4000 Kids, 2200 Adults

Huntsville Symphony has just completed a very busy and extremely successful week with 6 concerts and 2 programs. We performed 4 Young People’s Concert and a Free Family Concert for about 4K children (most of the 4th Graders) and a few hundred adults. The latter one I like to call “Bring Your Grandma” concert, and indeed there were many families: grandkids, parents, grandparents alike. Mozart: Figaro Overture, Mendelssohn: Piano Concerto No.1, 1st Movement (played by the brilliant Sarah Han, the winner of the Guild’s Concerto Competition 2017) and James Stephenson’s genius “Compose Yourself” were on the program. Jim’s composition introduces the orchestra, its sections and its instruments to the audience in a set of variations. Before the Finale audience members get to pick and mix 3 different melodies, harmonies and rhythms to create their very own piece of music. I highly recommend “Compose Yourself” to any orchestra interested in a stylish, clever and fun piece of music that can do what Britten’s Young Persons’ Guide can and more! At the Free Family Show I also did a crash course in conducting for kids who were not shy coming on stage. They got to conduct the Mozart Overture with the Huntsville Symphony.
On Saturday evening the HSO had a sold out pops show comprised entirely of John Williams soundtracks. It was a demanding and highly satisfying concert for the orchestra and drew several standing ovations from the audience. Once (tops twice) a year I agree to play the clarinet in Huntsville to benefit the Symphony. I have performed quite a few great chamber music pieces in the past couple of seasons, and also the obligate clarinet solo in a Mozart aria when my Mom was here to sing an opera gala under my baton. This time I played the clarinet solo of Viktor’s Theme from the movie The Terminal. Viktor’s character —played by Tom Hanks in the movie— is especially close to me. We are talking about a man from an imaginary Eastern-European country who gets stuck in an airport terminal in the US and has to manage living there for a few weeks. Considering my crazy busy traveling schedule I do feel like I live in an airport sometimes.
More great music is on the way with the Huntsville Symphony in the next couple of weeks: Mendelssohn, Richard Strauss, Offenbach and Wagner.
Check out our website here:
https://www.hso.org

Toward The Sea Into the New Year

The season of the Huntsville Symphony is always busier between January and May than it is in the fall. The reason? College football. In the fall we are doing our classical concerts on Fridays so we do not have to compete with the games on Saturdays. Also it seems it takes a while for everybody (definitely our core audience) to settle into the usual rhythm after the summer months. After presenting a no-orchestra New Years Eve show with the amazing Bela and Abigail Fleck the Huntsville Symphony is back on the stage of the Von Braun Center and we sure have a lot of notes to play for the second half of the season. Between February 1-4 we are doing 4 Youth Concerts, a Free Family Concert and a Pops concert with all John Williams movie hits. We are presenting our ever popular “dinner-concert” Casual Classics on February 12, then another classical concert with the music of Wagner and Offenbach on February 18.
https://www.hso.org

Yesterday, with a smaller than usual orchestra on stage, I conducted the HSO in a show called “Flute and Harp Impressions”. Principal flutist Evelyn Loehrlein and harpist Katherine Newman joined guest flutist Gergely Ittzes in a selection of pieces by Vivaldi, Debussy, Takemitsu and Respighi.
Gergely Ittzes https://www.ittzesgergely.hu has also performed two of his own solo flute compositions presenting unusual virtuosity on his instrument along with many special effects never heard before by our audience. Ittzes is capable of playing clear double stops (intervals) on the flute and special effects that sound like walking bass or an Indian, or Japanese traditional instrument. Our audience was very enthusiastic and thrilled about all the music that was presented. I believe we did justice to Vivaldi as well, since his music —due to the big size of our concert venue— has been definitely underrepresented in the classical series.
My favorite part of the concert was when Gergely Ittzes played Debussy’s famous solo flute composition, Syrinx then we went right into playing Takemitsu’s mesmerizing “Toward the Sea II” for alto flute, harp and strings. Great job HSO string section!
I admire Takemitsu for his beautiful sound colors and soothing rhythmical complexities (yes it does sound like a contradiction, but Takemitsu is just doing, in his own language, what Debussy has invented more than a 100ys ago now). I was very pleased with the audience’s positive response.
Our New Year has just started, and we are sailing on toward new adventures. Come and join us in 2017, too!

