Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Grzegorz Karnas is a Polish jazz singer. A festival organizer. A lover of languages ​​and cultures. A globetrotter. It would be difficult to decide which of these statements fits Karnas the best. Among other things, it’s due to this versatility that his individual voice and special performing style are unmistakable. He is connected through several links to BMC: he released two albums for BMC Records, appeared seven times on the Opus stage, representatives of BMC were several times members of the jury of the Voicingers Festival led by him, and several winners or outstanding contributors of the same festival were performing in Opus (Jihye Lee, Martyna Kvolek, Nastya Volokitina, Ganna Gryniva, etc.). With percussionist András Dés, one of the most multifaceted and experimenting musicians in Hungarian jazz, he played for the first time in the summer of 2015, and it became immediately obvious that their musicality, openness to the world and their dedication to free self-expression provide a fertile ground for a joint music. The same applies to the two outstanding young Polish artists, guitarist Jakub Mizeracki and bassist Alan Wykpisz. Their repertoire based mainly on Karnas’ compositions, but due to the strong personalities of the four musicians, each time they enter the stage has lots of its surprises in store for their audience. In their music, they like to venture to unfamiliar, undiscovered areas: Karnas speaks in languages ​​that no one has ever spoken before, Dés plays percussion on objects which had quite different functions so far, Mizeracki’s guitar playing is phenomenal, and Wykpisz’ bass provides a whimsical and creative base for the board game of the four of them. facebook.com/Grzegorz-Karnas pl-pl.facebook.com/jakub.mizeracki facebook.com/adam.wykpi facebook.com/desandras 

Dear Guests,In accordance with the state of emergency declared on March 11 in Hungary, Budapest Music Center is cancelling all of its events between March 14 and April 13, 2020 as a force majeure measure. For events after April 13, ticket sales are suspended until further notice. Please check BMC's website for further announcements.Tickets purchased online will be automatically refunded by Interticket. Tickets purchased in person are refundable at the point of purchase. Registered participants will be notified via email.Opus Jazz Club will open its restaurant on weekdays between 11am and 16pm.We appreciate your cooperation and understanding.Budapest Music CenterMarch 12, 2020 Yet another interesting artist is making her Hungarian debut at the Bach Bridges Festival. The soprano Tania Lorenzo was born on the Island of Gran Canaria and is finding growing attention in the international music world since her performances at the Dresdner Staatsoper in Germany. Her pure voice is perfect for Bach’s Cantatas which Bach himself considered his most important works. The Cantata BWV 21 inspired the young Dutch composer Mathilde Wantenaar to write her short and moving piece Seufzer. The program is rounded off by a brilliant early piano trio by Beethoven featuring a young Hungarian pianist, István Lajkó, Jae-Won Lee and Péter Szabó. The third Bach Bridges Festival at the Budapest Music Center is once again a collaboration between musicians of the Budapest Festival Orchestra and their colleagues of the Royal Concertgebouworkest from Amsterdam with the artistic direction of Michael Gieler and Péter Szabó. Their programs in this edition are dedicated to two of the greatest composers of all times, Bach and Beethoven. We are delighted to introduce a number of very promising young artists in our festival. We will keep the tradition of starting each concert with the psalms of Csaba Szabó. After their concerts at the BMC, most musicians will continue to make music together at the International Bach Festival of Gran Canaria. The Bach Bridges Festival is a joint project between the Music Stages Foundation from the Netherlands, the Csaba Szabó International Society from Hungary and the Budapest Music Center.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Pianist Károly Gáspár plays an important role in the Hungarian jazz scene. His trio, with both originals and standards on their repertoire, play a fresh, forward-looking, romantic and aesthetic music, while respecting the mainstream roots of jazz. After their 2017 debut, The Outsider, nominated on the Fonogram award, their latest one, Salvation – containing besides Károly Gáspár originals a Jenő Horváth-composition and some Charlie Haden transcriptions – was released last year on Tom Tom Records. This time Mihály Borbély will join to the trio, who is very popular in the scene of folk and world music, jazz and contemporary music, and is appreciated both in Hungary and abroad. photo: Péter Somogyvári

Dear Guests,In accordance with the state of emergency declared on March 11 in Hungary, Budapest Music Center is cancelling all of its events between March 14 and April 13, 2020 as a force majeure measure. For events after April 13, ticket sales are suspended until further notice. Please check BMC's website for further announcements.Tickets purchased online will be automatically refunded by Interticket. Tickets purchased in person are refundable at the point of purchase. Registered participants will be notified via email.Opus Jazz Club will open its restaurant on weekdays between 11am and 16pm.We appreciate your cooperation and understanding.Budapest Music CenterMarch 12, 2020 The final program of the Bach Bridges Festival features two of the most beloved pieces of music ever written. The performances of the Goldberg Variations – particularly by Glenn Gould – have inpired generations of musicians, creating a sense of longing to perform this musical monument themselves. Hence the adaptation for string trio, enabling a clear voicing and adding surprising colours. We round off with one of the all-time favorites of any music-lover, the grand Septet in E flat major, waving happy birthday to our beloved Beethoven. The third Bach Bridges Festival at the Budapest Music Center is once again a collaboration between musicians of the Budapest Festival Orchestra and their colleagues of the Royal Concertgebouworkest from Amsterdam with the artistic direction of Michael Gieler and Péter Szabó. Their programs in this edition are dedicated to two of the greatest composers of all times, Bach and Beethoven. We are delighted to introduce a number of very promising young artists in our festival. We will keep the tradition of starting each concert with the psalms of Csaba Szabó. After their concerts at the BMC most musicians will continue to make music together at the International Bach Festival of Gran Canaria. The Bach Bridges Festival is a joint project between the Music Stages Foundation from the Netherlands, the Csaba Szabó International Society from Hungary and the Budapest Music Center.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center In July 2017, the Ákos Fekecs Project was founded with the aim to realize Ákos’ own musical ideas with his friends and fellow-musicians. The drummer-composer has been working on his own compositions since 2011. His first independent work, Reverse, was seen by more than fifty thousand at the Drum Talk TV Video Store. In Fekecs’ compositions, we can find from soft jazz harmonies, through world music elements, pulsations of fusion and odd meters up to modern electronic sound. Beyond the composed material, the group’s way of playing is also reflected in energetic improvisations. In 2018, the Ákos Fekecs Project won the Laureate World-Jazz International Competition at the Amersfoort Jazz Festival in the Netherlands, but they performed with big success at many other foreign and domestic festivals as well, such as Jazz in the Park Festival in Cluj-Napoca, Babel Jazz Festival in Balatonboglár, the PulzArt Contemporary Art Festival in Sfântu Gheorghe, the Valley of Arts in Kapolcs, or the Budafok Champagne and Wine Festival. akosfekecs.com  

