I am not exaggerating when I say that, whatever I achieved as a musician, I owe more to Leó Weiner than to anyone else. ... To me, he remains an outstanding example of what a musician should be.

Sir Georg Solti
The Beginning of the Path – The End of the Path • 4.4

10 April 2019, 19.30-21.00

Solti Hall

Budapest Spring Festival

The Beginning of the Path – The End of the Path • 4.4 Presented by Liszt Academy

Art Nouveau

Berg: Piano Sonata, Op. 1
Zoltán Fejérvári (piano)
Fauré: Piano Trio in D minor , Op. 120
Júlia Pusker (violin), István Varga (cello), Zoltán Fejérvári (piano)


Debussy: Syrinx
Anett Jóföldi (flute)
Schoenberg: Transfigured Night, Op. 4
Rondo Quartet: Áron Dóczi, Dávid Pintér (violin), Péter Tornyai (viola), Orsolya Mód (cello), Dénes Ludmány (viola), György Déri (cello)

One of the periods of music that is most difficult to grasp is that which ran in parallel with Art Nouveau (or ‘Secession’). Whereas in fine art Art Nouveau can, on the whole, be clearly delineated, in music history there has always been debate over which works rank within and which traits they display. In this, the final concert in the series, pieces are performed that, on the basis of one or other of their characteristics – such as the tendril-like melodic line, wealth of ornamentation, dynamic form and the ‘two-dimensional’ appearance of the music – mean they can be confidently placed among Art Nouveau. Interestingly, these pieces are typically those that date either from the very beginning or the very end of their creator’s careers; the Berg and Schönberg pieces belong to their early works, while compositions by Fauré and Debussy date from the last stage of their respective careers: all works display the above traits to some degree.



Presented by

Budapest Spring Festival


HUF 1 900