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
Hungarian National Philharmonic Orchestra

7 February 2019, 19.30-22.00

Grand Hall

Hungarian National Philharmonic Orchestra Presented by Liszt Academy

Stravinsky: Pulcinella – suite
Copland: Clarinet Concerto
Rachmaninov: Symphony No. 3 in A minor, Op. 44

Martin Fröst (clarinet)
Hungarian National Philharmonic Orchestra
Conductor: Kirill Karabits

This concert features works by three composers, all three of whom, like so many others in the 20th century, ended their careers in America. Copland’s parents emigrated from Lithuania; Rachmaninov and Stravinsky arrived from Russia. Three powerful characters, three musical styles. Rachmaninov wrote dyed-in-the-wool Romantic music, even as an émigré. Stravinsky’s ballet Pulcinella, which was commissioned by Sergei Diaghilev, debuted in Paris in 1920 with scenery and costumes designed by Picasso. He rearranged the music of Baroque composer Pergolesi; this is when his Neoclassical creative period started. Aaron Copland wrote his Clarinet Concerto at the request of famous jazz clarinettist Benny Goodman in 1950, mixing jazz elements with what a critic called “bittersweet lyricism”. This kaleidoscope of images is presented by a superb Swedish clarinettist and a conductor who started studies in Ukraine and graduated in Vienna.



Presented by

Hungarian National Philharmonic Orchestra


HUF 3 000, 4 500, 6 000