Orchestra Tour in Poland

…then there are days when you really don’t have the time to write.

I have just finished my concert with the Hungarian Radio Symphony at the Liszt Academy on November 22 when received a call from the tour manager of the Hungarian National Philharmonic Orchestra. They were on the road in Poland and the conductor, János Kovács was hospitalized. I agreed to step in after my Eötvös-Bartók performance in Hamburg (November 23) and joined the orchestra in Wroclaw, Poland the next day. We had a one hour acoustical rehearsal at the amazing new concert hall built for the program of “Cultural Capital of Europe, Wroclaw 2016″, and we hit the ground running with the following program:

Kodály: Dances of Galánta
Liszt: Piano Concerto No.1 (Dávid Báll -piano)
Bartók: Concerto for Orchestra
(Encores: Brahms Hungarian Dance No.1 and Berlioz Rakóczi March)

Thee more concerts followed with great success (and a whole lot of bus riding in between). The Hungarian National Phil musicians and myself were having a ball.

Poland is a lucky country to have so many great, new concert halls. Three out of the four we have performed at were built in the last two years. Among these, the venue for our tour-closing performance was probably the best I have ever performed at (including Disney Hall!). The concert hall of the National Polish Radio Orchestra in Katowice is not only a great work of architecture but also the perfect mix of beauty and functionality with amazing acoustics for symphonic music.

Take a look!
http://nospr.org

This orchestra tour was part of the Hungarian Season in Poland commemorating the 1956 Revolution. Originally Zoltán Kocsis, world famous pianist and music director of the Hungarian National Philharmonic, who just recently passed away, was supposed to conduct all the concerts. We have been performing in his memory as well.

I am back in Hamburg, Germany today. The very last performance of the Eötvös: Senza sangue, Bartók: Bluebeard’s Castle production is tomorrow evening at the Staatsoper. The revival is schedueled for February 2018.

Hotel Room With Seven Doors

“Which hotel room has seven doors and enough place for a torture chamber, an armory and a treasure chamber?” – asks critic Peter Jungblut of http://br-klassik.de in his review about the Eötvös/ Bartók double bill of Staatsoper Hamburg. Stage director Dimitri Tcherniakov merged “Senza sangue” and “Bluebeard’s Castle” into a 2 hour long evening with no intermission, and made the two operas into one “Dramatic Soul-Exploration”. After participating in the long rehearsal process of the production (we had our very first rehearsal on September 26) and attending the premiere with composer Peter Eötvös himself in the pit, I am now looking forward to conducting my first of this impressive show. Great singers, powerful music, touching video shorts, captivating images with mesmerizing lighting: this is all Senza sangue-Bluebeard’s Castle, and more. Come and experience it live if you can this month in Hamburg!
I will be the conductor of two more performances after today’s show: one on November 23 and the last one of this run on November 30. In between two shows, on November 22, I will be conducting a concert with the Hungarian Radio Symphony at the Liszt Academy in Budapest. The program is comprised of a World Premiere orchestral song for soprano I composed in memory of my Father and compositions by Haydn and Richard Strauss.
More about this concert soon!

More Power to the Horns!

In the last few weeks I have been working on Béla Bartók’s Bluebeard’s Castle and Peter Eötvös’s Senza sangue, an opera double-bill at the Hamburg Opera in Germany. It is going to be a beautiful staging by Dmitri Tcherniakov, see a NY Times review about his work here http://nytimes.com
with four powerhouse singers in the principal roles, and the orchestra of Staatsoper Hamburg. The performances will all be in November.
I am not sure if the expression of “taking a break from sg” can be applied to my schedule. Conducting Mahler 5 does not sound like a break at all, and it sure is a great challenge for orchestra and conductor alike. Well, I am “taking a break from” opera this week and conducting a program of Mahler’s amazing symphony along with Mozart’s Magic Flute Overture and DiLorenzo’s Phoenix Concerto with the Huntsville Symphony.
http://hso.org
The latter composition was written for the amazing French Horn player William Vermeulen, whom I had the pleasure to work with on a few occasions.
http://vermeulenmusic.com
His playing and our extended horn section for Mahler 5 will sure make this week a powerful one!

