the form of unexpected harmonic turns and register changes in relaxed, touched, or even astonished states, as well as in the key of the slow movements of both works, which are far from the outer movements, and in the flexible and creative treatment of form. This unconventional approach is also characteristic of Saint-Saëns's large-scale Trio in E minor. The symmetrically arranged five movements are framed by a broad, serious overture and a dark-toned finale. The Andante con moto, which takes place at the heart of the composition and could be described as A flat major, but constantly wanders between keys, is linked to the corner movements by a scherzo based on a Basque dance rhythm, the zortziko with its pulsating quintuplets, and a mazurka-like intermezzo with an airy lightness.

Péter Ajtai's long-cherished dream came true when he founded his band dedicated to the music of Charles Mingus. Mingus is clearly a musician who transcends any genre, so it is no coincidence that he is held in such high esteem within and beyond the various jazz scenes. The members of Mingus! Mingus! Mingus! are well-known figures in the Hungarian avant-garde music scene, who do not play Mingus's music note for note, but capture its essence and attempt to shape it in their own image.

Belgian band Donder offers an unusual perspective on the usual piano trio. Avoiding set formulas and formats, they paint abstract and plastic landscapes that evoke stillness, confusion and wonder. The music of Donder is authentic and unpretentious, and pays tribute to the sounds and stories of everyday life. Their latest album, De Wonderen, was released on W.E.R.F. Records in November 2024. In contrast to their previous record Het Verdriet, which emerged from a research project on Flemish (folk) music history, this time the premise was to compose and collect new material without any concepts or limitations. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics. De Wonderen is a testament to the small wonders found in everyday life. As Guy Peters writes in the liner notes: “With this album that bubbles with percussive ideas and unpredictable contrasts, you are once again reminded that beauty is more striking when you have to wait for it, or find it in unusual places.” This concert is organized in collaboration with W.E.R.F. Records.  

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. This time they will perform a carefully selected program together with saxophonists and students of the Liszt Academy Budapest, with a short Hungarian introduction by György Lakatos.

Helsinki tenor saxophonist Jussi Kannaste's debut album as a band leader has been a long time coming. A top musician in the local scene revered by his contemporaries and sought after as a band member, Kannaste released his new work Out Of Self and Into Others on We Jazz Records. His quartet, Kannaste4 features an all original program penned by Kannaste. His music is highly personal contemporary jazz leaning into modes of avant-garde expression. At times quiet as a whisper, at times fiery and swinging, Out Of Self and Into Others is a product of a deep marinade, a debut album that feels like much more than "just" that. Jussi Kannaste (born 1976) is a saxophonist and educator based in Helsinki. Prior to launching Kannaste4, he has been a key part of the scene for 20+ years, performing in highly acclaimed bands such as Antti Lötjönen Quintet East, 3TM, Jaska Lukkarinen Trio, Ricky-Tick Big Band, and many more. As the head of the department of Jazz at Sibelius Academy, Kannaste is also a key figure in the internationally admired Finnish jazz education system.  

Finnish saxophonist Pauli Lyytinen made his We Jazz solo debut with Lehto / Korpi, a widescreen environmental jazz ambient album effortlessly bringing together Lyytinen's instrumentation, field recordings and extended instrumentation. Lyytinen's solo music is built on textural compositions, extended saxophone techniques and electro-acoustic soundscapes and layers. Think albums like Evan Parker's With Birds and Schwarzwaldfahrt by Brötzmann/Bennink but with a whole other world of sounds to work with. Lyytinen's work is rooted in his native Finland's nature, finding its groove where the indoors and the outdoors meet. On Lehto / Korpi, Lyytinen plays tenor, soprano and alto saxophone, uses live effects, mellotron & percussion, and adds a subtle layer of field recordings to tie the record together. Cranes, swans and other voices familiar in the Finnish aural summer landscape bring their distinct character to the album, connecting back to the album's dual title. "Lehto", Finnish for grove, and "Korpi", which roughly translates as deep forest are two sides of the same coin, working together to form a full image of an artist using his surroundings to create a deeply emotive and singular piece of work, echoing love and respect for our natural environment.  

During the November masterclass of the Péter Eötvös Contemporary Music Foundation, five young composers will have the opportunity to create a five-minute mini-opera under the guidance of professors Ramon Lazkano, Benoît Sitzia, and Gergely Vajda. The literary basis for the pieces is Mark Twain's The Diary of Adam and Eve. At the closing concert of the masterclass, these mini-operas will be performed – alongside works by Péter Eötvös and the three professors – by the musicians of the Ars Nova Ensemble, who are committed to both contemporary music and education, and two outstanding singers from the Queen Elisabeth Music Chapel, who will also help the young composers during the composition process.

The Legendary Album Series | Blue Note Series | Bud Powell: The Amazing Bud Powell  Bud Powell, often considered the twin star to pianist Thelonious Monk, has etched his name permanently into jazz history. His album, The Amazing Bud Powell, was the second, epoch-making release in Blue Note's new series. It is considered a foundational work of bebop piano, featuring contributions from saxophonist Sonny Rollins and trumpeter Fats Navarro, among others.The album's significance is further enhanced by the fact that Powell was one of the first – after Dizzy Gillespie – to incorporate Afro-Cuban rhythms into the world of bebop. Although his life was hindered by addiction and the consequences of mental illness, his music – much like Monk’s – remains an inspiration for experimental musicians seeking new paths.For this performance, the excellent Gábor Cseke will take on the role of Powell, performing alongside József Barcza-Horváth and László Csízi, while the horn parts will be brought to life by saxophonist Balázs Cserta and Kornél Fekete-Kovács.

