Calendar

The full program of the festival

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Calendar

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The full program of the festival

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Szeretne többet tudni a fesztivál eseményeiről?

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Sarasate: Zigeunerweisen 
Teo Gertler (violin), Ágnes Arató (piano)
Hungarian Folk Music
István Pál "Szalonna" and his band
Bartók: Contrasts (BB 116)
Andreas Ottensamer (clarinet), Barnabás Kelemen (violin), József Balog (piano)" ["post_title"]=> string(68) "Opening concert of 3rd Ilona Fehér International Violin Competition" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "publish" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(67) "opening-concert-of-3rd-ilona-feher-international-violin-competition" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2019-07-09 11:25:10" ["post_modified_gmt"]=> string(19) "2019-07-09 09:25:10" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(60) "https://fesztivalakademia.hu/?post_type=kd_event&p=3774" ["menu_order"]=> int(0) ["post_type"]=> string(8) "kd_event" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" ["meta"]=> array(10) { ["alcim"]=> string(0) "" ["kiemelt"]=> bool(false) ["sorozat"]=> string(0) "" ["kezdes"]=> string(16) "2019-07-17 19:30" ["tipus"]=> array(2) { ["value"]=> string(7) "verseny" ["label"]=> string(14) "Hegedűverseny" } ["zsuri"]=> bool(false) ["regisztracio"]=> string(0) "" ["informacio"]=> string(0) "" ["galeria"]=> bool(false) ["musor"]=> bool(false) } ["location"]=> object(WP_Term)#11797 (10) { ["term_id"]=> int(322) ["name"]=> string(24) "Hungarian Heritage House" ["slug"]=> string(17) "house-of-heritage" ["term_group"]=> int(0) ["term_taxonomy_id"]=> int(322) ["taxonomy"]=> string(11) "kd_location" ["description"]=> string(0) "" ["parent"]=> int(0) ["count"]=> int(12) ["filter"]=> string(3) "raw" } } } ["2019-07-18"]=> array(1) { [0]=> object(WP_Post)#9654 (26) { ["ID"]=> int(3776) ["post_author"]=> string(1) "3" ["post_date"]=> string(19) "2019-05-08 16:01:05" ["post_date_gmt"]=> string(19) "2019-05-08 14:01:05" ["post_content"]=> string(0) "" ["post_title"]=> string(61) "1st round - 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Barnabás Kelemen about Knut Erik Sundquist:

"He is an unbelievable character: if he was a piece of music, his performing instructions should read “molto capriccioso.” There is humour and irony behind every word he says, which can also be detected in his music making. Playing for him is truly that: playing; as soon as he discovers the opportunity for humour in a note of music, he will exploit it. My mother said that humour was very important: it triggers the musical imagination. Knut not only provides the musical base with their instrument, but he also determines the basic character of a production. He is a personality of extremes: he lives at the end of the world in the fiords, but organises festivals and teaches students, and his enthusiastic love for his family is an important part of his personality."

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We love going on holiday to the sea and we adore dolphins. For years, we really wanted to lure them closer to us, but we never managed to do it. But then one day we went on holiday together with Vilde Frang. The first time we went out to the sea together, Vilde sat on the edge of the boat, and almost immediately, two (!) dolphins showed up next to her. Vilde is a true Viking fairy. Her aura is extra-terrestrial: whatever she touches, she will form to her own image, and it will become unmistakably “Vilde-like.” This is also true for the music she makes. It would be superfluous to mention that she is one of the most sought-after violinists in the world, but it is important to know that chamber music – paying attention to and taking care of each other – is at least as important to her as her numerous solo performances. I am happy that we can call her a friend. 

Katalin Kokas

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We love going on holiday to the sea and we adore dolphins. For years, we really wanted to lure them closer to us, but we never managed to do it. But then one day we went on holiday together with Vilde Frang. The first time we went out to the sea together, Vilde sat on the edge of the boat, and almost immediately, two (!) dolphins showed up next to her. Vilde is a true Viking fairy. Her aura is extra-terrestrial: whatever she touches, she will form to her own image, and it will become unmistakably “Vilde-like.” This is also true for the music she makes. It would be superfluous to mention that she is one of the most sought-after violinists in the world, but it is important to know that chamber music – paying attention to and taking care of each other – is at least as important to her as her numerous solo performances. I am happy that we can call her a friend. 

