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
Danubia Orchestra Óbuda

28 February 2020, 19.30-22.00

Grand Hall

Danubia Orchestra Óbuda


Schubert: Symphony No. 8 in B minor, D. 759 (‘Unfinished’)
Shostakovich: Symphony No. 4 in C minor, Op. 43

Danubia Orchestra Óbuda
Conductor: Máté Hámori

Nobody really knows for sure why this symphony remained unfinished, but in fact it doesn’t really matter. Even in this form it became one of the cornerstones of music, indeed, just like Michelangelo’s Prisoners or Slaves, precisely because of it. Incompletion, going astray as an artistic statement is a romantic and fine concept – even if, in this case, it is not totally correct. The other work is perhaps the best symphony from the master of diversions and restarts, yet it will be a discovery for many since it has long not received the attention it deserves, being in the shadow of the fifth or tenth. The ‘genius of the age’, comrade Stalin is partly to be blamed for this, given that he initiated a personally orchestrated culture policy attack against Shostakovich at the same time as the debut of the composition, to which the symphony also fell victim, and the composer ‘withdrew’ the work. This all happened in 1936. One can only imagine Shostakovich’s emotions each night. Despite all this, the work overflows with power, ideas, raw and manly beauty – confuting the spirit of the age and the pervasive madness of all-out terror. Stalin died, Shostakovich lives: 0–1.




Presented by

Danubia Orchestra Óbuda


HUF 2 500, 3 200, 3 800, 4700

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