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.

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.

After several decades of individual global conquest, life finally brought Maria João and Egberto Gismonti together on the summer of 2016. They gave their debut joint concert in Italy, and this proved to be a remendous success. As a result, they undertake a tour of Europe this autumn, one of the stops – fortunately for us – being the Liszt Academy. Maria João, renowned for her extraordinary voice and unique musicality, had long dreamt of the day that she could take to the stage in the company of the Brazilian composer-inventor-virtuoso instrumentalist. Now her wish is being fulfilled. At this performance we can ourselves witness what new marvels have been created from the meeting of their musical orbits.

Cluj-Napoca, autumn 1989. A 14-yearold scruffy urchin is sitting with his teacher in a music theory class. “Please Miss, I’d like to be a composer! Whatever it takes. I’m moving to Budapest with my family soon. What should I do? Who will teach me?” The elderly lady – Piroska Demény, renowned folk music researcher, music teacher, and one of the finest minds with the broadest cultural learning in Transylvania – replied thus: “Now my boy, there is a former student of mine who lives in Budapest. He is a brilliant composer called György Orbán. Once you have arrived, go and see him. Tell him I sent you and that you want to be a composer. He’ll teach you.”

An increasing number of concert halls and cultural institutions have their own resident ensembles. ‘Residence’ can be permanent or temporary: whereas the former category generally includes ensembles that are an integral part of the given institution (for example, the Orchestra of the Hungarian State Opera House), in the latter case any ensemble can hold the title for a fixed term, typically for one or two seasons.