Dear Guests,In accordance with the state of emergency declared on March 11 in Hungary, Budapest Music Center is cancelling all of its events between March 14 and April 13, 2020 as a force majeure measure. For events after April 13, ticket sales are suspended until further notice. Please check BMC's website for further announcements.Tickets purchased online will be automatically refunded by Interticket. Tickets purchased in person are refundable at the point of purchase. Registered participants will be notified via email.Opus Jazz Club will open its restaurant on weekdays between 11am and 16pm.We appreciate your cooperation and understanding.Budapest Music CenterMarch 12, 2020

A 17. századi Olaszországban a vokális zene fejlődése jelentős hatással volt a billentyűs muzsika kibontakozására is. Rómában Girolamo Frescobaldi, a pápa orgonistája honosította meg billentyűs műveiben a Monteverditől megismert, újszerű komponálási stílust, amelynek célja: felkorbácsolni az érzelmeket, megérinteni a lelket és egyenesen a szívhez szólni.A koncerten Frescobaldi billentyűs műveiből hallhatnak válogatást, a művek egy 16. századi olasz csembaló pontos másolatán szólalnak meg.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Somewhere between late 60’s rock and sound art, Abacaxi has a heart full of candy and a skin made of spikes. Formed by Julien Desprez, this brand new incarnation of the classic rock line up of guitar/bass/drums presents an intense electric sound sculpture, carved by the rock idiom. The trio, with Max Andrzejewski on drums/synth and Jean François Riffaud on bass, creates an highly energetic new music full of noisy brightness and sharp edges - completed by a choreography of flashlights. Through a mix of actions on the instrument and a play of foot on effect pedals, taking inspiration from the technique of Tap Dance, Abacaxi completely opened the possibilities, sound and physical environment of the instrument. collectifcoax.com/artist/abacaxi

This evening of music explores the compositions of 20th and 21st century American composers of the flute repertoire. Works included will showcase many facets of the quintessential American sound through jazz and traditional folk melodies, as well as avant-garde techniques of “the other flute”. This recital is given in partial fulfillment of a 2019-2020 Fulbright U.S. Program grantee project.  A student of the Fulbright U.S. Program, Kayla Hanvey is currently conducting research on extended techniques in the Hungarian repertoire for the flute under the tutelage of István Matuz in Budapest, Hungary. She recently completed a Master of Music in Woodwind Performance from Florida State University (FSU) where she studied as a teaching assistant under the direction of Eva Amsler and Karen Large. A native of Virginia, Ms. Hanvey obtained a Bachelor of Music with a concentration in Performance – Winds, Brass, and Percussion from Virginia Commonwealth University (VCU) under the mentorship of Tabatha Easley-Peters. Kayla has performed in master classes for renowned artists such as Paul Edmund-Davies, Marina Piccinini, Robert Dick, Dr. Jonathan Keeble, Judith Mendenhall, Keith Underwood, Nicole Riner and Tim Munro. Ms. Hanvey has been presented awards for her musicianship as well as musical research. Most notably, she was a winner in the Florida Flute Association’s Collegiate Masterclass Competition in 2019 and placed top three in the Richmond Flute Fest’s annual collegiate solo competition in both 2014 and 2015. She was also invited to perform as part of the National Flute Association’s Collegiate Flute Choir on alto flute at the annual convention held in Chicago, IL during the summer of 2014. In December of 2015, she was awarded a Virginia Commonwealth University Undergraduate Research Grant to examine the effects of mindfulness practice on musical aptitude. This project was an interdisciplinary study between the Departments of Music and Psychology at VCU. A performer with great curiosity, Ms. Hanvey holds special interests in new music and extended techniques for the flute. In 2019, she was a featured soloist of FSU’s EChO Ensemble premiering Matthew Briggs’ “Viscid” for flute and electronics during the annual ACCelerate Festival held at the Smithsonian National Museum of American History in Washington D.C. Pushing the boundaries of the classical contemporary flutist, Kayla has also worked on fusion projects such “Amphibious James” by Joshua Quarles and Hope Ginsburg – a co-commission by the Institute for Contemporary Art at VCU and the Richmond Symphony – featuring double wind quintet, electronics, and scuba divers. She also took part in the premiere of the “McChicken Concerto” for rap artist and big band, written by composer Macon Mann in 2015.

ON BODY AND SOUL(Testről és lélekről)Hungarian romantic drama film, 2017, 116 min. - In Hungariandirector, script writer: Ildikó Enyedicinematography: Máté Herbaieditor: Károly Szalaimusic by Ádám Balázscostume design: Judit Sinkovicsproduction designer: Imola Lángproducer: Mónika Mécs, András Muhi, Ernő MesterházyFeaturing: Alexandra Borbély, Géza Morcsányi, Zoltán Schneider, Ervin Nagy, Réka Tenki, Éva Bata, Tamás Jordán, Itala Békés, Zsuzsanna Járó, Pál Mácsai, Vince Zrinyi Gál, Júlia Nyakó The screening will be introduced by film- and music critic László Kolozsi (in Hungarian).Guest: Ádám Balázs - composer On the outskirts of Budapest, the ageing recluse and saturnine manager of a small abattoir, Endre, is used to hiding his disabled left arm along with his emotions behind a busy schedule. Then, unexpectedly, a shy and graceful newcomer in the office catches Endre's eye: Mária, the plant's cryptic and glacially beautiful quality-control inspector. Now, against the backdrop of the cold slaughterhouse and a small theft within the company's walls, an eerie and almost spiritual bond will start to develop between the tender outcasts, as, more and more, their lives become inextricably intertwined. However, are the two dreamers, Endre and Mária, ready to embrace the catharsis of love on both body and soul?

Following the decision of the Hungarian Government, in accordance with WHO guidelines issued in response to the global health emergency, this year’s Budapest Spring Festival and its concerts are cancelled. Tickets will be refunded via the Festival’s website, and details on how this can be done will soon be posted on www.btf.hu. From duo to quintet, Vincent Peirani has played in the most diverse forms of musical collaboration. The trio format he brings to Budapest is nonetheless new territory for him. In this band, which he formed with Italian guitarist Federico Casagrande and New York-based Israeli drummer Ziv Ravitz, any of the musicians can take over the role of another member. It is a game in which only jokers have been dealt, and they complement, rather than overwrite, each other. Everything goes, every part is the main role, while they all head in the same direction at any given point. Peirani referred to murmuration, the synchronized movement of a flock of birds, to describe how it feels to play in the trio: there is a sense of a central will that governs the movement of all participants. None of them is a leader, but all of them are perfectly in sync, creating a coordinated whole together. This concert of the Budapest Spring Festival is presented by Müpa Budapest as a joint program with Budapest Music Center.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Singer Veronika Harcsa and guitarist Bálint Gyémánt were classmates at the jazz department of the Liszt Ferenc Academy of Music. Altough Veronika continued her studies in Brussels while Bálint in Oslo, they became each other’s most important fellow-musicians. To date, they have collaborated on eight albums and on countless festival and club concerts in 25 countries across the world. In recent years, their acoustic duo have become their most important joint formation, and although their latest record, Shapeshifter, has been recorded in a quartet with two Belgian musicians, still the duo remained the core of their collaboration. They’ve worked out how to get the most out of a sound with just one guitar and vocals, and with their personally-inspired songs that carry depth, liberation and humour. On their concert the audience can witness a unique encounter of contemporary jazz and improvised pop music.  harcsaveronika.hu gyemantbalint.eu 