Katalin Kokas

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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Barnabás Kelemen about Knut Erik Sundquist:

"He is an unbelievable character: if he was a piece of music, his performing instructions should read “molto capriccioso.” There is humour and irony behind every word he says, which can also be detected in his music making. Playing for him is truly that: playing; as soon as he discovers the opportunity for humour in a note of music, he will exploit it. My mother said that humour was very important: it triggers the musical imagination. Knut not only provides the musical base with their instrument, but he also determines the basic character of a production. He is a personality of extremes: he lives at the end of the world in the fiords, but organises festivals and teaches students, and his enthusiastic love for his family is an important part of his personality."

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He spent a lot of time with us when I was a child, because my mother, Zsuzsa Pertis was one of his harpsichord teachers. We played a lot together; he is an incredibly flexible, creative musician who can hold his own in any musical context, although where he truly feels at home, of course, is the Baroque, and I can say with confidence then he knows all the ins and outs of historical performance practice. And the fact that he is the current musical director of the Children’s Choir of the Hungarian Radio, shows that he is an all-round musician."" 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Katalin Kokas about Maxim Rysanov:

"They already knew each other with Barnabás when I met him for the first time in Kaposvár, back in the day. There stood in front of me this really “cool,” unattainable, big-shot star musician wearing sunglasses. Then this magical violist was collecting firewood for everybody and he was making bonfire along the coast of Lake Deseda. He has a huge soul, full of the spacious romanticism of the Russian steppe, but still plays with impressive composure even in the most passionate moments. His motto is – nomen est omen – maximalism. Not only as a viola player but also as a teacher and a conductor. Zoltán Kocsis wanted to record Bartók’s Viola Concerto with him for the Bartók New Series complete edition. He works on the musical pieces with mind-blowing meticulousness and fanaticism, step by step, and he has the same attitude towards everything he comes into contact with. He has a collection of chin rests for his instruments, up to 60 pieces: 57 don’t completely suit him, 3 are OK. He doesn’t rest until he finds the one, and amazingly, he has already found it in his personal life: my sister. I am not unbiased about him, because he is part of my family."

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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"The most sensitive Argentine Matador in the world. He is one of the best friends one can have; one you can always count on. He has incredible integrity, has a fire burning inside him unlike any other, and while he is eternally modest, he is also the perfect embodiment of masculine elegance. I completely understand why Martha Argerich has a high opinion on him: he immediately conveys the essence of any given musical piece with a single note he plays. I remember one time when he was playing accompaniment for a virtuoso violin piece, and it wasn’t the violinist’s performance that made the audience hiss, but José’s piano playing. It is wonderful to do anything with him, but playing Argentine tango is pure heaven!"

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Katalin Kokas about Maxim Rysanov:

"They already knew each other with Barnabás when I met him for the first time in Kaposvár, back in the day. There stood in front of me this really “cool,” unattainable, big-shot star musician wearing sunglasses. Then this magical violist was collecting firewood for everybody and he was making bonfire along the coast of Lake Deseda. He has a huge soul, full of the spacious romanticism of the Russian steppe, but still plays with impressive composure even in the most passionate moments. His motto is – nomen est omen – maximalism. Not only as a viola player but also as a teacher and a conductor. Zoltán Kocsis wanted to record Bartók’s Viola Concerto with him for the Bartók New Series complete edition. He works on the musical pieces with mind-blowing meticulousness and fanaticism, step by step, and he has the same attitude towards everything he comes into contact with. He has a collection of chin rests for his instruments, up to 60 pieces: 57 don’t completely suit him, 3 are OK. He doesn’t rest until he finds the one, and amazingly, he has already found it in his personal life: my sister. I am not unbiased about him, because he is part of my family."

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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Each exhibited instrument is handcrafted, reflecting the integrity and dedication to quality and detail. 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Bach definitely enjoyed making himself face considerable mental challenges, in fact, when others made him do so, he would have been eager to complete his task all the more perfectly. While composing the Musical Offering, Frederick the Great acted as his challenger, who gave him a single theme, which in turn Bach re-arranged in thirteen different ways; the highly complex Trio Sonata in C minor supersedes the rest with its scale and beauty. 20th century composers were often quite pleased to return to these Baroque forms and structures to test their abilities and creativity – for instance, Shostakovich in his heavy, gloomy and war-inspired Piano Quintet in G minor, whose initial movements are called Prelude and Fugue. Even though Bartók’s Sonata No. 1 for Violin and Piano was composed in the time of peace (in 1921) dedicated to the composer’s friend, the violinist Jelly d’Aranyi, it reflects an even more distressed and excruciating emotional state." 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Barnabás Kelemen about Dmitry Smirnov:

