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
Alexander Melnikov & Cuarteto Casals/1

3 October 2020, 16.00-18.00

Solti Hall

Beethoven +

Alexander Melnikov & Cuarteto Casals/1 Presented by Liszt Academy

Program change

Beethoven: Piano Trio No. 5 in D major, Op. 70/1 (‘Ghost’)
Beethoven: String Quartet No. 11 in F minor, Op. 95 (‘Serioso’)

INTERMISSION

Shostakovich: Piano Quintet in G minor, Op. 57

Alexander Melnikov (piano)
Cuarteto Casals: Vera Martínez Mehner, Abel Tomàs Realp (violin), Jonathan Brown (viola), Arnau Tomàs Realp (cello)

Shostakovich wrote his major early pieces – Symphonies Nos. 1 and 2 and the Piano Sonata No. 1 – a hundred years after Beethoven’s death. The Viennese maestro’s creative ideas were still very much alive then and perhaps most enduringly so in the works of Shostakovich. The genres specifically cultivated by Beethoven became the primary media of personal communication for Shostakovich, and, just like Mahler, he was convinced that music after Beethoven was able to talk about concrete things without any comment. Incidentally, he commissioned a Soviet string quartet that had adopted Beethoven’s name to premiere his Piano Quintet in G minor, one of his best-known and best-liked chamber pieces. The audience at the time was overwhelmed by the composition. As one witness recalled, “every face radiated with a feeling of great pleasure and gratitude. An elderly gentleman did not even notice that tears were streaming down his face”.

Presented by

Liszt Academy Concert Centre

Tickets:

HUF 2 900, 3 900

Season ticket:

Beethoven +