The quartet of István Grencsó, Szilárd Mezei, Ernő Hock and Szilveszter Miklós brings together musicians who all admire spontaneous music of the moment. After years of organizing, they performed together for the first time in February 2023. Their current concert is made even more special and complete by the contribution of Ab Baars, whose work is a great inspiration for the group. The Dutch saxophonist, clarinetist and shakuhachi player lives for improvisation. His highly personal and distinct, yet clearly accessible musical style embodies the best of what the Dutch improvisation scene can give. Baars and the Grencsó – Hock – Mezei – Miklós quartet invite the audience into the world of present-tense free music that is rooted in the past, and does not leave us without a vision for the future.

WAAN is the brainchild of saxophonist Bart Wirtz and keyboardist Emiel van Rijthoven. Together with bassist Matteo Mazzù and drummer Mark Schilders, they shape a sound that blurs the lines between electronic and acoustic music, dancefloor energy and jazz improvisation. Since their debut, WAAN has become known for a raw, adventurous style – merging groove-based electronics, atmospheric melodies, and improvisational freedom. In the studio they work closely with producer Oscar de Jong (Kraak & Smaak). Their debut album Echo Echo (Sonar Kollektiv, 2023) received international acclaim, two Edison Jazz Award nominations, and airplay on BBC shows hosted by Jamie Cullum. The album led to an extensive tour of festivals and venues including Paradiso, Bimhuis, Transition, So What’s Next, Amersfoort Jazz, RAUW, InJazz, Eurosonic, Jazzahead and more. Now WAAN is preparing for their second album, due January 23, 2026 on Sonar Kollektiv. With We Want WAAN, the quartet expands their sonic universe: bold, restless, and brimming with curiosity. It is music that speaks to both the body and the imagination – a call to listen, to move, and to experience the full spectrum of sound that WAAN continues to explore.  

In an impulse of total self-overestimation Bonsai Panda, under the direction of godspeed duo Jelle Roozenburg & Louk Boudesteijn, presents their self-proclaimed best work so far: the spectacular, absurd, surrealistic masterpiece Tout Galore. Their already 6th album is like a fever dream that’s scary but comforting and daringly challenging at the same time. Averse of all trends and without concessions, the Pandas imperturbably plot their own future and, as ever, the two opposites: the intimate, more cultivated and stylized (Bonsai) and the wild, unconventional and playful side (Panda) play a leading role in their music. They call their sound Short Term Memory Music, music that’s unavoidably taken over by the moment it’s being performed. This all being performed by a true star cast makes this new Bonsai Panda release beyond any doubt yet another future blockbuster.  

The new Spirit Quartet unites four musicians with diverse backgrounds, personalities, and ages. They share a thirst for adventure, a dedication to the mysteries of sound, and a love of freedom in musical expression. They perform their own compositions, as well as works by cult saxophonist Jemeel Moondoc (1946-2021), a contemporary of William Parker and David S. Ware who was part of a wave of musicians who, starting in the 1970s, built on the pioneering work of Ornette Coleman, Cecil Taylor, and John Coltrane, among others. Trombonist Steve Swell is one of the most complete musicians of his generation and played with Cecil Taylor, John Zorn, and Peter Brötzmann, as well as for many years with Moondoc. Ziv Taubenfeld, one of the most impressive bass clarinetists of the moment, associated with the Amsterdam and Lisbon creative music scenes. Bassist Wilbert de Joode is a legend of Dutch jazz and has played with just about everyone. The quartet is rounded with Sun-Mi Hong, an up-and-coming talent who is currently making a splash in the Dutch scene.

Hommage à Sofia Gubajdulina Concerto Budapest's all-day contemporary music festival, under the artistic direction of András Keller, awaits visitors with unusual encounters and cathartic musical experiences at the Budapest Music Center’s Concert Hall, Library, and Opus Jazz Club. Launched in 2015, the festival offers audiences the opportunity to meet leading performers on the Hungarian music scene, the finest soloists and chamber musicians, alongside the artists of Concerto Budapest and the Ligeti Ensemble, created and operating under the orchestra’s auspices. As András Keller previously introduced the festival: “Listening can mean hearing, quietening, contemplating, marveling, and discovering.”

Hommage à Sári József Concerto Budapest's all-day contemporary music festival, under the artistic direction of András Keller, awaits visitors with unusual encounters and cathartic musical experiences at the Budapest Music Center’s Concert Hall, Library, and Opus Jazz Club. Launched in 2015, the festival offers audiences the opportunity to meet leading performers on the Hungarian music scene, the finest soloists and chamber musicians, alongside the artists of Concerto Budapest and the Ligeti Ensemble, created and operating under the orchestra’s auspices. As András Keller previously introduced the festival: “Listening can mean hearing, quietening, contemplating, marveling, and discovering.”

Hommage à Sofia Gubajdulina Concerto Budapest's all-day contemporary music festival, under the artistic direction of András Keller, awaits visitors with unusual encounters and cathartic musical experiences at the Budapest Music Center’s Concert Hall, Library, and Opus Jazz Club. Launched in 2015, the festival offers audiences the opportunity to meet leading performers on the Hungarian music scene, the finest soloists and chamber musicians, alongside the artists of Concerto Budapest and the Ligeti Ensemble, created and operating under the orchestra’s auspices. As András Keller previously introduced the festival: “Listening can mean hearing, quietening, contemplating, marveling, and discovering.”