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Members of the Modern Art Orchestra present a live concert performance of Sonny Side Up, the legendary album by Dizzy Gillespie, Sonny Stitt and Sonny Rollins. Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On The Eternal Triangle, in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player. Gillespie adds his own split commentary on the proceedings with a casual solo on After Hour and a competitively blistering statement on I Know That You Know. With an at ease rendition of On the Sunny Side of the Street rounding things out, Sonny Side Up comes off as both a highly enjoyable jazz set and something of an approximation of the music's once-revered live cutting session. (Stephen Cook’s AllMusic review)

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center The group, founded in 2002, developed a special sound for its composed and improvised chamber music by combining instruments, rather uncommon in jazz, like the Bulgarian gadulka, or the African array mbira with the more traditional setting of guitar, saxophone, double bass and drums. The name Ektar comes from the Indian word 'ek-tar'which means one string. Indeed, the five musicians play and improvise in such harmony as if they were all playing on a single instrument.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center The music produced and performed by the Hungarian based ensemble Tariqa is simultaneously reminiscent of the proto world-music innovations of John Coltrane’s Africa Brass in the 60s and the 70s futuristic Sufi inspired jazz of the Human Arts Ensemble. Led by Saïd Tichiti originally from the Moroccan Sahara, Tariqa’s ecstatic momentum is firmly based on gnawa drumming and guembri bass lines spiced by rippling carpathian cimbalom, violins and flute. Top this all with Saharian desert blues vocals and horn parts full of urgent urban American howling and Klezmer screams, and the effect is nothing less than 21st century musical bliss. Tariqa’s new CD is a musical breakthrough Bartok, Coltrane and the late Ali Farka Toure would all likely relate to. Blessed and possessed by the powerful spirits that inhabit the Euro-Asian-African crossroads that shaped and continue to shape our destiny – Tariqa swings and rocks hard to a warm universal musical embrace.Darrell Jónsson

A height of 157 centimeters, with a tendency for obesity, bad eyesight, and not many fans - yet today, Schubert may well be the most beloved composer. He wrote more than 1000 pieces: songs, quartets, symphonies, operas, masses and various piano works. All composed during a very short lifetime: Schubert only lived 31 years - even Mozart outlived him. To this day, the dual nature heard in his music, his contradictory personality, his tendency for unsurpassed joy and extreme despair together makes many people curious. The Budapest Strings Chamber Orchestra presents this concert series to get closer to Schubert's personality through his Symphony No. 5, the Mass in G Major, and the string ensemble version of his famous quartet, Death and the Maiden.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center The Italian writer, Umberto Eco once said, “Solitude is a kind of freedom”. The statement certainly strikes a chord when talking about Pascal Schumacher’s latest album, SOL. The vibraphone player and composer, who has made a name for himself in a variety of collaborative endeavours from quartets to symphonic orchestras, has recently discovered the liberation and wisdom of going solo, “I found out so much about myself alone, more than I ever would have imagined,” he says. Schumacher’s relationship with the vibraphone began as many love stories tend to; at first sight.“I remember from my percussion classes as a kid this golden, sparkly instrument, and as soon as the  teacher left the room I couldn’t help playing it,” – he reminisces. For those familiar with the vibraphone, the allure will be comprehensible. The set up of shiny plates and cascading tubes, that when struck by mallets produce a sound that is at once metallic and soft, ethereal really. But intimacy is not easily attained. And as with most percussion instruments, where mallets or sticks play an intermediary role between player and played, there is distance. “It’s quite a process to become one with the vibraphone. I was always jealous of cello players who have their instruments in their arms and really feel it, embrace it”, says Schumacher, who has experienced this intimacy first in 2018, when he was invited to play solo for the first time at a festival in Salzburg. Coming home from this festival, he decided to leave his former band to became soloist and record a new solo album. SOL captures Schumacher’s newfound passion for solitude in all its magnetism. “When you are playing solo, you are really confronted with yourself. Your strong moments but also your weak moments, which are not necessarily your worst moments. There is something very beautiful about your fragility – that's often the starting point for magical  outcomes” – says Schumacher, whose album will be released on the same day as he gives a concert at Opus Jazz Club, on April 17th. pascalschumacher.com

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Over three decades, François Bourassa has built many musical mansions. As pianist, composer and bandleader, he long ago became an international example of Canada’s contemporary jazz scene. A model of both consistency and evolution, he continues to challenge himself, his talented musical partners and his ever-widening community of listeners. On Number 9, François Bourassa's ninth album of original music for his own band, the Montreal-born pianist and empathic colleagues allude to formative influences, serendipitous encounters and places from his past. That might suggest a highly reflective program, and the seven performances here certainly convey thoughtfulness. But the true focus of composer- improviser Bourassa and his ensemble, from beginning to end of the record, is in the moment, now. Sensuous imagination supported by sterling technique ... an adventure-strewn, winding road that tours vistas and waysides of a collective mindscape, strikingly different at every go 'round, each listen. The music of Number 9 cycles from melodic lyricism to pure sonics, from a swinging basis to open space, from probing inquiry to fervent self-expression to satisfying resolutions, sometimes conclusive. There is finesse and passion, flintiness and warmth, formal structures and free association. Some of Number 9 is simply dreamy. Bourassa and company make these diversities all of one piece, aspects of an ensemble sensibility. The quartet covers a lot of ground from a complex of perspectives, new details unveiled with each turn of the ear. (Based on jazz critique by Howard Mandel) francoisbourassa.com

We regret to inform you that Balázs Fülei and Roi Shiloah's concert on April 20 has been cancelled. Tickets purchased online will be refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu We appreciate your understanding.Budapest Music Center The three Sonatas for Violin and Piano by Johannes Brahms are the pinnacles of European chamber music: the composition skills of a true genius meet an unparalleled richness of emotions in these pieces. For the performer, playing these three Sonatas back-to-back present a unique challenge; for the audience, the concert promises to be an unforgettable spiritual journey. On this occasion, Brahms's unique masterpieces will be performed by the Israeli violinist Roi Shiolah and Liszt Award winning Hungarian pianist Balázs Fülei.