I am excited and proud that our Huntsville Symphony can present such divers and exciting program to all the music lovers in the area. At the end of September for our first Casual Classics program called “Yoga with Live Music” we played compositions by Steve Reich, Arvo Pärt and John Cage at Lowe Mill. This week we are back with great symphonic repertoire at the Von Braun Center. Come and join us!

In Nature’s Realm

I am back in Huntsville. The weather is beautiful as always in September. As my friends in Europe are starting to wear their rain coats and sweaters, I still get to dip in the swimming pool in the morning. I love how summer is stretched out here in the South.

Our 2016-17 Season at the HSO is starting with a kind of musical meditation on Nature and on Human Life.

Dvořák: In Nature’s Realm, op. 91
Smetana: The Moldau, from My Homeland
Fauré: Requiem, op. 48

Guest Artists:
Tiffany Boltic-Brown, Terrance Brown and the Huntsville Community Chorus

Visit our website for more information on our opening gala and on the rest of the season.
http://hso.org

Talking about “meditation”, very soon musicians of the Huntsville Symphony and myself will be presenting a Yoga Session with Live Music at one of my favorite venues ever: Lowe Mill ARTS & Entertainment
http://lowemill.net
More about this concert soon!

Last week was busy (indeed, the Season does not start with the first fall performance but with all the preparation the precedes this part of the year). After finishing the editing of the studio recording of my composition “Clarinet Symphony” (it sounds great and I am hoping to report soon about what happens to the recording itself) I traveled to Szeged (Southern-Hungary) where I did a few pre-rehearsals for Armel Festival’s presentation of The Magic Flute at the Hackney Empire Theater in London, England. I am also preparing for the long rehearsal period at the Hamburg Opera starting at the end of September. I will be adding another opera to my repertoire: Peter Eötvös’ Senza sangue (Without Blood)
http://eotvospeter.com
This new work will be staged alongside with Bartók’s Bluebeard’s Castle (an amazing piece of music soon to be a 100 years old!).

Nature, music, lot of travel: Season 16-17 here I come!

Le Lanaudière. Portland Festival Symphony. Sziget: Island of Freedom.

On July 9, after about 8 years, I conducted the Lanaudière Festival Orchestra again. It was great to return to conduct these amazing musicians, to collaborate with Alain Lefèvre on the piano
http://wikipedia.org
and to enjoy the ambiance of the amphitheater in Joliette, Quebec. Our program was the opening performance of the Lanaudière Festival 2016, an exciting mix of pieces by Tchaikovsky and Respighi.
http://lanaudiere.org
The rehearsals were held downtown Montréal, which gave me a chance to enjoy the Montréal Jazz Festival programs every evening and also to revisit some of my favorite places in one of my favorite cities ever.

After enjoying a brief family vacation my summer season continues with free park concerts in Portland Oregon. Lajos Balogh and I share the concerts this year starting today at Cathedral Park. Tomorrow (Sunday) there will be an all brass program presented at Laurelhurst Park. More symphonic and string concerts to come next weekend and the weekend after. Check out this year’s programs!
http://portlandfestivalsymphony.org

Based on popular demand Armel Opera Festival is presenting a fun 2 hour program every day at the famous Sziget Festival again this year. Scenes from Mozart’s The Magic Flute (staging by Róbert Alföldi), contemporary music improvisation with audience participation, symphonic world music with Hungarian stars, and a live crash course in orchestra conducting will be on the menu. Come and join us in August!
http://szigetfestival.com

Brahms and The Chairs

Three Brahms compositions in two concerts mark the Finale of the Huntsville Symphony’s 15-16 season. Yesterday evening, celebrated by a large audience at the Von Braun Performing Arts Center HSO was playing Brahms Symphony #3 and Violin Concerto in D. After a long standing ovation the mesmerizing sounds of the first movement of Bach’s Violin Sonata No.2 in A-minor ended the last classical concert, played beautifully by Nikki Chooi. What an amazing way to end the season!

