Vajda Gergely
Composer
13 August 1973 Budapest
Reflecting his growing presence and demand in North America, he has been appointed in 2011 the sixth music director of the Huntsville Symphony. After concluding his 3 year tenure as Principal Conductor he was named Principal Guest Conductor of the Hungarian Radio Symphony (MR Symphony) in 2014. Mr. Vajda is also the Artistic Advisor of the International Armel Opera Competition and Festival.
vajda1In addition to his duties with these organizations, upcoming guest-conducting engagements during 2014-15 season include Hamilton Philharmonic, Omaha Symphony, Symphony Silicon Valley and Rochester Philharmonic.
In 2013/14 Vajda was engaged by the Phoenix Symphony, Symphony Silicon Valley, Calgary Philharmonic and the Columbus Symphony. In 2012/13 he led the Edmonton Symphony, Kalamazoo Symphony and Santa Barbara Symphony. In Hungary he conducted the Pannon Philharmonic in a semi-staged version of Ligeti’s opera Le Grand Macabre, and lead two performances of Lohengrin as part of the Budapest Wagner Days with the Hungarian National Opera Orchestra. In July he concluded his Artistic Director and Conductor position with Music in the Mountains, CA – a position held since 2009.
The 2011/12 season combined he returned to the Seattle Symphony and Edmonton Symphony with his debut leading the Toledo Symphony, while highlights of 2010/11 included a subscription series with the Oregon Symphony featuring the US premiere of his work “Duevoe,” a return to Atlanta Opera conducting La boheme, and re-engagements to the Baltimore Symphony, Edmonton Symphony, Symphony Silicon Valley and Round Top Festival. Debuts with the Louisiana Philharmonic and Huntsville Symphony rounded out the season.
Vajda’s 2009/10 season began with a stint at the Hungarian Radio Symphony Orchestra, followed by his first return to the Hungarian State Opera since emigrating to the US. In his adopted country he led subscription concerts with the Oregon Symphony, debuts with the Seattle, Grand Rapids and Memphis symphonies, and returned to the San Antonio Symphony and Symphony Silicon Valley.
Season 2008/09 marked the conductor’s introduction to the Salzburg Festival as assistant conductor to Peter Eötvös. He conducted the final performance of Bartok’sBluebeard’s Castle with the Vienna Philharmonic and Vienna State Opera Chorus, before returning to the Atlanta Opera to lead La Cenerentola. On the orchestra stage, he conducted the Toronto, Edmonton, San Antonio, and Silicon Valley symphonies. He also helped inaugurate the widely talked-about EMPAC at the Rensselaer Polytechnic Institute (NY) with a performance of Grabstein für Stephan by György Kurtag.
While assistant conductor with the Milwaukee Symphony, a position he relinquished in 2005, Gregory Vajda led several regional tours and had opportunities to conduct the Canadian Brass, Maureen McGovern, the KingSingers, as well as the Milwaukee Symphony in a yearlyclassical subscription series. In past seasons, Vajda appeared with St. Paul Chamber Orchestra, the Milwaukee Chamber Orchestra, the Calgary Philharmonic, the Winnipeg, Louisville, Charlotte and Omaha symphonies, the National Arts Centre Orchestra in Ottawa, Ensemble Intercontemporain, led the Klangforum Vienna in performances of Péter Eötvös’ As I Crossed a Bridge of Dreams and Three Sisters (as part of the Wiener Festwochen), gave the premiere of his chamber opera The Giantbaby at the New Theatre in Budapest, and the premiere of Hungarian composer György Ránki’s opera King Pomade’s New Clothes at the Hungarian State Opera. He has also conducted at the festivals of Avignon and Strassbourg, at the Woodstock Mozart Festival, Grant Park Festival and the Mostly Mozart Festival in Lincoln Center.
In addition to conducting, Vajda is also a gifted clarinetist and composer. He conducted his own composition for the silent film The Crowd at the Auditorium of the Louvre, with American pianist Jay Gottlieb. He has also recorded his piece Duevoe with the Hungarian Radio Symphony Orchestra. He was honored with the Zoltán Kodály State Scholarship for composers for the year 2000, and the Annie Fischer State Scholarship for music performers in the year 1999. In 2020 and 2022 he won the ARTISJUS-prize.
Born in Budapest the son of renowned soprano Veronika Kincses, Gregory Vajda studied conducting at the Franz Liszt Academy of Music under Professor Ervin Lukács. He was also a conducting and composition pupil of well-known composer and conductor, Péter Eötvös.
see also: Vajda Gergely - conductor
Reflecting his growing presence and demand in North America, he has been appointed in 2011 the sixth music director of the Huntsville Symphony. After concluding his 3 year tenure as Principal Conductor he was named Principal Guest Conductor of the Hungarian Radio Symphony (MR Symphony) in 2014. Mr. Vajda is also the Artistic Advisor of the International Armel Opera Competition and Festival.
vajda1In addition to his duties with these organizations, upcoming guest-conducting engagements during 2014-15 season include Hamilton Philharmonic, Omaha Symphony, Symphony Silicon Valley and Rochester Philharmonic.
