Holiday Wishes from Around the World

It’s time for the last entry of the calendar year. Why? Because I will be on my way to Taiwan next Monday, then off to China on December 26, and I won’t be back until early January. This will be my first ever trip to Asia ever. I will be conducting the Kaohsiung Symphony Orchestra in an all Viennese program, again with the great American soprano, Rebecca Nelsen singing. After that comes a multi-stop concert tour with the musicians of the Hungarian Radio Symphony. We will be playing Beethoven Symphony No.8 along with Strauss’ Kaiserwaltzer and other great and fun pieces.
As for what happened since my last blog entry, here is a short summary. On November 14 I have conducted a program with the Hungarian radio Symphony at the Palace of the Arts (MUPA), Budapest. The program was made up of two Mahler compositions, Songs of a Wayfarer and Symphony No.1 “Titan”, and the famous ‘Cantus Artcticus’, concerto for birds and orchestra by Rautavaara. The Radio Symphony and I have made history by playing a Rautavaara work for the very first time in the (now about 18yo) history o Palace of the Arts. After a short and sweet Thanksgiving break with friends in Milwaukee, Wisconsin I have gotten a lot of things done in Huntsville in preparation for season 18-19. Last week after spending two full days at the Budapest Music Center, composer-conductor Peter Eötvös and myself have selected 4 young composers and 2 conductors for the multi-year mentor program of the Peter Eötvös Contemporary Music Foundation. Two days ago I have spent a day working with the Pannon Philharmonic Orchestra in Pécs.
In the meantime I have finished Part One of my new-old Puppet Opera, The Giant Baby (premiere early July, 2018 at the Armel Festival) and have sent the vocal scores to the singers. I am planning to finish working on the opera latest by mid March, 2018. More on it later!
Check out my pretty busy schedule of the first three months of calendar year 2018 here ———————————>
If you are on the main page of my blog site just look to the right! 😉
I wish all of you a Blessed Holiday Season and all the best for the New Year!
See you here again in January!

Action Packed Three Weeks

And more to come.
Huntsville Symphony has had a successful opening classical week with Mussorgsky-Ravel Pictures at an Exhibition and Orff’s Carmina Burana. It was just the perfect way to start the season and to create lots of positive buzz. My first weekend of the 2017-18 season at Huntsville also included an extensive day of auditions for several positions, including Concert Master and Principal Cello. We have hired some talented players and will be inviting candidates to fill the principal spots starting January.
The week after I have traveled to New Brunswick, NJ and conducted the Rutgers Symphony Orchestra. The program was the following: Ravel: La Valse, Haydn: Cello Concerto in C, Stravinsky: Petrushka. It was a great week with the young players and with this fun program. Also the first time ever I have stayed at an actual university campus. It was good to reunite and to spend some time with my friend, Al Baer, principal tuba player of the New York Phil and the head of the brass department at Rutgers. Last Friday I have conducted the second classical show of the season in Huntsville. Both our soloist, Claire Huangci and the orchestra did a great job in an especially difficult program. Ravel: Rapsodie Espagnol,Piano Concerto in G, Respighi: Fountains of Rome, and Debussy: La Mer. Just two days later, on Sunday we presented our first Casual Classics performance with Schubert’s genius Octet for which I have picked up my clarinet again. It was our usual, annual dinner/concert setting with the musicians telling funny stories about themselves. Oh yes, and the performance took place at the Yellowhammer Brewery’s Speakeasy, a perfect venue for this serenade-like composition.
I am writing this post at the KLM Lounge at the Amsterdam Airport. When I am done, I am going to continue watching YouTube videos of 77 young conductors who have applied to the multi year mentor program of the International Eotvos Contemporary Music Foundation. This week Peter Eotvos and I will be selecting the ones who will travel to Budapest in December to participate in a live audition along with 30 some young composers.
On Tuesday I am starting the rehearsals with the Hungarian Radio Symphony for our November 14 concert. For the program click the link below!

http://www.mrze.hu

Stay tuned and thanks for reading!

Crazy Schedule

Yeah, I know it is the Oscars tonight. I am going to have to read about it in the news this week.

