The training I received at the Academy was difficult and at times harsh, but those who survived the experience emerged as real musicians.

Sir Georg Solti /5

18 November 2018, 15.30-17.30

Solti Hall


The Glass Bead Game

Schubert: Piano Trio Movement in E-flat major, D. 897 (ʻNotturno’)
Schubert: Schwanengesang, D. 957

Artistic directors of the festival: Izabella Simon and Dénes Várjon
Zoltán Megyesi (tenor), Viviane Hagner (violin), Ditta Rohmann (cello), Izabella Simon, Dénes Várjon (piano)

“At that time I had found an old volume of music at my piano teacher’s. It was a volume of songs by Franz Schubert, and it exerted a strong attraction upon me. (…) In my leisure hours I gave myself up to the ecstasy of discovery. Up to that time I had not known Schubert at all, and I was totally captivated by him,” says Josef Knecht, protagonist of Hesse’s The Glass Bead Game. This excerpt explains the dominant role played by Schubert at the Sunday afternoon concert of Crowning achievements and final works of several creative oeuvres are present at the festival, and this goes for the Hesse novel as well. Franz Schubert composed the Notturno in the year before his death, and despite its neglect it is a significant work. Swan Song (or as it is better known, Schwanengesang) was the composer’s final work, only published a few months after his death. Performance of the collection continues the tradition of popularizing lieder.

Presented by

Liszt Academy Concert Centre


HUF 2 500, 3 200