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
Stories for Baroque Music

28 April 2019, 11.00-12.30

Solti Hall

Liszt Kidz Academy

Stories for Baroque Music Presented by Liszt Academy

For 10-15-year-olds

Vivaldi: Four Seasons – Spring, RV 269
C. P. E. Bach: Trio Sonata in C minor, Wq 161/1 (‘Sanguineus und Melancholicus’) – 1st movement
J. S. Bach: Brandenburg Concerto No. 5 in D major, BWV 1050 – 1st movement

Zsombor Németh (baroque violin); Beatrix Belovári (baroque flute); Noémi Konta (harpsichord)
Simplicissimus Chamber Ensemble (artistic director: Zsombor Németh)
Moderator: Dániel Mona

It is often said that music is like a language, a language in which the instruments speak. But what does music say, and how is it capable of relating a story if it is not supported by text? The spring 2019 concerts of the Liszt Academy’s youth series, Liszt Kidz Academy, which is targeted at 10–15-year-olds (as well as their parents and grandparents), seek answers to these questions. Simplicissimus Ensemble whisk the young audience off to the world of Baroque music in this final programme of the series, back to an age when everything was about expression in music, and when instrumental music was considered the daughter of vocal music, so that as children imitate their mothers, singers had to be imitated by instruments. We will find out how Johann Sebastian Bach’s highly talented son, Carl Philipp Emanuel, and Antonio Vivaldi were able to tell stories purely with the help of notes, and we will learn what messages these works relay.

Presented by

Liszt Academy Concert Centre


HUF 1 500