It is true that I don’t shy away from working long hours for an extended period of time. Sometimes, however, the perfect storm happens. Tomorrow and on Tuesday I will be rehearsing with the Hungarian Radio Symphony 10AM-5PM, then at the Liszt Academy for the “Hungarian Late Night” production of the Budapest Opera 6PM-10PM. After the rehearsals I will be working with the musicians of the Hungarian Radio Symphony orchestra at the Budapest Music Center to record my newest composition ‘Alice Etudes’ for clarinet an string quartet. On Wednesday there’s another Radio Symphony rehearsal and the dress rehearsal for the one act operas. Thursday is the day for dress rehearsal and concert with the Radio Symphony. On Friday we premiere the one act operas of the “Hungarian Late Night” production, The second performance is on Saturday.

Looking forward to a wild ride! Wish me luck and check out the following links:

https://www.mrze.hu
https://www.zeneakademia.hu

And this…
Come on Ladies and Gentlemen, somebody please push this over the finish line! 😉
Thanks
https://www.gofundme.hu

In Between Enescu and Dvořak

Two World Premieres by Gregory Vajda were presented in between pieces by Enescu and Dvořak in about a two week time period.

Enescu: Romanian Rhapsody #1
Gregory Vajda: Clarinet Symphony
Dvořak: Symphony #8 in G

Enescu: Romanian Rhapsody #1
Gregory Vajda: Drums Drums Drums
Dvořak: Symphony #8 in G

As for the Enescu and the Dvořak I can’t remember “double dipping” a concert program like this for a long time, if ever. To tell you the truth it was not even planned this way at first. Mostly guest artists scheduling led to this situation, but in hindsight I don’t mind it at all. Having two new compositions of mine played for the first time in a short timeframe (and BTW almost exactly a year after the World Premiere of Georgia Bottoms, A Comic Opera of the Modern South) gave me a rare opportunity to get into my own music as a listener. Being the conductor of your own work does take away from being able to truly listen “from outside”. Performing music – your own or someone else’s – always comes with a lot of “on the ground” work and with having to fix small details as you go. To get the big picture, to listen and to judge a composition as a whole requires distance, both physical and mental. For some reason premiering two pieces (about 50 minutes of music all together) shed more light on musical problems (orchestration, tempi, form, etc.) and helped with finding solutions as well. This was definitely much better than having just one piece premiered and waiting for its next performance to occur.

There was also a third World Premiere just three days ago, a short duo for two violins entitled “Schnitte”. I wrote the duo at the request of the string players of the Hungarian Radio Symphony who wanted to play a new two-violin composition to precede Alfred Schnittke’s ‘Moz’Art á la Haydn’. They performed the piece “in stereo”, in front and in the back of the audience, and all in dark. Then during the last chord of “Schnitte” the first few contrabass notes of Schnittke’s music started. I think I managed to inject some “70s avant-garde sound” into my work that nicely prepared the audience for Schnittke. I hope to get a recording of the concert soon.

Here is a nice review of the Budapest (MUPA, Palace of the Arts) concert with many details about my Clarinet Symphony on the classical site backtrack.com
http://www.bachtrack.com

As for Drums Drums Drums, a concerto for timpani, drum-set, concert bass drum and orchestra I am looking forward to its next performance (including corrections based on the World Premiere performance with Scott Christian, Gergo Borlai, Sean Rittenauer and the Huntsville Symphony at the Van Braun Center) with the Frankfurt Radio Orchestra (Hessischer Rundfunk) in June 2017.

For now I am back to composing. This time it’s some fairy-tale music for an animated movie. Something completely different and a lot of fun.

‘Clarinet Symphony’ World Premiere

In my new piece composed for principal clarinetists János Szepesi, Gábor Varga and the Hungarian Radio Symphony I combined two things I know the most about. After more than 20 years in music as a professional I regard both the clarinet and the symphony (as a genre and as an ensemble) as my own. The combination of two solo clarinets (the parts are totally equal, even notes played are the same exact number) and the countless sound color— and character— variations of the orchestra helped create a symphonic work based on the characteristics of the clarinet as an instrument. Clarinet Symphony is a piece between a four movement symphony and a sinfonia concertante and it consists of 6 movements:
1) Prelude 2) Ballade 3) Scherzo 4) Adagio 5) Finale 6) Postlude [total duration: approx. 32 minutes]

The Adagio movement is based on a Hungarian-Jewish folksong called “The Rooster Crows” and Postlude quotes my “opus 1” solo-clarinet composition entitled “Lightshadow-trembling” (1993). This and the fact that even the orchestra parts were composed with individual players of the Hungarian Radio Symphony in mind make Clarinet Symphony my most personal composition yet.