Hommage à Sofia Gubajdulina Concerto Budapest's all-day contemporary music festival, under the artistic direction of András Keller, awaits visitors with unusual encounters and cathartic musical experiences at the Budapest Music Center’s Concert Hall, Library, and Opus Jazz Club. Launched in 2015, the festival offers audiences the opportunity to meet leading performers on the Hungarian music scene, the finest soloists and chamber musicians, alongside the artists of Concerto Budapest and the Ligeti Ensemble, created and operating under the orchestra’s auspices. As András Keller previously introduced the festival: “Listening can mean hearing, quietening, contemplating, marveling, and discovering.”

Hommage à Sofia Gubajdulina Concerto Budapest's all-day contemporary music festival, under the artistic direction of András Keller, awaits visitors with unusual encounters and cathartic musical experiences at the Budapest Music Center’s Concert Hall, Library, and Opus Jazz Club. Launched in 2015, the festival offers audiences the opportunity to meet leading performers on the Hungarian music scene, the finest soloists and chamber musicians, alongside the artists of Concerto Budapest and the Ligeti Ensemble, created and operating under the orchestra’s auspices. As András Keller previously introduced the festival: “Listening can mean hearing, quietening, contemplating, marveling, and discovering.”

Hommage à Sofia Gubajdulina Concerto Budapest's all-day contemporary music festival, under the artistic direction of András Keller, awaits visitors with unusual encounters and cathartic musical experiences at the Budapest Music Center’s Concert Hall, Library, and Opus Jazz Club. Launched in 2015, the festival offers audiences the opportunity to meet leading performers on the Hungarian music scene, the finest soloists and chamber musicians, alongside the artists of Concerto Budapest and the Ligeti Ensemble, created and operating under the orchestra’s auspices. As András Keller previously introduced the festival: “Listening can mean hearing, quietening, contemplating, marveling, and discovering.”

This six-concert series for solo cello is based around Johann Sebastian Bach's suites. Alongside the well-known cello suites, Tamás Zétényi will also perform the French suites, originally for keyboard, which he and composer Marcell Dargay arranged for cello together. In addition to exploring the multifaceted suites, the cellist also aims to place the inexhaustible richness of Bach’s style in a wider context. The performance of the cello suites will be preceded by one piece from Domenico Gabrielli's Ricercar series, which, dating from 1689, are among the earliest examples of solo cello works and offer a glimpse into the virtuoso Italian music of the generation before Bach. Before the French suites, we hear a composition by the great masters of the French Baroque: Sainte-Colombe the Elder and Sainte-Colombe the Younger, François Couperin or Marin Marais (originally written for viola da gamba and continuo or harpsichord). The one-hour programme is rounded off by the Caprices of Joseph Marie Clément Dall'Abaco, working one generation after Bach. The style of the Caprices, written around 1770, represents a transition between Baroque and Classical, approaching the world of Empfindsamkeit, hallmarked by the name of Bach’s most successful son, Carl Philipp Emanuel. Yet their emotional, melancholic and sensitive tone can be seen as a direct successor to Bach's suites.

Guitarist Vitja Pauwels has become unavoidable in Belgian jazz for the last couple of years. You may know him from the bands of Naima Joris and An Pierlé or from his own projects like Bombataz, but he is also increasingly coming to the fore with his own music. His latest band and album Early Life Forms stems from a dream project for Nona and dances at the interface between voluptuous Latin jazz, groovy rock, and cinematic explorations with influences from guitar players like Bill Frisell and Marc Ribot. He however draws just as much inspiration from artists like Daniel Lanois and Ry Cooder while still maintaining his own and highly unique sound. The band played its first concert on stage at BRAND! Festival in Mechelen, accompanied by American guitarist Marc Ribot. The concert was recorded live and released as an album on W.E.R.F. Records, and has since received critical acclaim from The Guardian, UK Vibe, Knack Focus and recognition from Iggy Pop himself. Knack Magazine included the album in the list of top 10 international jazz records of 2024. This concert is organized in collaboration with W.E.R.F. Records.  

Award-winning singer Rozina Pátkai's second and third albums, Paraíso na Terra and Taladim, whose songs were again inspired by Latin melodies, carry the listener away into a completely unique musical world. Improvisations are given more space, enveloping songs that are sometimes childlikely simple, sometimes unpredictably wandering. All this is sung in Portuguese, French, Spanish, English, and Hungarian, with poems and texts by Zsófia Bán, Paul Verlaine, William Blake, García Lorca, Jane Tyson Clement, and many other great authors. The ensemble will be joined by guest cellist Ditta Rohmann, with whom Rozina worked on the Taladim album – one of the rare occasions they perform these songs live. Ditta Rohmann is a versatile musician who has been appearing as a soloist in large concert halls, improvising in world music formations, in productions with dancers, as a chamber musician, and, more recently, as an actress. Her musical repertoire ranges from Baroque to contemporary music.  

Cimbalom player Miklós Lukács is undoubtedly one of the most exceptional figures in Hungarian and international music: his classical music training has enabled him to delve deeply into both jazz and contemporary music. His virtuoso playing and constant experimentation have led him to discovering previously unknown sounds on his instrument. The best examples of this can be heard in the music of the Cimbiosis Trio, founded in 2013, which has grown into one of the most original formations on the Hungarian jazz scene. On top of the unique combination of instruments and the constantly expanding repertoire of original compositions, neither the bandleader nor the members shy away from experimentation and exploring new paths. “I composed for this trio in such a way so that we would sound like a chamber music ensemble, where every musician has equal weight. That's why I chose the name Cimbiosis: the symbiosis between us is key,” said Miklós Lukács.  