„Valamikor részese voltam már egy hasonló szituációnak. Akkor négy fiatal ütőhangszeres muzsikus lépett ki, mindent elsöprő lendülettel a magyar, és röviddel azután a nemzetközi zenei élet pódiumára. Nyomukban forgószél kerekedett és egy új fejezet nyílt a magyar kamarazene történetében. 36 évvel ezelőtt... Igen, az Amadindáról van szó. Most pedig egyszerre csak megjelenik három fiú, a Debreceni Zenei Egyetem Zeneművészeti Karának műhelyéből, és mintha megismétlődne a történelem! A TanBorEn Ütőstrió – déja vu. Átvitt értelemben az Amadinda gyermeke, mert abból a mozgalomból emelkedik ki az együttes, amit az Amadinda épített fel. Amúgy meg: immár az Amadinda is iskolája a TanBorEn-nek, felső fokon, közös projektekben. Mindez – a három fiatalember tehetségén, művészi leleményességén és kitartásán kívül – a Virtuózok 2019-es különleges szériájának köszönhető, ahol az együtt muzsikálás élménye és követendő példája állt a középpontban. A TanBorEn Ütőstrió jogosan vitte el a pálmát. Örülök, hogy első komoly szólóestjüket a BMC-ben, a kreatív megújulás központjában rendezhetjük meg – néhány héttel diplomájuk megszerzése előtt!” Batta András A sorozat másik két időpontja: febr. 17. és márc. 23.   A műsorban elhangzó darabokról: Kerek Gábor Közeledő: SalátaA művet a szerző a TanBorEn trió felkérésére írta. Egy nagyobb lélegzetű, három tételes mű első tétele készült el eddig. A tétel gyors, virtuóz előadásmódot kíván az előadóktól. A műben a dallamhangszerek mellett, bőrös hangszereket és az emberi testet is mint ritmushangszer használják az előadók. A mű triós formájú. Az első rész kissé jazz beütésű témája, a darab végén visszatér. A középrészben a dallamhangszereket mellőzve, ritmikus párbeszéd hallható a játékosok között. Askell Másson: PrímAskell Másson, izlandi zeneszerző 1996-ban keletkezett, szóló kisdobra íródott, Prím című darabjában a prímszámokból álló metrumokat állítja a középpontba. Többször is visszatér a darab elején fellelhető téma. A darab rendkívül gazdag ritmusvilággal rendelkezik és különlegesen virtuóz játéktechnikát követel meg az előadótól. John Psathas: One StudyJohn Psathas görög és új-zélandi származású zeneszerző, akinek a fizikai és művészi világ különböző szegleteiből származó mestereivel folytatott dinamikus együttműködése látomásos, mozgó és inspiráló hatást kelt és eredményez. 2005-ben megkomponált One Study című műve is hasonló benyomásokat kelt. A darab érdekessége, hogy a marimbán kívül 16 apró effekthangszert is használ az előadó. Mindezt egy folyamatos elektronikus/audiókíséret támasztja alá. Compagnie Kahlua: Ceci n’est pas une balleA francia származású szerző alábbi művének érdekessége, hogy egyáltalán nem igényel semmiféle hangszert. Azaz egy pantomim játékról van szó, aminek van szóló, illetve trió változata is. A darab ötvonalas kottaképpel és leírással is rendelkezik. Az előadóknak egy audio aláfestésre kell úgy együtt mozogniuk, hogy a darab során sok esetben csak a belső tempótartásukra támaszkodhatnak. A darab egy labda történetét meséli el, megfűszerezve különböző zenei idézetek betoldásával. A három játékos mindegyikének vannak szóló részei a produkció során, de sokat kell unisonoban, azaz egyszólamúan is játszani. A darab a legrangosabb ütőhangszeres szóló- illetve kamaraversenyek repertoárlistájának a részét képezi. Nicolas Martynciow: TchikNicolas Martynciow francia ütőhangszerművész és zeneszerző. Tchik című műve szóló kisdobra íródott. Az előadó a kisdob összes részét használja (pl.: dobtest, káva, húr stb.), valamint saját, emberi hangjával is színesíti a művet. A dob valamennyi részének felfedezése mellett a játékos dobverőt, seprűt, valamint saját ujjait is használja. A darab könnyed, latinos hangvételű. Emmanuel Séjourné: Prelude No. 1Emmanuel Séjourné, francia ütőhangszerjátékos, zeneszerző Prelude No. 1 című műve egy 2012-es nemzetközi marimbaversenyre íródott. Könnyed, improvizatív hangvételű darabról van szó, melyben a latin/jazz zene karaktere is megmutatkozik. Egyfajta érzelmi hullámvasút.Nehéz zenei értelmezése mellett magas szintű négy verős technikát igényel az előadás során. Emmanuel Séjourné: AttractionEmmanuel Séjourné, francia ütőhangszerművész, zeneszerző, több rangos verseny zsűri tagja. Attraction című művét 2017-ben komponálta Christoph Sietzen, ütőhangszeres előadóművész számára, aki nemzetközi versenyeken kiemelkedő eredményeket ért el, és a világ szinte valamennyi jelentős koncerttermében megfordult már. A darab marimbára, vibrafonra, junk percussionra és elektronikára íródott. Magas szintű technikai virtuózitást igényel, és érdekes keleties hangzású zenei elemek csendülnek fel a darab során. Alexej Gerassimez: AsventurasAlexej Gerassimez, német származású ütőhangszeres előadóművész és zeneszerző. Repertoárja a klasszikus és kortárs zenétől a jazzen keresztül egészen a minimál zenéig terjed. Asventuras című darabját szóló kisdobra 2012-ben komponálta. A darab érdekessége, hogy az egyes részek a hangok egyedülálló kombinációját tartalmazzák, amelyeket különböző játékmóddal, különböző játszófelületeken keresztül kell megszólaltatni. Neal Hefti: Cute (Holló Aurél, Váczi Zoltán átirata)A híres, amerikai jazztrombitás, hangszerelő és zeneszerző Neal Paul Hefti egyik jól ismert és kedvelt száma a Cute. Olyan nagy nevekkel dolgozott együtt, mint Frank Sinatra, Harry Tony Bennett, Buddy Rich vagy éppen Count Basie. A darabot az Amadinda Ütőegyüttes két tagja hangszerelte át marimbára, vibrafonra és ütőre.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Shay's latest group with new reflections and directions. The band, two-horns strong and backed by the classic piano, bass and drums unit, continues to strike ripples in its near and farther surroundings. Only that in Hazan's case, backing does not mean hiding. His significant bass work carries the group into the magical realm of Gnawa music from Morocco, the new wave of Hip-Hop, and the 1960's Chicago free jazz and human rights movement, all these casted into a fresh blend of old and new flavours. shayhazan.com  Domestic Peace by Shay Hazan Quintet