Concert and radio broadcast at MUPA (Palace of the Arts, Budapest) on Wednesday, February 3.
On the program:
Enescu: Romanian Rhapsody #1
Vajda: Clarinet Symphony [World Premiere]
Dvorak: Symphony #8 in G
http://www.mupa.hu

No. 16 – Quartet

CONSTANZA:
Ah, Belmonte, my beloved!

BELMONTE:
Ah, Constanza, my beloved!

CONSTANZA:
Can it be? What rapture!
To hold you close to my heart
After so many days of unhappiness!

BELMONTE:
What bliss to find you!
Now all grief must vanish!
Oh how my heart rejoices!

CONSTANZA:
See how my tears of joy flow freely.

BELMONTE:
Angel! Let me kiss them from your cheek.

CONSTANZA:
Let them be the last ones.

BELMONTE:
Indeed, you shall be free this very day.

PEDRILLO:
Now, Blonda, have you understood?
Everything is prepared for flight.
We will be here on the stroke of midnight.

BLONDA:
Don’t worry, all will be ready,
I shall count the minutes;
If only the moment were here already!

ALL FOUR TOGETHER:
At last the sun of hope
Illuminates the gloomy skies.
Full of rapture, joy and bliss
We can see the end of our suffering.

BELMONTE:
Yet, in spite of my happiness
My heart within my breast
Is full of secret care.

CONSTANZA:
What is it, dearest? Tell me,
Quickly, explain yourself.
Conceal nothing from me!

BELMONTE:
They say ? they say ? that you …

CONSTANZA:
Go on!

PEDRILLO:
(indicating that he risks being hanged)
But Blonda, oh that ladder!
Are you really worth it?

BLONDA:
You fool, have you gone mad?
It might be better
If you had turned the question round!

PEDRILLO:
But Master Osmin??

BLONDA:
Let’s hear it!

CONSTANZA:
Will you not explain yourself?

BELMONTE:
They say??

PEDRILLO:
But Master Osmin??

BELMONTE:
That you??

PEDRILLO:
But Master Osmin??

BLONDA:
Let’s hear it!

CONSTANZA:
Go on??
Will you not explain yourself?

BELMONTE:
I will. But do not be angry
If, having heard a rumor,
I should dare to ask you
In fear and trembling
Whether you love the Pasha?

PEDRILLO:
(to Blonda)
Has Master Osmin never,
As one might well believe,
Exercised his lordly rights
Upon you as your owner?
That would a poor bargain!

CONSTANZA:
(to Belmonte)
Oh, how you grieve me!

BLONDA:
(to Pedrillo)
Here’s my reply to you!
(slaps Pedrillo’s face)

PEDRILLO:
Now I am in the picture.

BELMONTE:
(on his knees)
Constanza, oh forgive me!

BLONDA:
(angrily walking away from Pedrillo)
You don’t deserve me at all!

CONSTANZA:
(sighing as she turns away from Belmonte)
Have I remained faithful to you?

BLONDA:
(to Constanza)
The rogue has dared to ask
Whether I have remained true to him!

CONSTANZA:
(to Blonda)
And Belmont has been told
That I love the Pasha!

PEDRILLO:
(rubbing his cheek)
I’d take my dying oath
On Blonda’s fidelity!

BELMONTE:
(to Pedrillo)
Constanza is true to me,
There can be no doubt about it.

CONSTANZA – BLONDA:
When men become suspicious
And have no faith in our honour,
And look upon us with mistrust,
It is not to be borne.

BELMONTE – PEDRILLO:
When women are aggrieved
Because we think them fickle,
Then they are really true
And free from all reproaches.

PEDRILLO:
Dearest Blonda do forgive me!
Look, I put more faith in your fidelity
Than upon my own head!

BLONDA:
No, you can’t get away with it.
Suspecting me of doing that
With that foolish old buffer!

BELMONTE:
Oh, Constanza, my beloved!
Can you ever forgive me
For having asked such a question?

CONSTANZA:
Belmonte! How could you believe
That anyone could steal this heart
Which beats for you alone?

BELMONTE – PEDRILLO:
Oh, forgive me!

PEDRILLO – BELMONTE:
I am repentant!