An evening full of rich tones and emotions awaits the audience with a diverse program: from Italian Baroque and bel canto traditions through Romantic songwriting to the world of grand opera.The first part features intimate love songs by Antonio Cesti, Paisiello and Giuseppe Verdi, followed by Wagner's poignant Liebestod in Liszt's virtuoso transcription. Franz Liszt's Petrarch sonnets crown the first part with their passionate poetry and refined piano texture. In the second part, the audience can enjoy the great Italian song cycles of Francesco Paolo Tosti and Ottorino Respighi, which enchant with their melodic intensity and folk song-like elegance. The evening's highlight is a selection of opera excerpts: an aria from Cilea's Adriana Lecouvreur and an excerpt from Lillo's L'osteria di Andujar.Karine Babajanyan (soprano) and Alessandro Amoretti (piano) – two internationally renowned artists – invite the audience on a musical journey full of passion, virtuosity and expressiveness. Karine BabajanyanKarine Babajanyan, a German-Armenian soprano, graduated with distinction from the Komitas State Conservatory in Yerevan and perfected her vocal technique in Rome and Milan. Her singing career began in Germany and led her to the Stuttgart State Opera from 2003 to 2011, where she excelled in leading roles. The internationally celebrated soprano has performed at renowned opera houses around the world. She received the prestigious R. Wagner Scholarship for her portrayal of Senta in The Flying Dutchman. Her most recent notable debuts include Tosca at the Vienna State Opera (DVD), Lisa in Pique Dame at the Toulon Opera, Elena in Mefistofele at the Teatro Lirico Cagliari and the soprano part in Les Noces by I. Strawinsky at the Teatro alla Scala in Milan. She shone as Sieglinde in Budapest in Die Walküre under the direction of Adam Fischer and thrilled audiences in Tosca and Madama Butterfly at the Puccini Festival. She sang the title role in P. Mascagni’s opera Iris at the Konzerthaus Berlin and was nominated for the prestigious OPUS Klassik Award (album available on OehmsClassics). Her solo album Puccini Arias was released by EMI Classics. Alessandro AmorettiVocal coach and pianist Alessandro Amoretti, born in Livorno, Italy, is renowned for his work in prestigious international music institutions. He has freelanced since 2011 after serving as Studienleiter at the Opera Theatres in Bremen and Weimar, Germany. Alessandro has worked as a vocal coach at various Opera Houses and festivals worldwide, such as Vienna State Opera, Salzburg Festival, Glyndebourne Festival. In the last years, Alessandro keeps an intense cooperation as music assistant of Maestro Enrique Mazzola in several Opera productions. He has also given masterclasses at institutions such as the Sibelius Academy and the Royal Danish Opera Academy. Alessandro has performed as a pianist accompanist in several countries and as a continuo player with orchestras like the London Philharmonic Orchestra and the Staatskapelle Weimar.

The Emma Nagy Quintet represents the new Hungarian generation of modern, contemporary jazz. Their experimental spirit plays an important role in shaping their sound, with heavy drum grooves, free improvisations, contemporary compositions in the form of songs, and other unique solutions equally featured in their pieces. Contrasts and dissonance, improvisation and diversity, joy and spleen, contemporary sentiment, and grotesque, raw expression are all part of their style, revealing a kind of dreamlike charm. However, this diversity is not an end in itself, but serves to enable the band to delve deeper into the layers of chamber music on stage. In October 2025, their fifth album will be released: with Altered States, focusing on emotions and moods, the band ventures deeper into the world of popular music than ever before, while retaining its unique edge and character.  

The two most significant song writers of classical music engage in dialogue on this evening, two composers who were socialized in Vienna and shaped by the intellectual milieu of the Habsburg imperial city: Gustav Mahler and Franz Schubert. Mahler, who was an admirer of Schubert, spent many years studying the Des Knaben Wunderhorn, a collection of folk song lyrics published in 1805, during Schubert's lifetime, and transformed the themes it contained (love, death, the supernatural world, spiritual purity) into songs with astonishing inventiveness. The first half of the concert will feature a discussion on the extent to which Mahler's world was influenced by Schubert and what Schubert anticipated in Mahler, while the second half will feature Mahler's songs performed by the hyper-sensitive German baritone Johannes Held. The language of the discussion is Hungarian. Further concerts in this series:25 January 2026 6 PM – Gábor Csalog Sundays – Dialogues with (the) Music | Chopin and Mendelssohn22 March 2026 6 PM – Gábor Csalog Sundays – Dialogues with (the) Music | Schumann and Brahms17 May 2026 6 PM – Gábor Csalog Sundays – Dialogues with (the) Music | Kurtág and the Music History

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

Formed in 2012, Jü plays the music of rapture: their themes, often seemingly austere, sometimes unfolding from repetitive swirls, their compositions drawing simultaneously on psychedelic and noise rock, a touch of folk and power jazz, carry incredible energy. The music evokes the golden age of seemingly disparate genres coming together, but beyond the obvious reminiscences, Jü is by no means traveling down memory lane to the fusion music of the late 1960s and early 1970s: by expanding the possibilities of their instruments, they transport their spellbound audience from the continuously flowing present straight into the future. At this concert, they will present their first BMC Records album, Rudel, to be released this November, which combines the intensity of rock, the freedom of free jazz, the hypnotic effect of ambient textures, and the complex, visceral rhythms of African music.