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Jeff Denson is a world-renowned bassist, vocalist and composer who has released 8 albums as a leader and performed in many of the world’s top jazz festivals such as the Berlin Jazz Festival, the JVC Jazz Festival Paris and the Montreal Jazz Festival to name a few. He has done extensive freelance work throughout the US, Europe, and Canada and has performed and/or recorded with distinguished musicians such as Charlie Byrd, Bob Moses, Joe Lovano, Carl Allen, Kenny Werner, Anthony Davis, Edward Simon, Lionel Loueke, Ted Poor, Dan Weiss, Ralph Alessi, Charles McPherson, Lee Konitz and Brian Blade, amongst others. Jeff has received rave reviews in such periodicals as the Washington Post, NY Times, SF Chronicle and DownBeat Magazine, and has received such prizes as the German Cultural Award in 2006 and DownBeat Magazine Rising Star Critic’s Poll awards for both “Electric Bassist” and “Male Vocalist” the last two years in a row (in both categories in 2018 & 2019). Jeff also had the unique distinction of being the bassist of the Lee Konitz New Quartet for over twelve years and is currently the Dean of Instruction and Chair of the Bass Department of the California Jazz Conservatory.  The Opus concert will feature Jeff’s current tour band, consisting of the outstanding Hungarian saxophonist Kristóf Bacsó, the renowned US drummer Gerald Cleaver and the multifaceted Kari Ikonen from Finland on keys, whose latest album with Orchestra Nazionale Della Luna will be released on March 13 on BMC Records. 

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

A régmúltban – legyen ez akár ötven, akár ötszáz éve – lejegyzett, kiadott művet megtanulni és előadni egy dolog, hiszen a legtöbb esetben van valamiféle előadói múltja, hagyománya, az utóbbi száz évben pedig hangfelvételek is segítik a mű megtanulását, formálását. Egy új darab megszületésében részt venni pedig egy egészen másfajta élmény. A szaxofon és az elektronikus zeneszerzés tanszak 2019 szeptemberében kezdte meg a közös munkát, mely először ismerkedéssel, a zeneszerzők részéről a szaxofonosok képességeinek megismerésével, a szaxofonosok részéről pedig az elektronikus zeneszerzés széleskörű lehetőségeivel és munkamódszereinek megismerésével kezdődött, majd közös kísérletezéssel folytatódott. A műhelymunka eredményeképpen a zeneszerzők ötletei hol eredeti formájukban, hol pedig némi módosítással alakultak át valós zenei motívumokká. Ezen a hangversenyen pedig eme együttműködésből született műveket hallhatja majd a közönség.Felkészítő tanárok: Szigetvári Andrea, Bolcsó Bálint és Seleljo Erzsébet

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Sinfonia De Carnaval – comprised of Anna Lang and Alois Eberl on the cello, piano, trombone, accordion, electronics, percussion and vocals. Inspired by the expressive tonal discours of jazz and using different elements of classical music, rock and funk, the duo creates a sonic universe out of the whole soundspectrum of their instruments, which is sometimes also mixed with electronic sounds. In their own compositions, such as Sweeping Dragon or Dragons Guardian, the inner souls of hideous, beautiful, haunting, eerie, noisy, tender, loving, grumbling, dangerous, raging, good, bad, enchanting, wild or tragic figures are ignited. In euphonious snap-shots as in Totalen Nebelfinsternis (Total fog darkness), the Windespfeifen in der Dämmerung (Windpipes at dawn) or the African Suite, the virtuoso duo inspires with a wide range of improvisations, racy grooves and wonderously ghastly dramatic. With Sinfonia De Carnaval, the talented musicians Anna Lang and Alois Eberl present a further highlight to their extensive and diversified programme. They were nominated for the BAWAG P.S.K. Next Generation Award 2015 and were chosen as one of the five best bands in the Jazz Category for the “New Austrian Sound of Music Programm 2018/19” by the Austrian Federal Ministry. The duo is one of the seven selected Austrian bands for "FOCUS ACTS 2019" - The international springboard and top funding of the Federal Chancellery. Sinfonia De Carnaval performed with success in Switzerland, England, Iran, Kazakhstan, Tajikistan, Croatia, France, Israel, Palestine, Estonia, Czech Republic and Germany. sinfoniadecarnaval.com 

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

Beethoven harminckét zongoraszonátája legalább akkora jelentőséggel bír, mint kilenc szimfóniája, s a mai napig a műfaj csúcsát jelentik sokak számára. Az 1795–1822 közt keletkezett műveket Hans von Bülow az Újtestamentumnak nevezte mintegy folytatásaként Bach két Das wohltemperierte Klavier kötetének, vagyis az Ótestamentumnak. Szintén Bülow volt, aki elsőként egy koncert leforgása alatt eljátszotta az összeset, ami valóban embert próbáló teljesítmény. Ezek a darabok voltak az elsők a szonáta műfajában, amelyeket nyilvános előadásra szánt szerzőjük, mégsem vesztették el intimitásukat. Éppen ezért tökéletes helyszín a BMC koncertterme, ahol egy zongorista maratoni estje helyett a Beethoven Napok keretében a Concerto Budapest művészpartnerei, egyben a magyar zenei élet legfontosabbjai közül kikerülő művészek szólaltatják meg a zeneszerző reprezentatív szonátáit. Elhangzik majd többek között a második tételéről ismert Holdfény-szonáta, a Patetikus-szonáta, amelyet Beethoven huszonhét éves korában írt, vagy a két műfaj határán lévő Quasi una Fantasia szonáta, s filozofikus mélységű kései szonátáiból, valamint négykezesre írt műveiből is hallhat a közönség egy válogatást.

"I am attached to Baroque music and to the music of earlier ages the most - and of course to contemporary music" - said Bánk Sáry in a recent interview. However, his recently finished composition called "The Eternal Poem" goes back even further both in time and space: it evokes a Chinese poet who lived 1300 years ago. Janàček's string ensemble piece alludes to a particularly baroque genre, while László Sáry's composition, finished in 2017, was composed for the 200th anniversary of the birth of the poet János Arany. The Classic Lights 3 new season will show new and interesting perspectives of these compositions and composers. 

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center “If Bartók played not-so-straight-ahead jazz, it might sound like the Borbély Quartet, combining Serbian, Slovak, Gypsy, Jewish and German folk influences with classical music, shot through with that thing that swings. Roland Kirk would understand.” (RootsWorld) After the 2014 release of their award-winning album Hungarian Jazz Rhapsody, the next one, Be by Me Tonight was released in 2016 and won the shared first prize in the category ‘Best Hungarian Jazz Album of the Year’ of the Hungarian magazine Gramofon Classical & Jazz. The album reveals the rich, mature sound of the group, the complex beauty of the compositions with roots and influences from Hungarian and Balkan folk, music of Liszt, Bartók, Kodály as well as contemporary jazz, interwoven by the spontaneity and freshness of improvisation. “A notable release from a group that deserves an international spotlight for its obvious talent”, as Jazzwise put it in its album review. The band's Grenadilla album was released last October on BMC Records. The new pieces have even more emphasis on traditional reed instruments like tárogató, clarinets, recorder and different kinds of peasants’ pipes. This is referred also in the album's title, as the wood of grenadilla, the passion fruit tree, is the mostly used wood for clarinet and other woodwind instruments. 

