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
Concerto Budapest

18 February 2024, 19.30-22.00

Grand Hall

Geniuses I.

Concerto Budapest

Prokofiev: Romeo and Juliette » selection from the movements of the op. 64b & op. 64c suites
Prokofiev: Piano Concerto No. 3 in C major, Op. 26
Tchaikovsky: Manfred Symphony, Op. 58

Zoltán Fejérvári (piano)
Concerto Budapest
Conductor: Mikhail Pletnev

In the first part, pieces by Prokofiev will be played: a few movements from Romeo and Juliet, which enchants the audience both on ballet stages and in concert halls. In addition, there will be the most popular of his five keyboard concerti, the Piano Concerto No. 3, which was completed in 1921. This piece requires a soloist who is able to completely control his instrument: who can play with fierce harshness, sarcastic humour, and even a delicate touch, and who is also sensitive to chamber music effects. Without doubt, Zoltán Fejérvári is exactly such a pianist. After the intermission, Lord Byron’s Faust will be conjured up, as we could call and characterize Manfred, the protagonist (or rather antagonist) of the dramatic poem by the English poet. Between May and September 1885, Tchaikovsky composed a programme symphony about Manfred, whose restless figure is superhuman tormented by the memory of his sins.


Presented by

Concerto Budapest


HUF 3 100, 3 900, 4 800, 5 900, 7 500