In 2013/14 Vajda was engaged by the Phoenix Symphony, Symphony Silicon Valley, Calgary Philharmonic and the Columbus Symphony. In 2012/13 he led the Edmonton Symphony, Kalamazoo Symphony and Santa Barbara Symphony. In Hungary he conducted the Pannon Philharmonic in a semi-staged version of Ligeti’s opera Le Grand Macabre, and lead two performances of Lohengrin as part of the Budapest Wagner Days with the Hungarian National Opera Orchestra. In July he concluded his Artistic Director and Conductor position with Music in the Mountains, CA – a position held since 2009.
The 2011/12 season combined he returned to the Seattle Symphony and Edmonton Symphony with his debut leading the Toledo Symphony, while highlights of 2010/11 included a subscription series with the Oregon Symphony featuring the US premiere of his work “Duevoe,” a return to Atlanta Opera conducting La boheme, and re-engagements to the Baltimore Symphony, Edmonton Symphony, Symphony Silicon Valley and Round Top Festival. Debuts with the Louisiana Philharmonic and Huntsville Symphony rounded out the season.
Vajda’s 2009/10 season began with a stint at the Hungarian Radio Symphony Orchestra, followed by his first return to the Hungarian State Opera since emigrating to the US. In his adopted country he led subscription concerts with the Oregon Symphony, debuts with the Seattle, Grand Rapids and Memphis symphonies, and returned to the San Antonio Symphony and Symphony Silicon Valley.
Season 2008/09 marked the conductor’s introduction to the Salzburg Festival as assistant conductor to Peter Eötvös. He conducted the final performance of Bartok’sBluebeard’s Castle with the Vienna Philharmonic and Vienna State Opera Chorus, before returning to the Atlanta Opera to lead La Cenerentola. On the orchestra stage, he conducted the Toronto, Edmonton, San Antonio, and Silicon Valley symphonies. He also helped inaugurate the widely talked-about EMPAC at the Rensselaer Polytechnic Institute (NY) with a performance of Grabstein für Stephan by György Kurtag.
While assistant conductor with the Milwaukee Symphony, a position he relinquished in 2005, Gregory Vajda led several regional tours and had opportunities to conduct the Canadian Brass, Maureen McGovern, the KingSingers, as well as the Milwaukee Symphony in a yearlyclassical subscription series. In past seasons, Vajda appeared with St. Paul Chamber Orchestra, the Milwaukee Chamber Orchestra, the Calgary Philharmonic, the Winnipeg, Louisville, Charlotte and Omaha symphonies, the National Arts Centre Orchestra in Ottawa, Ensemble Intercontemporain, led the Klangforum Vienna in performances of Péter Eötvös’ As I Crossed a Bridge of Dreams and Three Sisters (as part of the Wiener Festwochen), gave the premiere of his chamber opera The Giantbaby at the New Theatre in Budapest, and the premiere of Hungarian composer György Ránki’s opera King Pomade’s New Clothes at the Hungarian State Opera. He has also conducted at the festivals of Avignon and Strassbourg, at the Woodstock Mozart Festival, Grant Park Festival and the Mostly Mozart Festival in Lincoln Center.
In addition to conducting, Vajda is also a gifted clarinetist and composer. He conducted his own composition for the silent film The Crowd at the Auditorium of the Louvre, with American pianist Jay Gottlieb. He has also recorded his piece Duevoe with the Hungarian Radio Symphony Orchestra. He was honored with the Zoltán Kodály State Scholarship for composers for the year 2000, and the Annie Fischer State Scholarship for music performers in the year 1999. In 2020 and 2022 he won the ARTISJUS-prize.
Born in Budapest the son of renowned soprano Veronika Kincses, Gregory Vajda studied conducting at the Franz Liszt Academy of Music under Professor Ervin Lukács. He was also a conducting and composition pupil of well-known composer and conductor, Péter Eötvös.