"Dmitry is incredibly young, and I got to hear him for the first time last September. He was a participant in the Bartók World Competition organised by the Academy of Music, with me sitting on the panel of judges. For me, he was one of the competitors that I really wanted to see go through to the finals, but in the end it was only Joel Smirnoff, violinist for the Juilliard Quartet and me who voted for him, so he was quickly eliminated. He is not the kind of violinist who confidently glides through the rounds of a world competition: his style of playing is impulsive, extravagant and comes from the heart. I was especially impressed by the way he played Bach (in Baroque temperament), therefore the audience of the Festival Academy will also get to hear him in several Baroque pieces."

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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He spent a lot of time with us when I was a child, because my mother, Zsuzsa Pertis was one of his harpsichord teachers. We played a lot together; he is an incredibly flexible, creative musician who can hold his own in any musical context, although where he truly feels at home, of course, is the Baroque, and I can say with confidence then he knows all the ins and outs of historical performance practice. And the fact that he is the current musical director of the Children’s Choir of the Hungarian Radio, shows that he is an all-round musician."" 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"kd_musician" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } ["hangszerek"]=> array(1) { [0]=> object(WP_Term)#11230 (10) { ["term_id"]=> int(204) ["name"]=> string(4) "Lute" ["slug"]=> string(4) "lute" ["term_group"]=> int(0) ["term_taxonomy_id"]=> int(204) ["taxonomy"]=> string(13) "kd_instrument" ["description"]=> string(0) "" ["parent"]=> int(0) ["count"]=> int(1) ["filter"]=> string(3) "raw" } } } } } [1]=> array(2) { ["darab"]=> array(1) { [0]=> object(WP_Post)#11223 (24) { ["ID"]=> int(3736) ["post_author"]=> string(1) "3" ["post_date"]=> string(19) "2019-05-08 15:01:30" ["post_date_gmt"]=> string(19) "2019-05-08 13:01:30" ["post_content"]=> string(0) "" ["post_title"]=> string(41) "Sonata No. 1 for Violin and Piano (BB 84)" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "publish" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(38) "sonata-no-1-for-violin-and-piano-bb-84" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2019-05-08 15:01:30" ["post_modified_gmt"]=> string(19) "2019-05-08 13:01:30" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(60) "https://fesztivalakademia.hu/?post_type=kd_piece&p=3736" ["menu_order"]=> int(0) ["post_type"]=> string(8) "kd_piece" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } } ["kozremukodok"]=> array(2) { [0]=> array(2) { ["kozremukodo"]=> object(WP_Post)#11217 (24) { ["ID"]=> int(3759) ["post_author"]=> string(1) "3" ["post_date"]=> string(19) "2019-05-08 15:16:14" ["post_date_gmt"]=> string(19) "2019-05-08 13:16:14" ["post_content"]=> string(0) "" ["post_title"]=> string(13) "Katalin Kokas" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "publish" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(13) "katalin-kokas" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2019-05-08 15:16:14" ["post_modified_gmt"]=> string(19) "2019-05-08 13:16:14" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(63) "https://fesztivalakademia.hu/?post_type=kd_musician&p=3759" ["menu_order"]=> int(0) ["post_type"]=> string(11) "kd_musician" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } ["hangszerek"]=> array(1) { [0]=> object(WP_Term)#11234 (10) { ["term_id"]=> int(72) ["name"]=> string(6) "Violin" ["slug"]=> string(6) "violin" ["term_group"]=> int(0) ["term_taxonomy_id"]=> int(72) ["taxonomy"]=> string(13) "kd_instrument" ["description"]=> string(0) "" ["parent"]=> int(0) ["count"]=> int(17) ["filter"]=> string(3) "raw" } } } [1]=> array(2) { ["kozremukodo"]=> object(WP_Post)#11207 (24) { ["ID"]=> int(1952) ["post_author"]=> string(1) "1" ["post_date"]=> string(19) "2019-03-20 14:51:19" ["post_date_gmt"]=> string(19) "2019-03-20 13:51:19" ["post_content"]=> string(843) "Barnabás Kelemen about José Gallardo:

"The most sensitive Argentine Matador in the world. He is one of the best friends one can have; one you can always count on. He has incredible integrity, has a fire burning inside him unlike any other, and while he is eternally modest, he is also the perfect embodiment of masculine elegance. I completely understand why Martha Argerich has a high opinion on him: he immediately conveys the essence of any given musical piece with a single note he plays. I remember one time when he was playing accompaniment for a virtuoso violin piece, and it wasn’t the violinist’s performance that made the audience hiss, but José’s piano playing. It is wonderful to do anything with him, but playing Argentine tango is pure heaven!"