2020. április 25-én és 26-án kerül megrendezésre Dömötör Johanna és Simon Dávid fuvola mesterkurzusa. A két fiatal művész amellett, hogy generációjuk kiemelkedő fuvolajátékosa, oktatóként is komoly tapasztalatokra tett szert: Johanna a linzi Anton Bruckner Egyetem professzoraként, Dávid pedig  a dél-koreai Kangnam University tanáraként segíti a fiatalok fejlődését. A zárókoncerten Dömötör Johanna és Simon Dávid mellett a kurzus aktív hallgatói is fellépnek, előadásukban az elmúlt két nap során elsajátított előadási darabok szólalnak meg. A kurzusra egyaránt várják aktív és passzív hallgatók jelentkezését, a részvételi díj aktív hallgatók számára 15.000 Ft., passzív hallgatóknak két napra 5.000 Ft., egy napra 3.000 Ft. (A kurzus díja az aktív résztvevőknek magában foglal egy-egy fuvolaórát a két művésztanárral, illetve szereplési lehetőséget a kurzus zárókoncertjén.) Az eljátszandó anyag - versenyművek, előadási darabok, próbajáték állások - szabadon választható, a szervezők zongorakísérőt biztosítanak. Jelentkezni a flutemasterclass.budapest@gmail.com email címen lehet, 2020. április 11-ig. Jelentkezéskor kérik megadni a jelentkező nevét, telefonszámát, e-mail címét, a választott mű címét, valamint a jelentkezés formáját (aktív/passzív).További információ:info.bmc.huwww.facebook.com/fluteforumhungary Dömötör Johanna 2012 óta a linzi Anton Bruckner Egyetem professzora. Tanulmányait 2002-2003-ban Csetényi Gyula tanítványaként a Bartók Béla Zeneművészeti Szakközépiskolában, 2003-2006-ban Jean-Claude Gérard növendékeként Stuttgartban, 2006-2009-ben Andrea Lieberknecht irányí- tásával Hannoverben, 2009-2012-ben Davide Formisano szólista osztályában ismét Stuttgartban végezte..2009-ben a Temesváron megrendezett nemzetközi fuvolaversenyen a döntőbe jutott és ott különdíjat kapott, 2012-ben a szingapúri nemzetközi fuvolaversenyenen elnyerte az első díjat. Szintén első helyezést ért el az olaszországi Ro- veretóban megrendezett Mozart versenyen.Szólistaként fellépett - többek között - a Japán Filharmonikus Zenekarral, a Stuttgarti Kamarazenekarral, a Festival Strings Lucerne együttessel, a Budapesti Fesztiválzenekarral és a Helsinki Filharmonikus Zenekarral. Vendégjátékosként koncertezett a Bajor Rádió Szimfonikus Zenekarával, a WDR-rel, az SWR-rel és a milánói Scala Zenekarával. 2010-től 2012-ig a Bázeli Szimfonikus Zenekaer szólófuvolistája volt. Pályafutása során olyan kiváló karmesterekkel dolgozott mint Zubin Mehta, Daniele Gatti, Esa-Pekka Salonen, Daniel Harding, Kurt Masur, Lorin Maazel, Kristian Järvi és Daniel Barenboim.2009 óta művészeti vezetője a "Dömötör Johanna és barátai" elnevezésű koncertsorozatnak, melyet a festői szépségű Boden-tó környékén évente rendeznek meg, világszerte elismert művészek közreműködésével. Simon Dávid 1984-ben született Gyöngyösön. Tanulmányait a budapesti Bartók Béla Konzervatórium, majd a budapesti Liszt Ferenc Zeneművészeti Egyetem után a müncheni Hochschule für Musik und Theater mesterképzőjén végezte, a Bajor Állam ösztöndíjasaként. A müncheni Főiskolán Michael Schmidt-Casdorff osztályában egy évig barokk fuvolázni is tanult. 1996 óta több országos és nemzetközi verseny díjazottja. 2011 nyarán a viggiano-i (Olaszország) nemzetközi "De Lorenzo" fuvolaverseny második helyezettje. A zeneszerzőként is tevékeny művész első darabjával elnyerte a 2002-es Bartók Béla Zeneszerzés Verseny különdíját. 2007-ben megkapta a "Gyöngyösi fiatalok a művészetekért" kitüntetést. 2008-tól a Yehudi Menuhin Live Music Now támogatottja. 2014-ben elnyerte az Állami Fischer Annie Ösztöndíjat. 2009-től 2012-ig az augsburgi Egyetem Zenepedagógiai Tanszékének fuvolatanára. 2010-ben a Müncheni Szimfonikusok és a Müncheni Rádiózenekar akadémistája, 2011-ben a Passaui Opera fuvolistája lett. 2013-óta a Magyar Rádió Szimfonikus Zenekarának fuvolaművésze. 2018 márciusa óta a dél-koreai Kangnam University fuvola professzora. Támogató: Fon Trade Music, Nemzeti Kulturális Alap

Dear Guests,In accordance with the state of emergency declared on March 11 in Hungary, Budapest Music Center is cancelling all of its events between March 14 and April 30, 2020 as a force majeure measure. For events after April 30, ticket sales are suspended until further notice. Please check BMC's website for further announcements.Tickets purchased online will be automatically refunded by Interticket. Tickets purchased in person are refundable at the point of purchase.We appreciate your cooperation and understanding.Budapest Music CenterMarch 30, 2020 The Modern Art Orchestra's upcoming concert promises to be a unique event as the main star of the evening will be the organ. Referred to as the queen of instruments, the organ can imitate a whole orchestra with its complex sound and varied dynamics. MAO is no stranger to the organ, as Rhoda Scott has already joined the band on several occasions in the past. On April 26, Brian Charette – a prominent figure in today's jazz scene – will join the Modern Art Orchestra. Band leader Kornél Fekete-Kovács has been planning a collaborative effort with the New York organist for nearly a year now, which is finally realized in an exciting way, as a joint repertoire composed by Charrette and MAO authors will be recorded during the concert and rehearsals. It is no coincidence that the MAO Master Class program also introduces an organist-composer. Through his pieces on this special instrument and the big band, the audience will get to know Bence Vass.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Atomic has held a position at the forefront of the Scandinavian and European contemporary jazz scene for nearly 20 years, earning widespread acclaim for creating a completely unique and identifiable sound that seamlessly merges the American and European free jazz traditions. Nobody can combine jazz, improvisation and ideas from classical contemporary music in as spontaneous and memorable a way as this band. The compositions, by Håvard Wiik and Fredrik Ljungkvist, are typical Atomic: thoughtfully constructed melodies alternate with explosive passages by way of fast, unexpected changes. Late 2018 they released Pet Variations with compositions by Edgar Varese, Olivier Messiaen, Steve Lacy, Jimmy Giuffre, Jan Garbarek and Brian Wilson – to name a few. "Accomplished, inventive, superb in live performance. No praise too high for the band. Pet Variations has in abundance what so much contemporary jazz lacks - power, passion, originality and genuine musical excitement" (Stuart Nicholson, Jazzwise) atomicjazz.com