The EliasHuemerProject feels like a treelegged Andromeda in the nightsky, floating above the neon reflections of the limelights on the wet pavement. Like nothing else. With their new album Somnambule, the band tells untold stories. Stories of daydreaming and sleepwalking. Of lonely citylights, of asphaltflowers and desertseas. Stories of the two sides in everything in everyone and the subjectivity of beauty that connects us all. In a language without words, that is spoken only in these songs. 

“…Hawkins is a really vital link in a long historical chain, and his ability to sculpt his own language from a deeply rooted creative bedrock is compelling” – Jazzwise Alexander Hawkins is widely recognised as one of the UK’s most innovative and imaginative pianists and composers. He is self-taught with a great love and deep knowledge of the jazz tradition which he brings, along with classical references, to his compositions and improvisations. In May 2025 he released his third solo album Song Unconditional on Intakt, following the 2019 Iron into Wind, also on the Intakt label. As well as his solo performances, Alexander works in a vast array of creative contexts including leading and composing for his Quartet and larger ensembles; in his duos with Evan Parker, Tomeka Reid, John Surman, and Sofia Jernberg, his Trios with Nicole Mitchell & Tomeka Reid, and with Tomeka and Chad Taylor; and Decoy with John Edwards and Steve Noble, with Hawkins on Hammond B3. He can also be heard in projects with contemporary leaders – Joe McPhee, Anthony Braxton, Marshall Allen and Ethio-jazz pioneer Mulatu Astatke.  

Turkish saxophonist and composer Korhan Futacı, known for his boundary-pushing sound and fearless approach to improvisation, brings his singular musical vision for the second time to Opus Jazz Club – this time with a very special guest: British pianist Alexander Hawkins. Recently relocated in London, Futacı has long been a prominent figure of Turkey’s alternative music scene and a driving force in experimental and improvised music, creating sound worlds that blend raw energy with rich textural depth. For this performance, he is joined by Alexander Hawkins, one of the UK’s most celebrated and innovative jazz pianists. The two artists have previously shared the stage at Café Oto and the Brighton Jazz Festival, building a unique musical chemistry that now continues in Budapest. During this concert, they will guide us from the chaos of Istanbul to an uncharted realm. A place filled with vitality but also darkness; fusing traditional Turkish music with free improvisations. Completing the quartet are two outstanding Turkish musicians based in Europe: Esat Ekincioğlu, a bassist residing in the Netherlands, and Erdem Göymen, a drummer currently based in Essen, Germany. Together, they form a cross-border ensemble that thrives on spontaneity, sonic exploration, and collective intuition. A rare gathering of bold musical voices led by Korhan Futacı, this concert promises a night of deep listening, free-form interplay, and genre-defying expression.

MAO XX Anniversary Series Each evening of our anniversary concert series, MAO XX, is closely connected to the work of the past two decades, yet brings something entirely new: every concert is a premiere, further enriching the unique and diverse repertoire established during the MAO's first twenty years. MAO XX – Emerging Echoes   On the third night of the jubilee series, the Modern Art Orchestra (MAO) puts the sounds of the future in the spotlight. Two young, exceptionally talented pianist-composers, Elemér Balázs Jr. and Krisztián Oláh, will present their new, large-scale works.Elemér Balázs Jr.'s composition, Five Scenes Based on Goethe’s Faust, reflects on the classic work's timeless themes in a unique style that blends film score and jazz influences. Krisztián Oláh's new work, the MAO Suite, is built upon the character of the orchestra, articulating richly textured, rhythmically exciting musical landscapes in the language of modern jazz.Both composers will also feature as pianists during the concert, allowing the audience to directly experience what it's like when the composer is also the performer. The evening is not only a result of the MAO's mission to nurture young talent but also offers a compelling vision for the future possibilities of contemporary big band jazz. Further concerts in the series:27 September 2025 8 PM Modern Art Orchestra | THE POEM OF MY POEMS – Nagy László Evening2025. október 31. 20:00 Modern Art Orchestra | ERKEL DUETS – A Tribute to Ferenc Erkel

OUR KODÁLY 2 - PSALMUS HUNGARICUS(A mi Kodályunk 2. - Psalmus hungaricus)Hungarian documentary, 2022, 81 min. - In Hungariandirector, script writer: Eszter Petrovics  cinematographer: György Sibalineditor: Ági Mógor HSE, Tamás Endrédisound engeneer: Gábor Bányaymusical director: Ádám Matzproducer: András Muhi, Gábor Ferenczy Featuring: Róza Radnóti, Gábor Fekete, Miklós Perényi, Márton Tóth, Laura Csonka, Ferenc László, Gergely Lakatos, Oliver Pálmai, Eszter Mákné Cseman Saint Stephen Philharmonic Orchestratenor solo: István Kovácsháziconducted by Martin RajnaThe second part of Eszter Petrovics' Kodály film trilogy covers the period of the composer and musicologist's life from World War I to the premiere of Psalmus Hungaricus in 1923, placing the masterpiece at the center. The screening will be introduced by film- and music critic László Kolozsi (in Hungarian).Guest: Eszter Petrovics, director

The music of Tariqa is an organic and unique fusion where Moroccan Gnawa and Hungarian folk music meet to reveal a new musical domain. Saïd Tichiti, a native of the Moroccan Sahara, brings the pulsating rhythms of gnawa trance rituals, the mystical melodies of Arabic maqam, and the invigorating energy of chaabi. Tariqa's immersive concerts are ritual experiences where the audience becomes a participant, not just a listener. In today's isolation, there is a growing need for such transcendent communal experiences that can bring collective healing. No concerts are alike; each performance is a new and unrepeatable journey. As William Burroughs put it, Gnawa is "the world's oldest, 4000-year-old rock 'n' roll," and this tradition is reborn in a new form through Tariqa's art.

