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
László Vidovszky Retrospective Recital/2

28 March 2021, 19.00-21.00

Solti Hall

Here and Now

László Vidovszky Retrospective Recital/2

Transparent Sound New Music Festival

Time change

László Vidovszky: Autoconcert
László Vidovszky: Narcissus and Echo

Moderator: Gergely Fazekas
Ildikó Szakács (soprano), Ágnes Anna Kun (mezzo-soprano), Donát Varga (tenor), Szabolcs Hámori (bass-baritone)
Máté Balogh, Dargay Marcell, Péter Tornyai (assistants)
UMZE Chamber Ensemble
Transparent Sound Chamber Choir
Conductor: Zoltán Rácz
Director: István Péter Nagy

“All the world’s a stage” says Jacques in Act II of Shakespeare’s As You Like It, and it is difficult to dispute his assertion. Since music is also part of the world, we can agree with Shakespeare that music is also theatre, not just opera, operetta and musical, but all music. The three iconic works of Kossuth Prize laureate László Vidovszky that feature on the festival programmes reveal the theatrical nature of music from different perspectives. Autoconcert (1972) is akin to the closing act of a Beckett drama: instruments fixed to scaffolding on stage, not a single person anywhere, two ‘players’ behind the scenes directing the instruments dropping and the music that thus emerges from them. “I was deeply shaken by the tragedy and poetry of the objects that kept falling and emitting sounds every thirty seconds on the empty stage, and the extreme economy by which all that acquired strict musical form,” György Kurtág said of this work. The piece raises the question of the end of Western music culture, and in a certain sense so does the 1981 opera Narcissus and Echo. The story of the self-obsessed young man, reworked by Vidovszky on the 19th century drama of László Tóth Ungvárnémeti, receives an extremely polychromatic (as some analysts term it, ‘postmodern’) operatic attire, in which there is room for the waltz, the czardas, ragtime, operetta and piano music of the great Romantics, coming together in a sort of style that transcends music history.


Dear Audience,

The concert 'László Vidovszky Retrospective Recital/2' announced on 28 March 2021 will be held on 16 October 2021.

Thank you for your understanding!


Presented by

Liszt Academy Concert Centre, Transparent Sound New Music Festival


This concert was supported, in line with the Government decree 1290/ 2020. (VI.5) related to cultural institutions, in order to ease the economic difficulties caused by the Covid19 pandemic.