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Barnabás Kelemen about Razvan Popovici:

"He is not only a great viola player but also the most amazing festival organiser guru amongst our circle of acquaintances. He has founded and is the director of several concert series and festivals, mostly in Romania and Germany. Over the years, he has brought together many musicians who otherwise may never have met, thereby giving life to lifelong friendships and special musical connections. A highly prominent musician, he has been on our festival wish-list for years, but he hasn't been able to fit it into his schedule until last year. Then he called me in the middle of June, asking me to join one of his productions, which helped us rekindle this old friendship before the Festival Academy. He will be with us this year again."

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Each exhibited instrument is handcrafted, reflecting the integrity and dedication to quality and detail. The master craftsman is committed to bringing the senses to a plateau of perfection when hearing each instrument played.   Exhibitors: Iván Adonyi, Szabolcs Bárdi, Etzler Bernd, Márton Faragó-Thököly, Gergely Ficsor, Balázs Gollob, János Héjja, Bence Holló, László Lakatos, András Nagy" ["post_title"]=> string(47) "Contemporary Hungarian Violin Makers Exhibition" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "publish" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(32) "musical-instruments-exhibition-3" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2019-07-20 11:32:45" ["post_modified_gmt"]=> string(19) "2019-07-20 09:32:45" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(60) "https://fesztivalakademia.hu/?post_type=kd_event&p=4210" ["menu_order"]=> int(0) ["post_type"]=> string(8) "kd_event" ["post_mime_type"]=> 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"

Barnabás Kelemen about Dmitry Smirnov:

"Dmitry is incredibly young, and I got to hear him for the first time last September. He was a participant in the Bartók World Competition organised by the Academy of Music, with me sitting on the panel of judges. For me, he was one of the competitors that I really wanted to see go through to the finals, but in the end it was only Joel Smirnoff, violinist for the Juilliard Quartet and me who voted for him, so he was quickly eliminated. He is not the kind of violinist who confidently glides through the rounds of a world competition: his style of playing is impulsive, extravagant and comes from the heart. I was especially impressed by the way he played Bach (in Baroque temperament), therefore the audience of the Festival Academy will also get to hear him in several Baroque pieces."

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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Katalin Kokas about Lilla Horti:

"I believe Lilla needs no introduction to the Hungarian audience; she has won a Junior Prima Award and finished in second place at the 2nd Éva Marton International Singing Contest two years ago. “In a blink of an eye, Lilla Horti became a star,” wrote one of the music journals—and it’s true. In spite of her young age, she is constantly receiving requests for performances, this time from us, and with good reason. When we performed together in the Solti Hall one time, she sang beautifully and exactly like the ideal I had imagined. I felt I had to meet her. We had coffee, and as we were talking, I had the feeling that we were old friends. She is an outspoken, “heart on her sleeve” kind of person, and an incredibly intelligent and sensitive artist. We performed Schoenberg’s String Quartet No. 2 with her last season, where she sang one of the most challenging pieces of music history with stunning precision. She is one of those rare singers that you can also rely on musically: there a few highly complex bits with Schoenberg where the strings must play incredibly complicated rhythmic patterns over each other, but Lilla was singing her own part so securely that it was no problem at all. But perhaps even more importantly, she is a pleasure to be around: always cheerful and radiant."

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Playing with him is a fantastic experience because he has very high standards, an incredible work ethic, and there is great perseverance and soul behind every note he plays. For him, every performance, however small, is of equal importance: no matter if he performs in a small country town or in a concert hall of international renown, he gets ready with the same degree of concentration, and always sees everything to the end. In music, he is a true omnivore. He has rarely played Baroque works in his repertoire alongside contemporary pieces that are only played by a handful of pianists in the world, and we have taken part in numerous premiers of contemporary music together. On top of all of this, he is an eternally kind, family-oriented man, with whom one can have a pleasant conversation with a cup of coffee or tea."" 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Katalin Kokas about Maxim Rysanov:

