One hundred years ago on 25th March, the very day Claude Debussy passed away, Béla Bartók was celebrating his 37th birthday. A couple of weeks later the periodical ‘Esztendő’, owned by Lajos Hatvany, asked Bartók to assess the works of the French composer. He summed up his analysis thus: “The significance of Debussy is unquestionably revealed by the impact that he exercised – in the best possible meaning of the word – on the young generation of musicians, both abroad and in our own country. Whether this impact will prevail and evolve into further progress is impossible to predict. However, one thing is for sure, his compositions will not lose colour because he pooled great value in them.”

When you open the gate with its the huge copper doorknob it feels as if you have entered another universe. The roar of the street is left outside; instead notes of the violin and piano, scales on the flute fill the space with a curious riot of sound, as if one were listening to some avant-garde musical composition. There is no need to ask the receptionist to check that you have arrived at the right destination: this is certainly the Bartók Conservatory, or more precisely, the Bartók Béla Secondary School of Music, Instrument Making and Repair.

Change of date and programme!

Péter Sárik, jazz pianist was interviewed by György Szentgallay for the 11st Concert Magazine of the Liszt Academy. 

More contestants then ever before: sixty-one competitors are now matching their skills in the vocal contest at the Liszt Academy.

The Bartók World Competition effectively contributes to the country’s image of talented Hungarians.

It was 160 years ago when Jenő Hubay (1858-1937) an outstanding representative of Hungarian music was born. The anniversary provides us with the opportunity to breathe new life into his figure, to celebrate someone whose career was connected at its major stages to Ferenc Liszt and the Liszt Academy.

Gergely Fazekas, associate professor of the Musicology Department did not come home empty-handed from the United States, where he was teaching as a Fulbright visiting professor for a year: he turned his PhD dissertation into a monograph just published in Hungarian under the title J. S. Bach and the Two Cultures of Musical Form. Please, welcome an exclusive interview with the author.