Dear Visitors, We regret to inform you that this concert is cancelled. Tickets purchased online will be automatically refunded by InterTicket Kft. Tickets purchased on the spot may be refunded at the BMC Info Desk.  We apologize for the inconvenience and thank you for your understanding.Budapest Music Center

György Szabados was a prominent figure in Hungarian avant-garde music. He created the Kassák Christmas series organized at the Kassák Club in the 1980s, which was revived by the Fonó Music House in the 1990s. Paying tribute to this tradition, the Adyton Art Foundation is organizing Adyton Christmas for the 10th time this year, finding a home at the Opus Jazz Club. In the first part of the evening, István Grencsó and Stevan Kovács Tickmayer will play as a duo. Although they have made recordings together from time to time – most notably with the Trio Kontraszt, the Grencsó Collective Special 5 with Ken Vandermark, and the album Várakozás (Waiting) from the triple album Esszék (Essays) – they have not performed as a duo since the bold Chamber Music, recorded in 1988 and released on LP. It will be exciting to hear what they have to say to each other and to the audience now. In the second half of the evening, the core of the band will be the rhythm section of the Grencsó Collective with Róbert Benkő and Szilveszter Miklós. They are joined by Stevan Kovács Tickmayer and Zoltán Mizsei, who appeared on two of Grencsó’s albums in the early 2000s, and whose current contribution will certainly add a new dimension to the free music sound of the Adyton Spontaneous Ensemble.  Zsolt Németh

The Coltrane Legacy sextet was founded in 2017, on the 50th anniversary of Coltrane's death, by one of the most sought-after musicians on the Hungarian jazz scene, bassist György Orbán. In the decade and a half from the mid-1950s until his death in 1967, the saxophonist laid new foundations for modern jazz. He created a legacy of music that has influenced generations of musicians ever since, reaching ever more spiritual dimensions. An experienced bassist who has played in many bands, György Orbán thought the best way to honour the saxophonist's legacy was to create a group that would play both original compositions inspired by Coltrane's music and new arrangements of Coltrane’s songs. The compositions, of course, take Coltrane's tradition as their starting point and continue to reflect the abstract spirit and tools of our time, thus continuing the spiritual jazz tradition. The members of the band are outstanding personalities of the Hungarian jazz scene, their progressive way of thinking and unique musicality have enabled them to work together as a team with unbroken creative enthusiasm.

Júlia Karosi's latest musical journey seeks an even more intimate sound than before, with the singer also taking on the role of keyboardist. The vocal theme is built on multiple parts, performed live by two young singers who have recently distinguished themselves with their unique voices: Rebeka Nagy-Babos and Kriszta Koncz. The lyrics of the songs are largely inspired by Japanese haiku poetry, while the music combines elements of modern classical music and minimalist art pop with the world of jazz in both style and sound. The musical producer of the project is Yank, known for his extremely diverse work.

The Legendary Album Series | Blue Note Series | Miles Davis Vol. 1. | Young Man With a Horn The title Young Man With a Horn not only refers to the film of the same name but also acknowledges that Miles Davis was already considered one of the greatest promises in jazz at the time. The 1952 recordings were later released in an expanded form under the title Miles Davis Vol. 1. On the album, alto saxophonist Jackie McLean and trombonist J.J. Johnson engage dynamically and atmospherically with Davis, who later highlighted in his autobiography how satisfied he was with these recordings, despite having entered the studio without a regular band. In the MAO adaptation, the horn section will consist of Kornél Fekete-Kovács (trumpet), Kristóf Bacsó (saxophone), and Mátyás Papp (trombone), while the rhythm section will feature the familiar trio of Gábor Cseke, József Barcza Horváth, and László Csízi.

Saxophonist Yvonne Moriel has just been awarded the Austrian Jazz Prize as Best Newcomer, and also her sweetlife quartet is making heads turn with its mix of jazz with dub and electronics. It has also been selected by Austrian Music Export as New Austrian Sound of Music – Act for 2025/26. At this concert, the quartet will present their debut album. The music of sweetlife blends various influences: jazz is combined with dub effects and electronics, free jazz practices meet complex rhythmic patterns. Moriel is stylistically versatile, trained in jazz and classical music, and highly active in the field of contemporary and experimental music. With the goal of developing a distinctive and modern sound, she began working on the live project sweetlife in 2022, which now brings together four of the most promising artists of Austria’s young jazz generation. They constantly work to explore sound expansion and push the boundaries of traditional instrumentation and composition concepts, drawing inspiration from the innovative spirit of jazz and the experimental, open-minded jazz scene of today.

The Austrian trio other:M:other (consisting of Judith Schwarz, Arthur Fussy and Jul Dillier) aims to create a rhythmic symbiosis of sound. Acoustic and electronic sounds merge seamlessly into one another, creating percussive networks of impulses that draw their inspiration equally from experimental music and beat-based club music. With unconventional instrumentation, extended playing techniques and a free improvisational approach, they explore the boundaries of musical genres and are virtuosos at translating their own sound language into a wide variety of stage settings, concert formats and stylistic contexts. Imagine a missing link between free jazz improvisation and club music and you get the idea of what makes this trio so unique.  

