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
Emil Petrovics 90

29 November 2020, 19.30-22.00

Grand Hall

Emil Petrovics 90

Time change

Petrovics: Vörösmarty – Overture, Op. 41
Petrovics: Piano Concerto, Op. 46


Petrovics: Cantata No. 1 (Alone in the Forest), Op. 4
Petrovics: Symphony No. 2, Op. 48

Anna Subedi (soprano)
Ádám Balogh (piano)
Kodály Philharmonics Debrecen
Conductor: Zsolt Hamar

“I am not prepared to force myself: I am looking for what is truly me. Music heard in the world only serves to reinforce my determination: with courage and without torturing myself with any feeling of inferiority, I confess I would occasionally like to write common chords in a major key in 4/4 time. […] What is important is that I write what I hear and what I think about music,” Emil Petrovics responded once to a question on artistic standpoint put by Bálint András Varga. The frequently cited quote is a precise characterization of Petrovics’s creative personality. Over the course of his career as a composer, he has blended technical solutions from the past 200 years of music history with a kind of classical sense of proportion and craftsmanship. He worked with a professional identity and bequeathed a remarkable consistent oeuvre, as witnessed by this concert programme spanning the years from the first cantata (1956) through the 1993 Vörösmarty overture and the Piano Concerto of six years later right up to the second symphony completed in 2001.

Presented by

Kodály Philharmonic Debrecen, Liszt Academy Concert Centre


HUF 1 500, 2 000, 2 500