"They already knew each other with Barnabás when I met him for the first time in Kaposvár, back in the day. There stood in front of me this really “cool,” unattainable, big-shot star musician wearing sunglasses. Then this magical violist was collecting firewood for everybody and he was making bonfire along the coast of Lake Deseda. He has a huge soul, full of the spacious romanticism of the Russian steppe, but still plays with impressive composure even in the most passionate moments. His motto is – nomen est omen – maximalism. Not only as a viola player but also as a teacher and a conductor. Zoltán Kocsis wanted to record Bartók’s Viola Concerto with him for the Bartók New Series complete edition. He works on the musical pieces with mind-blowing meticulousness and fanaticism, step by step, and he has the same attitude towards everything he comes into contact with. He has a collection of chin rests for his instruments, up to 60 pieces: 57 don’t completely suit him, 3 are OK. He doesn’t rest until he finds the one, and amazingly, he has already found it in his personal life: my sister. I am not unbiased about him, because he is part of my family."

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SARAH CHRISTIAN (violin) tanítványai: Rahel Sögner (violin); Alexander Spindu, Michael Kussmaul (viola); Nella Balog (cello)   Poetry recitaiton: Kitty Kéri   17.00 – BME University Library Tchaikovsky: Souvenir de Florence, op. 70 Mvt 1 MAXIM RYSANOV (viola) and his students: Veronique de Reademaker, Elvin Hoxha (violin); Előd Soós (viola); Dóra Kokas, Mon-Puo Lee (cello) Mvt 2 MAXIM RYSANOV (viola) and his students: David Tobin, Jaga Klimaszewska (violin); Alexandru Spindu (viola); Bernadett Puskás, Zsuzsanna Pázmándi (cello) Mvts 3–4 MAXIMILIAN HORNUNG (cello) and his students: Csongor Korossy-Khayll, Kristóf Tóth (violin); Julianna Albert, Zyian Wu (viola); Gergely Devich (cello)   Poetry recitaiton: Piroska Molnár   19.30 – Parliement Liszt: Coronation Mass – Offertorium, Benedictus Barnabás Kelemen (violin), Balázs Szabó (harmonium) Hungarian Folk Music István Pál „Szalonna” and his band   Poetry recitation: Károly Eperjes   Libraries are normally sites of silence: barely a word is uttered, let alone music played, only the sound of thinking rings quietly and subtly. The „cultural tour” of Festival Academy will, however, change this convention: the reading rooms of three extraordinarily beautiful and acoustically most suitable libraries will be filled with music: everyone is most welcome to attend the short recitals held the University Library of ELTE, the National Library of Foreign Literature and the Library of the University of Technology of Budapest. On all three occasions, the musical programme will be accompanied by reading recitals by renowned actors. The event series - which would also pass for a sight-seeing tour – will be „framed” by two non-library venues: Gothic-Renaissance-Arabesque style concert hall of the Urania National Movie Theatre and the Hunter Hall of the Hungarian Parliament, where the artists of Festival Academy will perform - among others- some movements taken from Liszt’s Coronation Mass. After the concert, Károly Eperjes will perform two poems, virtually directly next to the Holy Crown of St Stephen." 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Each exhibited instrument is handcrafted, reflecting the integrity and dedication to quality and detail. 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Besides, genuinely delightful music from three cultures will be on the programme: first, Bach’s Brandenburg Concerto No. 3 written for nine strings and bass continuo, which Bach originally intended as part of a series dedicated to the Margrave of Brandenburg-Schwedt, but its first movement also appeared in a re-arranged form, completed with winds, in a Church cantata. It is almost certain that it was performed in Leipzig in its original form with the purpose of entertainment, even if not at a poolside. In fact, from 1729, Bach would have led an ensemble consisting of local students named Collegium Musicum performing concertos at the Zimmermann Café located at the Main Square of the city, or in more agreeable summer weather, in the coffee garden belonging to the coffeehouse situated outside the city wall. 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Katalin Kokas about Maxim Rysanov:

"They already knew each other with Barnabás when I met him for the first time in Kaposvár, back in the day. There stood in front of me this really “cool,” unattainable, big-shot star musician wearing sunglasses. Then this magical violist was collecting firewood for everybody and he was making bonfire along the coast of Lake Deseda. He has a huge soul, full of the spacious romanticism of the Russian steppe, but still plays with impressive composure even in the most passionate moments. His motto is – nomen est omen – maximalism. Not only as a viola player but also as a teacher and a conductor. Zoltán Kocsis wanted to record Bartók’s Viola Concerto with him for the Bartók New Series complete edition. He works on the musical pieces with mind-blowing meticulousness and fanaticism, step by step, and he has the same attitude towards everything he comes into contact with. He has a collection of chin rests for his instruments, up to 60 pieces: 57 don’t completely suit him, 3 are OK. He doesn’t rest until he finds the one, and amazingly, he has already found it in his personal life: my sister. I am not unbiased about him, because he is part of my family."

