The most important class, however, for me and for hundreds of other Hungarian musicians, was the chamber-music class. From about the age of fourteen, and until graduation from the Academy, all instrumentalists except the heavy-brass players and percussionists had to participate in this course. Presiding over it for many years was the composer Leó Weiner, who thus exercised an enormous influence on three generations of Hungarian musicians.

Sir Georg Solti
Kitagawa Chisa Chamber Recital

19 March 2019, 19.00-21.00

Old Academy of Music, Chamber Hall

Kitagawa Chisa Chamber Recital Presented by Liszt Academy

Prokofiev: Sonata for Two Violins in C major, Op. 56
Bartók: Rhapsody No. 1, BB 94a
Beethoven: Sonata for Violin and Piano No. 1 in D major, Op. 12/1

Kitagawa Chisa (violin), Vilmos Szabadi (violin), Brigitta Taraszova (piano)

A Budapest audience has already had the opportunity of hearing Kitagawa Chisa at the 2017 Bartók World Competition, where the young Japanese artist also won the special prize of the Liszt Academy. At this sonata recital, the 22-year-old, hugely gifted violinist playing in the company of Brigitta Taraszova and Vilmos Szabadi first performs Sergei Prokofiev’s C major sonata unusually scored for double-violin: the movement order of the composition dating from 1930 may have a Baroque, experimental-like feel, yet it is still very much of the 20th century. Motifs and movement titles of the Bartók work, Rhapsody No. 1, from just a few years earlier (1926), conjure up old Hungarian music: Slow and Fast (Energetic). The 1798 violin sonata (keyed in D major) is not yet in the manner of ‘titan’ Beethoven: in style, it actual evokes the two other giants of the First Viennese School, Haydn and Mozart. The master dedicated it to Antonio Salieri. This is the programme expressive of the performance style know-how, collaborative will, perceptiveness and virtuosity of Kitagawa Chisa.

Presented by

Liszt Academy Concert Centre


Admission is free, subjected to the capacity of the room.