'An account of a very remarkable young musician', says the table of contents of a six hundred page book published in 1781. The english edition of Miscellanies, among studies on various topics such as the periodical appearance and disappearance of certain birds, the possibilities of accessing the arctic, as well as ancient tragedies, also contains one of the most important documents on Mozart's wunderkind years.

Liszt Prize-winning pianist Kálmán Dráfi believes that anyone who can give an excellent performance of Bartók can play almost anything else and that therefore one of the greatest geniuses of the 20th century ought to receive a higher stature in the repertoires of Hungarian pianists. A department head at the Liszt Ferenc Academy of Music, Dráfi is a member of the jury for the Bartók World Competition, which is expected to decide late Saturday night who wins this year’s piano category.

The jury for this year’s Bartók World Competition is headed by Kenji Watanabe, one of Japan’s best-known pianists, who is also noted for his authentic interpretations of Liszt and Bartók. Currently a lecturer at the Tokyo University of the Arts, he studied at the Liszt Academy in the 1980s, where he learned to speak Hungarian, and he believes that his command of the language has helped him a great deal to uncover the inner logic of Bartók’s musical world.

Some musical characteristics of his compositions, especially in his works for piano, are inseparable from his pianist personality. They are also defined by the fact that he always intended his works, even those containing his most abstract ideas, for actual performance.

Dániel Dobos has had some fruitful months lately, winning both the Junior Classical Musician of the Year Award and the first prize of the 2018 Bartók World Competition. The young and modest composer knows 'those beneficent limits' precisely within which he can freely release his imagination and create the right piece of music.