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. We appreciate your cooperation and understanding.Budapest Music Center This April the Szakcsi Jr. Trio has even two motives for celebration: firstly because of April 30, the annual International Jazz Day, when jazz is celebrated worldwide with free concerts. On the other hand, this year marks the 100th anniversary of alto saxophonist Charlie Parker’s, aka Bird’s birth, who has been transforming jazz from dance music to concert music in the late forties, creating the same time a new style, the bebop. Charlie Parker’s oeuvre is an important chapter in the book of jazz history, the saxophone players turn to him with almost religious reverence: they learn his solos, his dynamic, and try to discover the secret of his saxophone sound.Béla Szakcsi Lakatos Jr. – although he is not a saxophonist but a pianist – regards Bird’s music as an equally important source of inspiration and says that a tribute evening for Bird would be paradoxical in case of just copying one of the greatest innovators. That’s why they – in the spirit of his creative attitude – will not copy Charlie Parker’s legendary compositions. This is guaranted by the special line up, which includes three brass musicians besides the members of the trio (Béla Szakcsi Lakatos Jr. – piano, Krisztián Lakatos Pecek – double bass, Elemér Balázs - drums). The tenor- and EWI-saxophonist Zoltán Zana, Viktor Tóth altosaxophonist and Kornél Fekete-Kovács trumpet- and flugelhorn player will give eachother the role of the soloist, whose persons are also a guarantee for exciting solos. The energy level of the six-piece supergroup will surely bring us back to the rebellious, radical jazzy era, where every sound had a stake.

Dear Guests,With the aim of ensuring efficient protection against spreading COVID-19, in accordance with measures of the Hungarian Government, Budapest Music Center is cancelling all of its events until April 30, 2020 as a force majeure measure. Tickets purchased online will be automatically refunded by Interticket. To refund tickets purchased in person, please contact us via info@bmc.hu Budapest Music Center Bedmakers reunites four musicians from polymorphic and singular musical universes. Anglophile saxophonist Robin Fincker, drummer fabien Duscombs, violinist with electroacoustic drifts Mathieu Werchowsky and Irish bassist Dave Kane. Bedmakers storms the meanders of Anglo-Saxon folk music, with its Tribute to an Imaginary Folk Band. The four unclassifiable improvisers dig, scratch and rumble this fertile sonic ground, nourished by multiple decades of oral tradition in order to excavate its melodic essence. Melodies are caught in mid-air. These tunes that one hums without realising, that feel familiar without being able to point their source, find themselves out of their original context, superposed or extended, declaimed or only suggested, sometimes buried under a storm of concrete-noise music or distilled in a minimalist blow. In 2020, Bedmakers continue their journey in the meanders of Folk music with a new repertoire. Here is combined popular music, blues and free improvisation. At a time collector and a re-inventor, the quartet shakes the relation between traditional and experimental music and makes appear scraps of jingles and ritornellos in the flow of improv jazz. The arrival of Irish double bassist Dave Kane, gives new spirit to this research. As they grow more distant from programmed contemporary jazz music, Bedmakers expands their repertoire in an inexhaustible reservoir: a mix of collected and original compositions. The quartet seeks to evoke the feeling of letting go, the trance, the collective jubilation on a dance floor by a greatly dynamic musical experience. A backwash of noise gestures, ceaseless loops of the bow, heady melodies of the saxophone and the quartet’s new rhythm section's polymorphic sound converge towards a common goal of invisible dance and molecular shock. facebook.com/Bedmakersquartet 

Singer Tamás Berki and pianist/composer Péter Sárik have been playing together for several years in various formations and as a duo since 2012. Full of humour, joy, playfulness and energy, their performances are very popular. The duo's album Minden délibáb received the Hungarian Fonogram Prize as the Jazz Album of the Year in 2015. Their live repertoire consists of old and new compositions by Tamás Berki as well as jazz standars, all presented as a special jazz performance they call “auditive theatre”. 

As a saxophonist and composer, Kristóf Bacsó is one of the distinctive figures of the Hungarian jazz scene, with four albums of his own original music released in recent years. The most important of his own bands, TRIAD, has appeared in numerous countries in Europe, to great acclaim. One of Bacsó's partner is the Artisjus Prize awarded Áron Tálas on the keyboards, who, in addition to the piano, has a very sensitive feel for the Fender Rhodes and other electronic instruments. A master of painting moods, Márton Juhász was selected drummer of the year on two occasions and, like his two bandmates, also studied in the United States. Triad's music draws from both the present day and the Central and Eastern European musical tradition at the same time. In addition to the painstakingly developed parts, an important role also goes to shared improvisations. Triad's first album, Pannon Blue was released on BMC Records, featuring the acclaimed guitarist Lionel Loueke. The album won the Hungarian Jazz Record of the Year prize in 2017. The band is currently working on new material which debuted first at Müpa Budapest with Gilad Hekselman on the guitar. 

A legnagyobb zeneszerzők puttonyában mindig lapul egy-két zavarba ejtő, akár enigmatikus vagy egyszerűen fatális tévedésnek tetsző mű is. Az őrület gyermekei ezek: miattuk lesz az életmű zseniálisan egyenetlen. Aztán idővel kiderül, hogy nem a mű a torz, hanem a perspektíva nem elég tágas, és a kor végül utoléri a messze előreszaladt alkotó fantáziát. Ilyenek a kései Beethoven-kvartettek, köztük is hegyként mered az égnek az op. 130-as, B-dúr darab, amelynek monumentális fúgáját nem is szokták az egyébként is terjedelmes vonósnégyessel együtt játszani. Mit látott a szerző, milyen vásznak és távlatok tárultak fel lelki fülei előtt? Erre keressük a választ Beethoven hagyománytisztelő Szeptettjét és két beskatulyázhatatlan mesterművét szembeállítva.  

Béla Szakcsi Lakatos says that comfort is the greatest enemy of musicians, so he moves out of his comfort zone once again: this time he invited István Grencsó to join him – the "heavyweight" improviser of the Hungarian free music scene for whom the safe musical environment begins where it ends for most musicians. Grencsó's initial fears that Szakcsi would want to play standards with him were soon dispelled when the veteran piano player told him that he was studying Ligeti's Etudes and wanted to create unrestricted music with the harmonization solutions of Ligeti. As a matter of fact, Béla Szakcsi Lakatos has been following István Grencsó's work for a long time, all the way back to when he was a student of György Szabados, whose piano playing was also highly regarded by Szakcsi. The excitement of the concert is enhanced by the fact that the two of them are joined by a rhythm section featuring bassist György Orbán and drummer Máté Éles who never played together before. The "Improvisation Workshop" of Szakcsi & Grencsó is a music studio where brand new things are born – not only for the audience but also for the musicians. The meeting of the two giants will surely result musical zeniths reminding us of tectonic plate collisions.