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Barnabás Kelemen about Razvan Popovici:

"He is not only a great viola player but also the most amazing festival organiser guru amongst our circle of acquaintances. He has founded and is the director of several concert series and festivals, mostly in Romania and Germany. Over the years, he has brought together many musicians who otherwise may never have met, thereby giving life to lifelong friendships and special musical connections. A highly prominent musician, he has been on our festival wish-list for years, but he hasn't been able to fit it into his schedule until last year. Then he called me in the middle of June, asking me to join one of his productions, which helped us rekindle this old friendship before the Festival Academy. He will be with us this year again."

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Barnabás Kelemen about Dmitry Smirnov:

"Dmitry is incredibly young, and I got to hear him for the first time last September. He was a participant in the Bartók World Competition organised by the Academy of Music, with me sitting on the panel of judges. For me, he was one of the competitors that I really wanted to see go through to the finals, but in the end it was only Joel Smirnoff, violinist for the Juilliard Quartet and me who voted for him, so he was quickly eliminated. He is not the kind of violinist who confidently glides through the rounds of a world competition: his style of playing is impulsive, extravagant and comes from the heart. I was especially impressed by the way he played Bach (in Baroque temperament), therefore the audience of the Festival Academy will also get to hear him in several Baroque pieces."

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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He spent a lot of time with us when I was a child, because my mother, Zsuzsa Pertis was one of his harpsichord teachers. We played a lot together; he is an incredibly flexible, creative musician who can hold his own in any musical context, although where he truly feels at home, of course, is the Baroque, and I can say with confidence then he knows all the ins and outs of historical performance practice. And the fact that he is the current musical director of the Children’s Choir of the Hungarian Radio, shows that he is an all-round musician."" 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Each exhibited instrument is handcrafted, reflecting the integrity and dedication to quality and detail. The master craftsman is committed to bringing the senses to a plateau of perfection when hearing each instrument played.   Exhibitors: Iván Adonyi, Szabolcs Bárdi, Etzler Bernd, Márton Faragó-Thököly, Gergely Ficsor, Balázs Gollob, János Héjja, Bence Holló, László Lakatos, András Nagy" ["post_title"]=> string(47) "Contemporary Hungarian Violin Makers Exhibition" ["post_excerpt"]=> string(0) "" ["post_status"]=> string(7) "publish" ["comment_status"]=> string(6) "closed" ["ping_status"]=> string(6) "closed" ["post_password"]=> string(0) "" ["post_name"]=> string(32) "musical-instruments-exhibition-5" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2019-07-20 11:32:36" ["post_modified_gmt"]=> string(19) "2019-07-20 09:32:36" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(60) "https://fesztivalakademia.hu/?post_type=kd_event&p=4214" ["menu_order"]=> int(0) ["post_type"]=> string(8) "kd_event" ["post_mime_type"]=> 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Barnabás Kelemen about Dmitry Smirnov:

"Dmitry is incredibly young, and I got to hear him for the first time last September. He was a participant in the Bartók World Competition organised by the Academy of Music, with me sitting on the panel of judges. For me, he was one of the competitors that I really wanted to see go through to the finals, but in the end it was only Joel Smirnoff, violinist for the Juilliard Quartet and me who voted for him, so he was quickly eliminated. He is not the kind of violinist who confidently glides through the rounds of a world competition: his style of playing is impulsive, extravagant and comes from the heart. I was especially impressed by the way he played Bach (in Baroque temperament), therefore the audience of the Festival Academy will also get to hear him in several Baroque pieces."

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Barnabás Kelemen about Dmitry Smirnov:

"Dmitry is incredibly young, and I got to hear him for the first time last September. He was a participant in the Bartók World Competition organised by the Academy of Music, with me sitting on the panel of judges. For me, he was one of the competitors that I really wanted to see go through to the finals, but in the end it was only Joel Smirnoff, violinist for the Juilliard Quartet and me who voted for him, so he was quickly eliminated. He is not the kind of violinist who confidently glides through the rounds of a world competition: his style of playing is impulsive, extravagant and comes from the heart. I was especially impressed by the way he played Bach (in Baroque temperament), therefore the audience of the Festival Academy will also get to hear him in several Baroque pieces."

