kamara.hu/3 Presented by Liszt Academy

Remembrance is one of the key motifs of this year’s kamara.hu. And Saturday is, perhaps, the day of greatest remembrance of the festival: from a children’s programme about the beginning of time to a gala recital remembering a legendary pianist. Between the two, signs of remembrance are to be discovered in the (by now traditional) concert arranged in Dome Room. For example, what sort of image do we retain of Beethoven? How do we remember him on the basis of music history descriptions? As an unsociable, surly, eccentric, deaf genius who composed exclusively ‘robust’ works. Contrary to this picture, his ‘Spring’ sonata is pure light and humour. The A minor violin and piano sonata written as its counterpart paints a passionate and impulsive picture of Beethoven, who himself gives a nod to the Baroque era with the fugue set in the middle movement. Saint-Saëns, an artist of great importance for Proust, makes reference to the First Viennese School: in 1918, the Great War was still fresh in people’s minds, despite which (or precisely because of this) he evokes the tonality of Mozart’s string quartets with his own aethereal quartet.