CONSTANZA – BLONDA:
I forgive
Your remorse.

ALL FOUR:
Well, let this be the end of the matter!
Long live love
Let us value nothing else!
Let nothing kindle
The fire of jealousy.

That’s all. Problems solved, everybody lives happily ever after. Love prevails. In about 10 minutes real time, Mozart manages to bring two couples back together and clear all misunderstandings. Opera at its best. Whatever happens before and after is just another “pirate story” (full of amazing and genius musical numbers of course).

I am awestruck by No. -16 Quartet.

Conducting ‘The Abduction from the Seraglio’ energized me beyond belief. I am ready for the Hungarian Radio Symphony Orchestra. We’ll be playing Enescu Romanian Rhapsody #1, Dvorak Symphony #8 and the World Premiere of my newest composition: Clarinet Symphony at MUPA (Palace of the Arts), Budapest on February 3.

http://www.mupa.hu

I love my job!

Notes From The New Year

When so many things happen in a short period of time one can either write about everything, risking that his readers start skimming the post, or just write about something current and personal while ignoring everything else. I don’t feel like doing either in this New Year of 2016. I am going to just write things down as they come to my mind, limiting comments as much as I can.

The death of Boulez and the passing of David Bowie (yes, I do feel like it is all right to mention them in the same sentence) reminded me of the phenomenon how one person’s death can signal an already ongoing change. It is now officially post-Boulez and post-Bowie era. As so many people posted “when I met Boulez” pictures on FaceBook and elsewhere I didn’t want to do the same. Mostly because the few times we met we were not posing for pictures. I cherish my memories and yes, I do have my own “Boulez story” as well. I prefer to share them when we are sitting around a table sipping wine and having a conversation.

Tonight is the second to last performance of the annual revival of ‘Die Fledermaus’ at the Budapest Opera.
http://www.opera.hu
I am having a blast with this operetta (I’d rather call it an opera) and tons of fun working with many great Hungarian singers.

All day today I stayed home and studied “The Abduction from the Seraglio” by Mozart. As I mentioned it several times before, it is great fun to re-discover a piece of music or a complete opera for yourself by studying it again in depth. All I am going to say is: go and listen to the quartet from the end of Act 2 (#16)! It is amazing how Mozart can put interpersonal drama into music. In just one long(er) musical number one can experience trouble and resolution, and see two couples get back together.
By studying Mozart again I understand more of “Die Fledermaus”, too. Johann Strauss II learned a whole lot from Wolfgang Amadeus in how to write an ensemble and how to create drama on stage by words and music. Both operas are comic operas but they are definitely not “light”!
I am looking forward to the concert version of “Abduction” with the Huntsville Symphony in just 10 days.
http://www.hso.org

I finished editing the parts for my Clarinet Symphony. Tomorrow I am meeting with the two clarinet soloists for the first time. I am looking forward to the World Premiere on February 3 with the Radio Symphony.

Good news is in the making for Georgia Bottoms, A Comic Opera of the Modern South, and also there is a prospect for a new stage work of which I will be posting as soon as things become serious. I will be getting back to composing music for an animated movie, so my days are busy as ever.

Thanks for reading and stay tuned in 2016!
Happy New Year!

We Are Children

On October 7 the jury of the New Hungarian Music Forum, after a live radio-broadcast orchestra concert, has made its decision. As the conductor of both the chamber ensemble and the orchestra concerts, and a member of the final jury I had the chance to work with all 7 young composers during the heavy workload rehearsal week. For me it was demanding and due to my dual role somewhat schizophrenic, too. It is definitely not easy to put on a concert by doing everything you can to make young composers compositions sound the best and judge them at the same time. The musicians of the Hungarian Radio Symphony Orchestra along with our one soloist, Gabor Czaban Hungarian beat boxer did an amazing job.

Here are the results:

Chamber Ensemble Compostions:
1st Prize: MÁTÉ BALOGH – Melodiemusik
2nd Prize: ALESSIO ELIA – Disappearing Rainbows
3rd Prize: MARCELL DARGAY – Monument of the Immortal Immigrant
and (!)
LÁSZLÓ SÁNDOR – Divertimento – Giuoco dei suoni

Based on the Jury’s unanimous decision there was no first prize awarded in the orchestral round. The money was evenly distributed between the split prize winners.