"Hidden Figures" explores deconstructed structures and playful reinvention: works by Schönberg, Stump-Linshalm, Bailie, and Haas merge into an audiovisual concert experience at the intersection of structured composition and chance. Tone colors, layers of sound, and reflections on travel and relocation enter into a dynamic dialogue with the audience – open, multi-layered, and colorful. The MIKAMO Central European Chamber Orchestra was founded by the critically acclaimed graduates of the Vienna University of Music and Performing Arts in 2007. The ensemble considers concerts Gesamtkunstwerk and regards historic music repertory as the extrapolation of new works from our time. While dedicated to living composers and the repertory of current music, MIKAMO also promotes artistic continuity in defining a Central European musical heritage by regularly performing in defining concert halls of Vienna, Bratislava, Budapest and Central Europe in general. The concert is organized by the Sonus Foundation for the Support of New Music and Contemporary Performing Arts, with support from the National Cooperation Fund and the National Cultural Fund.

Pianist Verena Zeiner and drummer Ziv Ravitz met in NYC, when they both lived in the vibrant city. Since 2021 they play together as a duo and have released two albums since then: The Sweetness of Finitude (2022) and Radical Care (2025), an album on which the duo’s sound palette has been expanded to include guitar, bass and a string trio, creating a rich, immersive musical experience. Verena Zeiner, renowned for her unique and captivating piano performances, seamlessly blends improvised music with elements of chamber music and jazz. Ziv Ravitz, an exceptionally versatile drummer and composer, is one of the most sought-after musicians in modern jazz, collaborating with greats such as Avishai Cohen, Petros Klampanis or Dominic Miller. On this evening they will perform pieces from their existing albums and also brand-new music, featuring electronic enhancements to their acoustic instruments.  

All pianists agree that the Wohltemperiertes Klavier is one of the pinnacles of the instrument's repertoire, both musically and technically. László Borbély has proven on numerous occasions that he is not afraid to take on the greatest professional and artistic challenges. He has been immersing himself in the Wohltemperiertes Klavier since the beginning of his career, and now he is fulfilling his plan to perform the entire two-hour cycle, representing an inexhaustible range of Bachian inventions. Borbély has a true passion for Bach's music: in 2019 he recorded the Goldberg Variations, followed two years later by The Art of the Fugue, which he performed at BMC as well. This evening, he aims to achieve no less than to reveal inner musical connections that may not have been explored before – and of course to demonstrate Bach's genius. Borbély likes to try his hand in a wide variety of styles, as his recordings of works by Bartók, Liszt, Chopin, Rachmaninoff, Poulenc, Mussorgsky, Ligeti and Messiaen testify. Major composers such as György Kurtág, József Sári, Máté Balogh and Péter Tornyai have written works for him. In addition to his regular concert activities, he plays an active role in shaping the next generation of musicians as a teacher at the Liszt Academy and as head of the keyboard programme at the LFZE Doctoral School, also giving master classes and serving on the jury of international competitions. Critics have praised the richness of detail, depth, perfectionism, intellectual discipline and perfect technique of his playing, combined with an almost obsessive virtuosity. Borbély is a member of the Metrum Ensemble and the Carpathian Impressions trio, with which he has appeared on the stage of Carnegie Hall in New York.

This six-concert series for solo cello is based around Johann Sebastian Bach's suites. Alongside the well-known cello suites, Tamás Zétényi will also perform the French suites, originally for keyboard, which he and composer Marcell Dargay arranged for cello together. In addition to exploring the multifaceted suites, the cellist also aims to place the inexhaustible richness of Bach’s style in a wider context. The performance of the cello suites will be preceded by one piece from Domenico Gabrielli's Ricercar series, which, dating from 1689, are among the earliest examples of solo cello works and offer a glimpse into the virtuoso Italian music of the generation before Bach. Before the French suites, we hear a composition by the great masters of the French Baroque: Sainte-Colombe the Elder and Sainte-Colombe the Younger, François Couperin or Marin Marais (originally written for viola da gamba and continuo or harpsichord). The one-hour programme is rounded off by the Caprices of Joseph Marie Clément Dall'Abaco, working one generation after Bach. The style of the Caprices, written around 1770, represents a transition between Baroque and Classical, approaching the world of Empfindsamkeit, hallmarked by the name of Bach’s most successful son, Carl Philipp Emanuel. Yet their emotional, melancholic and sensitive tone can be seen as a direct successor to Bach's suites.

“Perhaps no composer has had as great an influence on contemporary jazz as Bartók. The astonishing power and dynamism of his works almost overwhelms the listener; his music is full of thrill, mystery, boundless depth and purity. We created our arrangements with the aim to bring Bartók's music closer even to those who did not find it appealing until now,” said Péter Sárik about his first Bartók-inspired trio album, released in 2018. Since then, the band has performed the program to great acclaim in 15 countries around the world, from Finland to Kazakhstan to China, and in 2023 they followed up with the album X2 Bartók, featuring jazz adaptations of even more piano and choral works.  

The collaboration between Ági Szalóki, János Ávéd, and István Tóth is inspired by a respect for tradition and a love of freedom. Their program includes contemporary arrangements of church folk songs, Advent and Christmas carols, works by Sebestyén Tinódi Lantos, Bálint Balassi, Maurice Duruflé, and unknown 13th–18th-century English, Italian, and Hungarian composers, as well as thoughts, biblical passages, and poems related to the songs and the upcoming festive season. The cornerstone of the contemporary interpretation of the pieces is provided by Ági Szalóki, whose singing speaks several musical styles at a native level. The collective improvisations of István Tóth and János Ávéd blossom from beautiful melodies and move away from the traditional representation of the era into a more contemporary jazz context. Departure and return are seemingly two opposing processes, but they are also a necessary part of the basic experience of being a musician; we could even say that they are the journey itself.