Now wait a second! There is more. It is a little “encore” to our 61st season if you wish. This afternoon, members of the audience are invited to sit on the stage of the VBC next to and around the principal players of the HSO as we perform Serenade #1 by Brahms. This time it is the wind-quintet+string-quintet version on the program and I will be talking about the music, about the composer, and about the process we musicians rehearse and perform. To start the show I am planning to make our audience just stand in the lime light on stage and stare out into the empty auditorium to get a sense of what it feels like being up there in the presence of hundreds of people. In between movements of Serenade #1 I will ask the audience to switch to a different chair (hence the concert title we used for a similar show last year: Musical Chairs) to experience the acoustics of the stage of the VBC and to be able to watch and listen to different musicians playing different instruments. If you like unusual concert formats, join us at 3:30pm today or sign up for our Casual Classics series next season. The program will be out soon!

http://www.hso.org

Thanks Everybody for making 15-16 a successful season in every regard! We are looking forward to welcome you back in September. Have a great summer and keep up listening to good music!

Hold Us Up Against Our Sins

‘Father in Heaven!
Hold not our sins up against us
But hold us up against our sins,
So that the thought of Thee should not remind us
Of what we have committed,
But of what Thou didst forgive;
Not how we went astray,
But how Thou didst save us!’

These are the final words of the cantata, “Prayers of Kierkegaard” by Samuel Barber. This piece was started by the composer in 1942, and was finished in 1945 (one of many pieces of art whose birth was delayed by World War II). To my knowledge it has never been performed in Hungary before. If you know otherwise, please send me an email via my website! I paired Barber’s work with one of Zoltán Kodály’s greatest compositions, “Psalmus Hungaricus” (Hungarian Psalm) for tenor solo, children’s choir, chorus and orchestra. There are some amazing musical similarities between these two cantatas. I am wondering if Barber knew or knew of Kodály’s composition, since Psalmus Hungaricus was premiered in 1923 and by the 40s Kodály was a famous and well respected composer all over the world. In any case, ‘Prayers of Kierkegaard’ does sound a bit like an homage to ‘Psalmus’, and Kierkegaard’s intimate and very personal prayers do bring the words of poet-preacher Mihály Kecskeméti Vég to mind. The latter words are from the 1600s. They are a typical example of the practice of interspersing a translation of a psalm (Psalm 55) and touching lamentations that express personal grief and sorrow.
Luther’s original hymn, “Ein feste Burg” (A Mighty Fortress is Our God) completes our Protestant musical journey in an original orchestral setting by Mendelssohn as part of his Symphony #5. The “Reformation Symphony” occupies the entire first half of the concert this Wednesday evening at the Liszt Academy of music with the Children’s Choir, Chorus and Symphony Orchestra of the Hungarian Radio Symphony. Ildikó Szakács and Gyula Rab will sing the solo parts in the second half.

http://www.zeneakademia.hu

Grand Opera, 20th Century Classics and New Music

First performance of Verdi’s Don Carlo went well on Friday. I am ready for the second one tonight, and two more in the next two weeks (Nov 28, December 5). What a truly grand work full of unparalleled beauty and endless inventions!
In the meantime UMZE Chamber Ensemble and myself have been preparing for our Monday evening concert at the Budapest Music Center.
I programmed pieces by Hungarian composers living abroad along with 20th Century classics for ensemble.

Pierre Boulez: Dérive 1
Bálint Karosi: Ciaccona (Hungarian premiere)
Bálint Karosi: Sanguine (Hungarian premiere)
Claude Debussy: Brouillards – (Préludes II/1)
András Hamary: Brouillards – Three Movement to the Prelude of Claude Debussy (Hungarian premiere)

András Hamary: Hommage à Janáček for piano (for right hand) and winds (Hungarian premiere)
Leos Janáček: Capriccio for piano (for left hand) and winds

The two Hamary http://www.hamary.de compositions are clear homages to Debussy and Janáček, and are full of strong, simple and original musical ideas. Ciaccona by Karosi http://www.karosi.org is a inventive take on Boulez’s Dérive 1 while his Sanguine is a fun and virtuoso ensemble piece.

Peter Kiss will be the soloist for both the Janáček Capriccio and Hamary’s ‘Hommage à Janáček’ and he will be playing the original piano prelude by Debussy as well.
http://kisspeterpianist.hu