Symphony Orchestra Compositions:
1st prize: –
2nd Prize: MÁTÉ BALOGH – Quintet and ANDREJ SLEZÁK – inSpiral
3rd Prize:GYULA BÁNKÖVI – Greenlight-garden Night

MÁTÉ BALOGH was the winner of special prizes by the International Eötvös Institute for Contemporary Music, Editio Musica Budapest and the Danubia Symphony Orchestra.
GYULA BÁNKÖVI won the special prize of the palace of Arts Budapest (MUPA)
MARCELL DARGAY and ANDREJ SLEZÁK received a 1.000.000 Hungarian Forints value press portfolio each from fidelio.hu

More info in Hungarian here:
http://fidelio.hu

On October 9 & 11 at the Solti Hall of the Liszt Academy of Music I conducted the new version of ‘Spring Awakening’, a one act opera by Mate Bella. With the beautiful and very expressive staging of Andras Almasi Toth, and the great singing of young singers with the accompaniment of the UMZE Ensemble this opera was an instant success. The music is modern but definitely expressive and audience friendly in the best possible way.
Read details about the production:
http://cafebudapestfest.hu

On Saturday, October 17 amazing cimbalom player, Miklos Lukacs and Thrensemble will be performing a concert under my direction at the Budapest Music Center. On there program: compositions by Igor Stravinsky, Peter Eotvos and Kornel Fekete Kovacs. After the concert we’ll be staying at the concert hall to make the world premiere recording of Peter Eötvös’ piece called ‘da capo’ for cimbalom and ensemble for future release by the BMC label.

For further information on the concert in English click here:
http://bmc.hu

‘We Are Children’ is the title and the theme of the 2015-16 season of the Obuda Danubia Symphony. I was invited to conduct the second subscription concert of their classical series called ‘GAME’ at the grand hall of the Liszt Academy on Tuesday, October 20. I had my third rehearsal with the orchestra this morning and I am already having a lot of fun.
About the program:
http://odz.hu

With Stravinsky, Ligeti, Dohnanyi and Milhaud to conduct I am most definitely GAME! 🙂 Music is PLAYING (both in English and in Hungarian you PLAY when you make music) in the most noble sense of the word. If you make or just enjoy art in any form you preserve something of your inner child. Being able to do just that is a true gift of life.

Just A Quick Note

I promise I will write more and in details later.
For now just the bare facts:

UMZF (New Hungarian Music Forum) composers’ competition, homage to Bela Bartok, final round for chamber ensemble compositions, October 6 at the Budapest Music Center with the Hungarian Radio Symphony, live radio broadcast
Marcell Dargay: Monumentum for The Eternal Immigrant
Mate Balogh: Melodiemusik
Alessio Elia: Disappearing Rainbows
Laszlo Sandor: Divertimento – Giuoco dei suoni
http://bmc.hu

UMZF (New Hungarian Music Forum) composers’ competition, homage to Bela Bartok, final round for orchestral compositions, October 7 at Palace of the Arts, Budapest (MUPA) with the Hungarian Radio Symphony, live radio broadcast
Andrej Slezak: inSpiral
Balazs Horvath: Werkmusik for Beatboxer and orchestra
Mate balogh: Quintet
Gyula Bankovi: Zoldfeny-udvaru ej (Greenlight-garden light)
http://mupa.hu

Two performances of the new version of “Spring Awakening”, a one act opera by Mate Bella at the Academy of Music, Budapest (October 9 & 11)
http://zeneakademia.hu

The Bad, The Good and The Great

The GOOD news: tomorrow (Friday) Amadinda Percussion Ensemble and the Hungarian Radio Symphony is going to play an awesome concert under my direction.
http://mupa.hu
The concert will be broadcast live on the radio and can be listened to here
http://mediaklikk.hu
The broadcast starts at 1:35PM EST.
The BAD news: we won’t be premiering my piece, ‘Drums Drums Drums’.
The GOOD news: I will have a chance to do the World Premiere of ‘Drums Drums Drums’ in Huntsville one year to the date of tomorrow’s concert. I will keep you posted on Saturday, February 13, 2016!
The GREAT news: USA Today picked up on Georgia Bottoms and made it the News of the Day from Alabama (2 days ago)
Here is a FaceBook post about the USA Today preview
http://facebook.com
And here is the complete story on AL.COM
http://AL.com
Stay tuned for more Georgia Bottoms news!