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"dezso-ranki" ["to_ping"]=> string(0) "" ["pinged"]=> string(0) "" ["post_modified"]=> string(19) "2019-05-04 19:44:17" ["post_modified_gmt"]=> string(19) "2019-05-04 17:44:17" ["post_content_filtered"]=> string(0) "" ["post_parent"]=> int(0) ["guid"]=> string(63) "https://fesztivalakademia.hu/?post_type=kd_musician&p=3182" ["menu_order"]=> int(0) ["post_type"]=> string(11) "kd_musician" ["post_mime_type"]=> string(0) "" ["comment_count"]=> string(1) "0" ["filter"]=> string(3) "raw" } ["hangszerek"]=> array(1) { [0]=> object(WP_Term)#10762 (10) { ["term_id"]=> int(90) ["name"]=> string(5) "Piano" ["slug"]=> string(5) "piano" ["term_group"]=> int(0) ["term_taxonomy_id"]=> int(90) ["taxonomy"]=> string(13) "kd_instrument" ["description"]=> string(0) "" ["parent"]=> int(0) ["count"]=> int(5) ["filter"]=> string(3) "raw" } } } } } [3]=> array(2) { ["darab"]=> array(3) { [0]=> object(WP_Post)#10742 (24) { ["ID"]=> int(2368) ["post_author"]=> string(1) "2" ["post_date"]=> string(19) 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Barnabás Kelemen about Jonathan Cohen:

"He is one of our oldest friends. We met at the Prussia Cove Festival founded by Sándor Végh, in which he did not participate as a conductor or as a harpsichordist, but as a cellist. He is a perfect master of his instrument, a true born genius: there was a time when baroque music occupied him for long months at a time (playing the harpsichord or conducting concerts), and he didn’t have time to practice the cello at all, but when he picked it up again, he played it the same way he did before. It was one of the most profound musical experiences of my life when we played Bach and Leclair’s cello and harpsichord sonatas together prima visto. Another reason why this encounter was important, was that I found a harpsichord player with the same high level of baroque musicality as my mother had. He is one of the most significant baroque conductors of the next few decades in the making: we are very proud to have Jonny with us every year."

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"The most sensitive Argentine Matador in the world. He is one of the best friends one can have; one you can always count on. He has incredible integrity, has a fire burning inside him unlike any other, and while he is eternally modest, he is also the perfect embodiment of masculine elegance. I completely understand why Martha Argerich has a high opinion on him: he immediately conveys the essence of any given musical piece with a single note he plays. I remember one time when he was playing accompaniment for a virtuoso violin piece, and it wasn’t the violinist’s performance that made the audience hiss, but José’s piano playing. It is wonderful to do anything with him, but playing Argentine tango is pure heaven!"

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"The most sensitive Argentine Matador in the world. He is one of the best friends one can have; one you can always count on. He has incredible integrity, has a fire burning inside him unlike any other, and while he is eternally modest, he is also the perfect embodiment of masculine elegance. I completely understand why Martha Argerich has a high opinion on him: he immediately conveys the essence of any given musical piece with a single note he plays. I remember one time when he was playing accompaniment for a virtuoso violin piece, and it wasn’t the violinist’s performance that made the audience hiss, but José’s piano playing. It is wonderful to do anything with him, but playing Argentine tango is pure heaven!"

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„If there is someone in the musical world who needs no introduction, it is the legendary Shlomo Mintz (former student of Ilona Fehér). One could make a long list with all his awards, with the great musicians, conductors, orchestras he worked with. For us, it is much more important, that he is an old friend of our family. He is the one who gave Barnabás the first model aeroplane of his life; modelling and the passion for aeroplanes played a dominant role in Barnabás’s childhood (he doesn’t have time for them anymore, but he has a lot to thank for all the time spent tinkering with miniature gadgets). Shlomo is a true violin giant, of the genius type. He is an unbelievably sweet man, although some may not know that side of him. I remember one time he visited us and he was adjusting both of our violins for quite a long time (a Stradivari and a Gagliano), so that the cork under the chin rest should sit perfectly on the wood because it would affect the sound of the violin"
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Barnabás Kelemen about Razvan Popovici:

"He is not only a great viola player but also the most amazing festival organiser guru amongst our circle of acquaintances. He has founded and is the director of several concert series and festivals, mostly in Romania and Germany. Over the years, he has brought together many musicians who otherwise may never have met, thereby giving life to lifelong friendships and special musical connections. A highly prominent musician, he has been on our festival wish-list for years, but he hasn't been able to fit it into his schedule until last year. Then he called me in the middle of June, asking me to join one of his productions, which helped us rekindle this old friendship before the Festival Academy. He will be with us this year again."