László Dés, Miklós Lukács, Márton Fenyvesi, and András Dés formed their free jazz band in early 2019. Their idea is to push the boundaries of jazz, a genre that already allows for great musical freedom, to the absolute limit. Relying solely on their instrumental skills, their ears, and their sensitivity, they play without any prior rehearsals or coordination, with the joy of complete freedom. This requires great external and internal focus, as the music takes shape during the performance. The themes, structure, and form are all born in the moment, which is a tremendous experience for both the musicians and the audience, as the music that is created can never be reproduced in that form again. This shared experience is like a great magic, the magic of improvisation – four outstanding musicians finding each other through their instruments, concert after concert.  

It has become a tradition at Opus to end the year with a concert by the Dresch Quartet, which has been playing in its current lineup for six years, and its founder, the highly acclaimed Mihály Dresch, has been a key figure in etnojazz and in Hungarian music in general since the 1980s. His quartet consistently and confidently treads its own unique path with an individual fusion of Hungarian folk music and African-American jazz, jointly developed by Dresch and the band members. Commitment to the musical concept, respect and humility towards the sources, outstanding musicians, new and evergreen compositions, standards in the Dresch manner – all these combined create the musical experience that strikes the audience again and again with its freshness.  

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This six-concert series for solo cello is based around Johann Sebastian Bach's suites. Alongside the well-known cello suites, Tamás Zétényi will also perform the French suites, originally for keyboard, which he and composer Marcell Dargay arranged for cello together. In addition to exploring the multifaceted suites, the cellist also aims to place the inexhaustible richness of Bach’s style in a wider context. The performance of the cello suites will be preceded by one piece from Domenico Gabrielli's Ricercar series, which, dating from 1689, are among the earliest examples of solo cello works and offer a glimpse into the virtuoso Italian music of the generation before Bach. Before the French suites, we hear a composition by the great masters of the French Baroque: Sainte-Colombe the Elder and Sainte-Colombe the Younger, François Couperin or Marin Marais (originally written for viola da gamba and continuo or harpsichord). The one-hour programme is rounded off by the Caprices of Joseph Marie Clément Dall'Abaco, working one generation after Bach. The style of the Caprices, written around 1770, represents a transition between Baroque and Classical, approaching the world of Empfindsamkeit, hallmarked by the name of Bach’s most successful son, Carl Philipp Emanuel. Yet their emotional, melancholic and sensitive tone can be seen as a direct successor to Bach's suites.

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The European Orchestra Academy is a joint initiative between the Budapest Festival Orchestra (BFO) and the European Union Youth Orchestra, founded under the visionary guidance of Iván Fischer. This prestigious program provides talented young musicians from around Europe with invaluable orchestral experience alongside the BFO, while also offering them the opportunity to perform as chamber ensembles across numerous European countries. Participants refine their artistry through masterclasses led by renowned professors, ensuring they are exceptionally well-prepared for chamber music performances on the international stage.

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In music history narratives or concert programs, Chopin and Mendelssohn are rarely put side by side. This is somewhat understandable, since although they were contemporaries, met several times and greatly admired each other (Mendelssohn once called Chopin a "perfect musician"), their musical styles and worldviews were quite different. If they are connected at all, it is primarily through their ties to music history: through Bach and Mozart. The gravitational center of Gábor Csalog's concert will be Chopin's Scherzo in E major, accompanied by Mendelssohn's songs without words: works that at first glance – and according to their function – appear to be mere salon pieces, but are in fact compositions of just as high a caliber as any of Mendelssohn's or Chopin's large-scale works. In the first half of the evening, during a conversation with Gergely Fazekas, the question of where the boundary lies between salon music and high art will certainly be raised, as well as whether a scherzo can be considered a "joke" in the original sense of the word if Chopin is the composer. The language of the discussion is Hungarian. Further concerts in this series:23 November 2025 6 PM – Gábor Csalog Sundays – Dialogues with (the) Music | Mahler and Schubert22 March 2026 6 PM – Gábor Csalog Sundays – Dialogues with (the) Music | Schumann and Brahms17 May 2026 6 PM – Gábor Csalog Sundays – Dialogues with (the) Music | Kurtág and the Music History

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This six-concert series for solo cello is based around Johann Sebastian Bach's suites. Alongside the well-known cello suites, Tamás Zétényi will also perform the French suites, originally for keyboard, which he and composer Marcell Dargay arranged for cello together. In addition to exploring the multifaceted suites, the cellist also aims to place the inexhaustible richness of Bach’s style in a wider context. The performance of the cello suites will be preceded by one piece from Domenico Gabrielli's Ricercar series, which, dating from 1689, are among the earliest examples of solo cello works and offer a glimpse into the virtuoso Italian music of the generation before Bach. Before the French suites, we hear a composition by the great masters of the French Baroque: Sainte-Colombe the Elder and Sainte-Colombe the Younger, François Couperin or Marin Marais (originally written for viola da gamba and continuo or harpsichord). The one-hour programme is rounded off by the Caprices of Joseph Marie Clément Dall'Abaco, working one generation after Bach. The style of the Caprices, written around 1770, represents a transition between Baroque and Classical, approaching the world of Empfindsamkeit, hallmarked by the name of Bach’s most successful son, Carl Philipp Emanuel. Yet their emotional, melancholic and sensitive tone can be seen as a direct successor to Bach's suites.