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
Hungarian Radio Symphony Orchestra

24 September 2019, 19.30-22.00

Grand Hall

Hungarian Radio Symphony Orchestra Presented by Liszt Academy

Beethoven: The Creatures of Prometheus, Op. 43 – Overture
Beethoven: Piano Concerto No. 1 in C major, Op. 15
Beethoven: Egmont – Overture, Op. 84
Beethoven: Piano Concerto No. 2 in B-flat major, Op. 19

Fülöp Ránki (piano)
Hungarian Radio Symphony Orchestra
Conductor: Tamás Vásáry

Piano concertos and overtures are centre stage in the third, concluding Beethoven series by Tamás Vásáry. This concert features two pioneering concertos (with solo by Fülöp Ránki) written in his youth. And that the transitional nature is barely noticeable in these works is partly due to the fact that, contrary to general belief, Beethoven did not attempt to overstep his predecessors, and he did not want to question, but instead integrate their achievements. But can the tradition be dissolved in such a characteristic and subjective musical language as Beethoven’s, or is the personality itself dissolved in the tradition? His later works provide the answer to this question.

Presented by

Hungarian Radio Art Groups


HUF 3 000, 4 500, 6 000, 7 000