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Katalin Kokas about Mon-Puo Lee:

"He was born in Spain into a family from Taiwan, and he did his schooling in Spain. I heard him play at a Polish competition and he completely captivated me: despite his young age (he is still yet to turn 24), his playing is incredibly balanced, perfect and eternally colourful. I immediately invited him to the Festival Academy two years ago, and although he’s commuting between concertos throughout the summer, he could be here for at least a matinee concert. Since that time we have been playing together a lot."

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Katalin Kokas about Mon-Puo Lee:

"He was born in Spain into a family from Taiwan, and he did his schooling in Spain. I heard him play at a Polish competition and he completely captivated me: despite his young age (he is still yet to turn 24), his playing is incredibly balanced, perfect and eternally colourful. I immediately invited him to the Festival Academy two years ago, and although he’s commuting between concertos throughout the summer, he could be here for at least a matinee concert. Since that time we have been playing together a lot."

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Barnabás Kelemen about Jonathan Cohen:

"He is one of our oldest friends. We met at the Prussia Cove Festival founded by Sándor Végh, in which he did not participate as a conductor or as a harpsichordist, but as a cellist. He is a perfect master of his instrument, a true born genius: there was a time when baroque music occupied him for long months at a time (playing the harpsichord or conducting concerts), and he didn’t have time to practice the cello at all, but when he picked it up again, he played it the same way he did before. It was one of the most profound musical experiences of my life when we played Bach and Leclair’s cello and harpsichord sonatas together prima visto. Another reason why this encounter was important, was that I found a harpsichord player with the same high level of baroque musicality as my mother had. He is one of the most significant baroque conductors of the next few decades in the making: we are very proud to have Jonny with us every year."

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Barnabás Kelemen about Dmitry Smirnov:

"Dmitry is incredibly young, and I got to hear him for the first time last September. He was a participant in the Bartók World Competition organised by the Academy of Music, with me sitting on the panel of judges. For me, he was one of the competitors that I really wanted to see go through to the finals, but in the end it was only Joel Smirnoff, violinist for the Juilliard Quartet and me who voted for him, so he was quickly eliminated. He is not the kind of violinist who confidently glides through the rounds of a world competition: his style of playing is impulsive, extravagant and comes from the heart. I was especially impressed by the way he played Bach (in Baroque temperament), therefore the audience of the Festival Academy will also get to hear him in several Baroque pieces."

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Katalin Kokas about Dóra Kokas:

"We have been making music together since she was four. We have been playing chamber music ever since she played her first note on her cello. Barnabás and I have been taking her with us everywhere from the beginning, and because of the 14 years of age difference between us, we have always had something of a mother-daughter relationship. She was barely 16 when she was winning international competitions as a member of our quartet. She is one of the most sensitive musicians I have ever met. She quit the quartet to walk her own path, but to this day we play a lot of music together, whenever we can. Her emotions are incredibly powerful and she is untameable in the best sense of the word. She was nine when we wanted to introduce her to the world-famous cellist, Steven Isserlis at the Prussia Cove Festival, but she took one look at him, stuck out her tongue and ran away. By the way she did the same with Barnabás at the age of three, when they first met. She is my best friend."

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Barnabás Kelemen about Jonathan Cohen:

"He is one of our oldest friends. We met at the Prussia Cove Festival founded by Sándor Végh, in which he did not participate as a conductor or as a harpsichordist, but as a cellist. He is a perfect master of his instrument, a true born genius: there was a time when baroque music occupied him for long months at a time (playing the harpsichord or conducting concerts), and he didn’t have time to practice the cello at all, but when he picked it up again, he played it the same way he did before. It was one of the most profound musical experiences of my life when we played Bach and Leclair’s cello and harpsichord sonatas together prima visto. Another reason why this encounter was important, was that I found a harpsichord player with the same high level of baroque musicality as my mother had. He is one of the most significant baroque conductors of the next few decades in the making: we are very proud to have Jonny with us every year."

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