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

8 September 2023, 09.30 / 9 September 2023, 15.30



Conference in English

Rethinking Central European Music – the Inaugural Conference of the Central European Music Research Group (in the Musicology Department of the Liszt Ferenc Academy of Music) presents papers in various fields of musicology that engage with the concept of Central Europe. As an event of the Bartók World Competition 2023 the conference will feature talks by a prestigious line-up of musicologists from Hungary and all over Europe. The program covers a wide range of musical phenomena of the past 200 years, and the musical activities of individuals, communities, and institutions. The conference will also provide an opportunity to discuss the possible musical dimensions of a Central European identity.



Friday 8 September 2023, 9.30

Chair: Lóránt Péteri

Welcome: Dr. Andrea Vigh, President of the Liszt Ferenc Academy of Music.


Virág Büky

Response to a Salonstück – The Question of Szymanowski’s Influence on Bartók’s Sonata for Violin and Piano No. 2

László Vikárius

Eastern Europe and Central Europe in the Centre of Béla Bartók’s Life and Work or What Did Five Hungarian Folk Songs Want to Do at the 1938 Baden-Baden Festival?

coffee break


Oana Andreica

Polystylistic Traits in Ede Terényi’s Music: The Baroque Concertos

Gergely Fazekas

“To Penetrate into the Brain-windings of the Text” – Translation as a Compositional Method in Kurtág’s Music

Rachel Beckles Willson

Against the Grain of Late Style


Friday 8 September 2023, 14.30

Chair: Péter Bozó


Anna Belinszky

Death, Nostalgia and Tradition – Narratives of Brahms’s Funeral from Vienna to Budapest

Stephen Downes

A Polish Pianist travels to Budapest: ‘Affective Geography’ in Bruno Monsaingeon’s Piotr Anderszewski: Voyageur intranquille (2009)

coffee break


Jeremy Barham

Literary Analogues of Mahler’s Central European Musical Identity in the Works of Joseph Roth and Gregor von Rezzori

Ivana Medić

Ludmila Frajt as an Embodiment of a Central European Identity


Saturday 9 September 2023, 9.30

Chair: Katalin Komlós


Veronika Kusz

Dohnányi’s Viennese Carnival: The Context of the Piano Cycle Winterreigen (Op. 13)

Martin Elek

Wilhelm Furtwängler and the ‘German’ Sonata Form

coffee break


Anna Stoll-Knecht

Gustav Mahler and Cosima Wagner: Singing around 1900

Lóránt Péteri

Mahler’s Music in Interwar Budapest: Performances and Discourses


Saturday 9 September 2023, 14.30

Chair: Gergely Fazekas


Marsha Siefert

Ferenc Liszt as a Central European Music Diplomat: A State-Socialist Interpretation

Gabriella Murvai-Bőke

‘Formalism, Tradition, Folk Music’: The Vocal and Dance Ensemble of the Hungarian People’s Army in Poland in 1952

Anna Dalos

A Soviet Composer in Central Europe? About György Kurtág’s Postmodern Turn

coffee break


Péter Csobó

Music–Recording–Aura: Marginal Notes to the Debate between Adorno and Benjamin

Ferenc János Szabó

(Inter)national Recording Histories of Central Europe


Organisers: Anna Belinszky, Gergely Fazekas, Lóránt Péteri