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

2021. március 25-én ünnepeltük Bartók Béla születésének 140. évfordulóját. Az évforduló napjára tervezett ünnepi hangversenyünket a járvány miatt nem tarthattuk meg, az emlékezés azonban most, néhány héttel később is aktuális. A Divertimento Bartók utolsó műve, amelyet az emigráció előtt, a világháború árnyékában komponált. A régi korokból örökölt szórakoztató műfaj keretei között vallja meg kétségbeesését az egész világot fenyegető katasztrófa miatt, de reményét is egy majdani jobb jövőben. A hegedűverseny műfaját Vivaldi teremtette, példáját hamarosan követte J.S. Bach is, akinek két remek hegedűversenye és egy kéthegedűs versenyműve maradt fenn. Az a-moll concerto „szabályosan” három tételes, gyönyörű játszanivalót kínál a szólistának. Az 1720 körüli években keletkezett, de hangzása, mondanivalója a mai hallgató számára is „időszerű”. A Hegedűverseny szólistája, Pusker Júlia a Liszt Ferenc Zeneakadémia után a Londoni Királyi Zeneakadémián folytatta tanulmányait, előkelő versenyeredményekkel és sok sikeres fellépéssel büszkélkedhet. Mozart 17 éves korában komponálta sorrendben 29. szimfóniáját. A gyermekkori nagy utazások után ekkor hagyta el először Salzburgot, hosszabb időt töltött Bécsben és rengeteget tanult. Ennek a boldog korszaknak termése az A-dúr szimfónia, a tiszta, felhőtlen, ujjongó öröm kifejezése.

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

   

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

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

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