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

28 March 2019, 19.00-21.00

Solti Hall


SCHUMANN’S PIANO CHAMBER MUSIC/4 Presented by Liszt Academy

Series Editor: Dénes Várjon

Schumann: Three Romances, Op. 94
Schumann: Sonata for Violin and Piano No. 2 in D minor, Op. 121


Schumann: Kinderball, Op. 130
Schumann: Piano Trio No. 2 in F major, Op. 80


Antje Weithaas (violin), Máté Szűcs (viola), István Várdai (chello), Izabella Simon, Dénes Várjon (piano)

Originally, Schumann wrote Three Romances in late 1849 – after a mere three days’ work – for oboe and piano. However, the publisher was concerned that in this form it would not sell, so despite the protests of Schumann it was marketed with a ‘hotter’ instrumental line-up. Concert number 4 in the Complete Works Live series features it on violin and piano. The Sonata in D minor (1851) written with the same instrumentalization is another work featuring the musical puzzles so favoured by Schumann: the work’s D-A-F-D motif is code for Ferdinand David (1810–1873), the great violinist who was in a close professional working relationship with both Schumann and Mendelssohn, and to whom the work is dedicated. Finally, after Children’s Ball (1853), a charming four-hand composition with six little dances, there is a ‘surprise’ piece also common in the Schumann oeuvre: the composer has tucked away one of his charming lieders in the F major piano trio (1847).

Presented by

Liszt Academy Concert Centre


HUF 3 500, 4 200

Season ticket:

Complete Works Live Spring 2019 - Schumann