Three generations meet at the closing event of the Mini Festival. Born in 1919, Rezső Sugár mentored dozens of composers during his time at the Ferenc Liszt Academy of Music and Budapest Conservatory. All his music reveals a mastery of his art on the highest level. “I do not wish to break from tradition, because without tradition, music is problematic,” he once said in an interview. The work to be played at this concert was completed in 1970 in accordance with the classical forms, combining the ...variation and the symphony – the prevalent genres of modern music. It is from this same period that the extensive Pilinszky Cantata of Attila Bozay, who died in 1999 aged just 60, originates. The piece was written for mixed and symphonic orchestras and two soloists. Another important composer of the sixties and seventies was Sándor Balassa, whose style is now no longer considered an exploration of new sounds, much rather a conscious form of conservatism drawing on folk music roots. His Civis Town is an orchestral fantasy commissioned by a resident of the Hungarian city of Debrecen in 2005. “The piece is not intended to anger or repel listeners,” the composer writes, “but to draw them into the experience of an emotionally familiar and shared sound in which intonations of folk music and the uplifting of the Hungarian soul can be heard.” It is through these sounds that the work captures everyday life in Debrecen: “In the piece, I complete the unfinished tune played by the Debrecen tram,” Balassa explains. “When I travel on the tram, I always append an additional la sound to the do of the pentatonic scale left hanging at the end of the melody.” The youngest composer on the programme is Gyula Fekete, a former student of Bozay with a close association with choral music. His latest opera will be premièred in March 2011, but the 2004 work to be heard here is an exhilarating reworking of one of the Hungarian languages earliest legacies. Presented by the Hungarian Musical Society and the Palace of Arts
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