see also: Vajda Gergely - conductor
| Year | Title | Publisher | Code | Remark |
|---|---|---|---|---|
| 2002 |
Dervistánc
(Dervish Dance) |
BMC Records | BMC CD 059 | |
| 2011 | Reto Bieri: Contrechant | ECM Records | ECM 2209 | |
| 2012 |
Vajda Gergely: Barbie Blue; Gulliver Fárémidóban; Beszélgetések gyerekekkel
(Gergely Vajda: Barbie Blue; Gulliver in Faremido; Conversations with Children) |
BMC Records | BMC CD 202 |
Own |
| 2018 |
Vajda Gergely: Klarinét Szimfónia
(Gergely Vajda: Clarinet Symphony) |
BMC Records | BMC CD 274 |
Own |
| Title | Type | Year |
|---|---|---|
| 3 Pantomimes | Chamber Music | 1997 |
| The Golem | Stage work | 2005 |
| A fiatal nyár / Young Summer | Solo voice(s) with ensemble | 2006 |
| The Music Gene | Solo voice(s) with ensemble | 2021 |
| Alice Études | Chamber Music | 2016 |
| The Giant Baby | Opera | 2001 |
| Bagatelles canoniques / Canon Bagatelles | Ensemble | 2021 |
| From Left To Right | Ensemble | 2019 |
| Barbie Blue | Opera | 2006 |
| Barbie Blue Overture Fantasy | Symphony orchestra | 2011 |
| Barbie Monologues | Solo voice(s) with orchestra | 2007 |
| Blechoper / Tin Opera | Chamber Music | 1998 |
| Bluebox | Ensemble | 0 |
| Fool´s Fairy Tale | Symphony orchestra | 2023 |
| Budapest Revue | Chamber Music | 2024 |
| Captain Hume’s Last Pavin | Instrumental solo | 2018 |
| Clarinet Symphony | Concerto | 2016 |
| Conversations with Children | Chamber Music | 2008 |
| Csárdás Obstiné – Hommage to Ferenc Liszt | Concerto | 2011 |
| Csárdás-cadenza | Instrumental solo | 2018 |
| Dome | Chamber Music | 2017 |
| Drop Shadow | Chamber Music | 2021 |
| Drums Drums Drums | Concerto | 2015 |
| Furious Flowers | Chamber Music | 2012 |
| Duevoe | Symphony orchestra | 2004 |
| Electro Csárdás | Orchestral work | 2021 |
| Flower Blue | Chamber Music | 2016 |
| Turning | Chamber Music | 1998 |
| Fuhrleute / Transporters | Opera | 2019 |
| Lightshadow-Trembling | Instrumental solo | 1993 |
| Georgia Bottoms | Opera | 2014 |
| Gulliver in Faremido | Ensemble | 2010 |
| Gulliver Suite | String orchestra | 2013 |
| Haarom Aalom | Chamber Music | 2002 |
| Harsh | Chamber Music | 2007 |
| Hommage a György Kurtág | Chamber Music | 1993 |
| How To Draw A Tree | Chamber Music | 2018 |
| Hypertext | Ensemble | 2001 |
| A Serious Consideration of Endless Eternity | Symphony orchestra | 2024 |
| Accompaniment Without A Song | Instrumental solo | 2019 |
| Childhood | Solo voice(s) with ensemble | 2006 |
| La Foule / The Crowd | Chamber Music | 2001 |
| La persistance de la mémoire / The Persistence of Memory | Instrumental solo | 0 |
| Le Tombeau de Messiaen - Prélude | Ensemble | 1994 |
| Lessons with Vivaldi | Ensemble | 2021 |
| LoFi Sonata | Chamber Music | 2022 |
| L´analphabète | Solo voice(s) with ensemble | 2020 |
| Macroscope | Ensemble | 2007 |
| Medals | Solo voice(s) with solo instrument(s) | 2022 |
| All Things Happen To All | Choir and orchestra | 2023 |
| Minute Machinery | Instrumental solo | 2022 |
| Murder at the ZOO | Ensemble | 2020 |
| Märchenende / Fairytale Endings - hommage à Robert Schumann | Chamber Music | 2020 |
| Non-figurative | Chamber Music | 1997 |
| Opening ∞, Closing ∞ | Solo voice(s) a cappella | 2020 |
| Orlando´s Awakening | Orchestral work | 2012 |
| Pater Noster | Solo voice(s), choir & orchestra | 2006 |
| Post-Apocalyptic Pastorale | Ensemble | 2023 |
| Prelude to Drop Shadow | Chamber Music | 2021 |
| Purcell Variation | Symphony orchestra | 2005 |
| Rough and Ready | Symphony orchestra | 2017 |
| Schnitte | Chamber Music | 2015 |
| Solo I. | Instrumental solo | 2000 |
| Solo II. | Instrumental solo | 2000 |
| Souvenir from Toggenburg | Instrumental solo | 2005 |
| Gloomy Sunday Variations | Symphony orchestra | 2018 |
| The Cloak, the Boat and the Shoes | Solo voice(s) with orchestra | 2016 |
| The Rogue Harmonica | Ensemble | 2010 |
| The Rooster´s Crowing | Wind orchestra | 2016 |
| Further Conversations with Children | Chamber Music | 2020 |
| Tristan Etude | Chamber Music | 2002 |
| Troccata | Chamber Music | 2019 |
| Dance and Sidesong | Chamber orchestra | 1997 |
| Under-Song | Vocal music | 2020 |
| There´s a Woman - hommage to Péter Esterházy | Instrumental solo | 1996 |
| Magic Mountain | Opera | 2010 |
| Void | Instrumental solo | 2011 |
| Vacuum | Live and prerecorded music | 2008 |
| Fort Fanfare | Symphony orchestra | 2022 |
| You Will Cry at the End | Ensemble | 2022 |
| Music Box | Solo voice(s) with solo instrument(s) | 2024 |
| Bracket-Song | Solo voice(s) with solo instrument(s) | 1992 |
| Bracket-songs | Solo voice(s) with solo instrument(s) | 1996 |
| in memoriam E.P. | Chamber Music | 2024 |
| sol-Étude | Instrumental solo | 2014 |
| Persistent Dreams | Instrumental solo | 1991 |
| Five Phenomena | Chamber Music | 2005 |