Violinist and conductor (sometimes both at the same time), viola player and chamber musician, teacher and philanthropist… Born in Lithuania but resident since childhood in Vienna, Julian Rachlin is one of those rare musician personalities whose diversity and energy is difficult to formulate in words. As one of the most in-demand artists of our day, he takes to the stage of the Grand Hall on 22 November at the head of English Chamber Orchestra, which boasts a tradition going back TO close on 60 years. He conducts Beethoven’s Symphony No. 7 and Violin Concerto, the latter also as solo instrumentalist. In this interview with Concert Magazine, he speaks about his multifaceted activities, the musical upbringing of young people, Bartók, and the role of music in public life.

On 18 November, Ödön Michalovich’s own compositions will be performed at the concert held in tribute of the legendary President of the Liszt Academy composer, pianist and music educator. We interviewed the artistic director of the event, Professor Emerita Éva Marton the Kossuth prize-winning soprano.

In the wake of Firsts and Lasts and then Turning Point, Magic Mountain, a most apt appellation similarly lifted from literature, becomes the title of the new series of kamara.hu. Many parallels can be drawn between the Thomas Mann novel and the Liszt Academy’s now well established autumn chamber music festival, but artistic directors Izabella Simon and Dénes Várjon did not choose the title purely for these similarities.

In its pure form, folk music is hard to come by. Like an unstable chemical, it cycles through numerous permutations as it reacts with something in its current environment. However, it is not only folk music itself that is fleeting and transmutative, the scientific fields seeking to analyse and define it are also in a constant state of flux. Science, teaching and, most recently, performance art itself try – in their own ways, using the tools at their disposal – to define the essence of the term folk music, but precisely because of its volatility, writers are forced into making lengthy circumlocutions on the subject. And let’s not forget that eternal scientific paradox that states that the observer always has an effect on the material being observed, so observation itself can never be totally objective.

Besides his teaching activity at the Liszt Academy and his position as the Head of the Strings Department, József Eötvös organises festivals and competitions, devotes himself to the careers of young people and to the furtherance of guitar music. The Liszt Award-winning musician spoke to us in detail about the history of the Guitar Sub-Department, artist management and the Budapest International Guitar Competition.

The Bartók World Competition and Festival from th Finnish and Japanese perspectives.

Although the accordion tends to make only cameo-like appearances in jazz and classical music, both genres feel fully at home on the chosen instrument of Frenchman Richard Galliano.

True to the traditions, the Liszt Academy pays tribute to her founder with a concert featuring the Liszt Academy Symphony Orchestra on 22 October. The orchestra will be conducted by Pinchas Steinberg, former chief conductor of the Hungarian Philharmonic Orchestra.

Composer and performer. At one time this combination was unremarkable, even natural, whereas today Jörg Widmann is one of only few who represent this – sadly relatively rare – hybrid musician: equal talented in both capacities, and of course to a remarkably high standard.

Most recently, this month, the world-renowned violinist Salvatore Accardo came to Hungary as the leader of the Quartetto Accardo, while at the end of summer, he visited Budapest as the head of jury of the Bartók World Competition. He believes that the level-headedness of competitors is not enough in a concert, as during a concert performance, one needs a wide range of emotions.