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
The Budapest Strings Chamber Orchestra & Kristóf Baráti

3 May 2020, 19.30-22.00

Grand Hall

The Budapest Strings Chamber Orchestra & Kristóf Baráti


Schubert: String Quartet Movement in C minor, D. 703 (ʻQuartettsatzʼ)
Beethoven: Violin Concerto in D major, Op. 61
Schubert: String Quartet No. 14 in D minor, D. 810 (‘Der Tod und das Mädchen’)

The Budapest Strings Chamber Orchestra (concertmaster: János Pilz, artistic director: Károly Botvay)

The String Quartet in D minor by Schubert is one of the greatest creations in the quartet canon. Its scale, concept and weight of message certainly make it worthy for performance in the greatest concert halls, which is why it must be performed there, or so Mahler believed, when he wrote the arrangement for string orchestra and 70 years after the original composition was completed, he directed the work in person at a concert in Hamburg in 1894. While the work belongs to the core repertoire of string quartets, most string orchestras also keep it on their programme today, assuming they have the virtuosity and complex expressive power of a quartet. “Beethoven’s violin concerto could barely be played better and in a more attractive way,” a critic wrote about the performance of Kristóf Baráti. Recently, the violinist undertakes not ‘only’ the role of soloist but that of conductor, too, thus he can exercise a hypnotic influence with his bow not only over the orchestra but us as well.

Presented by

Budapest Strings Chamber Orchestra


HUF 2 800, 3 800, 4 800, 5 800