Jegesmedvék Szicíliában? Repülő disznók és party a kísértetházban? Várostrom medvékkel és majdnem gonosz varázslóval? Ezt mind és még sokkal több izgalmat zsúfoltunk ebbe az új ifjúsági kalandzenébe, melyet Dino Buzzati gyönyörű és vicces meséje nyomán zenekarunk megrendelésére komponált Antonio Casagrande, az Óbudai Danubia Zenekar bőgőse. Egy igaz történet becsületről, szeretetről, klímaváltozásról és a természet gyógyító erejéről. Zene: Antonio Casagrande Szöveg: Hámori Máté

Johannes Ockeghem was the most famous – and indeed, most mysterious – composer of the Franco-Flemish School in the last half of the 15th century, and is often considered the most influential composer between Guillaume Dufay and Josquin des Prez. In addition to being a renowned composer, he was also an honored singer, choirmaster, and teacher. The lamentos written upon his death clearly show that the following generation of composers saw him as a father figure - despite the fact that all signs point to his extraordinary independence, fantasy, and his irrational degree of freedom. János Bali's series expores Ockeghem's art, personality, and life with musical performances following the lectures.

A legnagyobb zeneszerzők puttonyában mindig lapul egy-két zavarba ejtő, akár enigmatikus vagy egyszerűen fatális tévedésnek tetsző mű is. Az őrület gyermekei ezek: miattuk lesz az életmű zseniálisan egyenetlen. Aztán idővel kiderül, hogy nem a mű a torz, hanem a perspektíva nem elég tágas, és a kor végül utoléri a messze előreszaladt alkotó fantáziát. Ilyenek a kései Beethoven-kvartettek, köztük is hegyként mered az égnek az op. 130-as, B-dúr darab, amelynek monumentális fúgáját nem is szokták az egyébként is terjedelmes vonósnégyessel együtt játszani. Mit látott a szerző, milyen vásznak és távlatok tárultak fel lelki fülei előtt? Erre keressük a választ Beethoven hagyománytisztelő Szeptettjét és két beskatulyázhatatlan mesterművét szembeállítva.

With a solid backbone in jazz, funk and soul, incorporating influences from surf, klezmer, rock and hip-hop, Very Cool People have been putting jazz&funk back on the dancefloor since 2007. Hailing from Riga, Latvia, the band has lit up clubs and festivals from Estonia to Romania, from Spain to South Korea. Always open to new experiments, Very Cool People have collaborated with plenty of guest artists from a bunch of countries. Even if they are a live band more than anything else, they have six albums behind their belt, well-received critically and nominated for awards as well. As they put it in Mūzikas Saule, a respectable music magazine in Latvia – "they mix up a sparkling cocktail of funk, jazz and blues, adding other spices that only they know – very cool people indeed". Kristīne Prauliņa, one of the most popular and successful young vocalists from Latvia, three times nominated for the prestigious Annual Latvian Music Recording Award, will join the group as special guest for a couple of songs. verycoolpeople.org/biography facebook.com/KristinePraulina 

"Although a relative newcomer to New York's scene, the Argentina-born Israeli baritone saxophonist Eden Bareket quickly gained notice and esteem as an in-demand Sideman. Indeed Bareket's collaborative projects show an eclectic streak, as is horn playing ranges from modern classic Eyal Vilner Big-Band, to the adventurous Ari Hoenig Nonet, to even the Ethiopian jazz inspired grooves of Anbessa Orchestra. As his star has continued to rise, Bareket has also woven these disparate musical strands together in his own leader project, a trio featuring bassist Or Bareket and drummer Felix Lecaros. This notably minimalist and unfussy instrumentation is utilized to the group's advantage as the trio unveils a set of sparsely funky, often dark-hued to grooves, all while stretching out their positions into very open territory." - Hot House Jazz Guide edenbareket.com

Intended uncertainty, experiments with the unforeseen and the improbable gained acceptance as formative principles in arts and societal relations, by the end of 20th century. A commonly used symbol for such principle is a bushy and diffusely circuitous plant root with uncountable tiny forks and ramifications at most surprising places, still looking slight and composed as regarded from distance. The rhizome, as Deleuze called it, has served as inspiration for countless new compositions, as it has been to our concert program; celebrating desirable accidents and enjoyable surprises, providing both experienced and future new music fans with ‘unforeseen consequences’. Such ramifications reveal themselves in different aspects of the music. In Ligeti’s case the title is the work, showing his signature cobweb-inspired textures (another rhizome) in a rarely pure form. According to the anecdotes, Beethoven frequently entertained party guests by improvising on motives of his own and by other composers’. We honour his 250th anniversary by reviving the tradition with an arrangement of a movement from the Op 20. Septet, featuring clearly inappropriate and unforeseen injunctions. The first half of the program is closed by Péter Tornyai’s new commissioned composition. While mathematical systems of Xenakis may first seem unrelatable, in Aroura, the individual string players’ furcated lines form an intrepid high-tech dance much like high-rise concrete buildings whose expressivity unfolds from the distance. As a synthesis, the soloists of the double clarinet concerto of Péter Eötvös draw acrobatic, levitating curves with parallels and connecting phrases to finish the concert with an energized and witty musical theatre. MIKAMO Central European Chamber Orchestra was founded by critically acclaimed graduates of the Viennese University of Music and Performing Arts in 2007. The ensemble considers concerts as Gesamtkunstwerk and regards historic music repertory as the extrapolation of new works from our time. While dedicated to living composers and the repertory of actual music, MIKAMO also promotes artistic continuity in definition of a Central European musical heritage by regularly performing in defining concert halls of Vienna, Bratislava, Budapest and Central Europe in general. 

Aram Shelton’s Hang Quartet plays creative jazz music inspired by Ornette Coleman, Eric Dolphy, and Charles Mingus. In this newly formed group, Shelton (USA) plays alto saxophone and is joined by some of the most dynamic voices of the Budapest jazz scene: Pozsár Máté, piano; Ajtai Péter, bass; and Kovács Zsolt Sárvári, drums. Since 2000, Aram Shelton has focused on creative music grounded in and influenced by the rich history of avant-jazz and free improvisation. He has a distinct, harmonically rich sound and develops musical thoughts through constant motion, tonal shifts and complex sounds alongside clear melodic and rhythmic constructs. He's been a member of the creative music communities in the San Francisco Bay Area, Chicago, Copenhagen and now lives in Budapest. The concert will feature Shelton’s compositions from his albums Everything for Somebody and Gold Age and will display each members distinct styles while making collective music that is joyful, energetic, raw and poignant.