Vissza a hírekhez
UMZF 2011 Composing Competition - Promotional CD
8 February 2011
Palace of Arts
Béla Bartók National Concert Hall



CD 1 - Chamber ensemble category

1.Balázs HORVÁTH: (Tek)tonics
Marcell DARGAY:Circ(u)s
3.László SÁNDOR:
A Flower in the birthday bouchet of Ferenc Liszt
  Total time:53:14 
Performer: UMZE Chamber Ensemble
Conducted by Zoltán Rácz (1,2,3); Gergely Vajda (4) 


CD2 - Large orchestra category

 Balázs HORVÁTH:
The Fausts in the Enchanted Castle

1. - Prologue: Online Message*
 - Distorted Mephistopheles
 - Distorted Gretchen
 - Distorted Faust
Judit VARGA:Piano Concerto for an Imaginary Pianist

Nightmare Symphony
6. - Schizophrenia
7. - Crash
8. - Champagne
9. - Abortion
 Árpád SOLTI:
10. - L?Origine du monde5:00 
11. - Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening5:23 
12. - La Baigneuse endormie4:55 
  Total time:60:26 
Performer: Concerto Budapest
Conducted by: András Keller 

The primary aim of the New Hungarian Music Forum (Új Magyar Zenei Fórum, UMZF) Composing Competition planners and the prize donors is to motivate and support the composition of new Hungarian music. In addition, it is desirable that a lasting cooperation should form between young composers, chamber ensembles and large orchestras in promoting new music.

This year the competition organizers decided to pay their respects to Ferenc Liszt in the 200th anniversary of his birth. Accordingly they asked composers to submit entries whose theme was inspired by the art or personality of Liszt.

The competition was open to all composers who see themselves as Hungarian, and are under the age of 40. Works can be entered for the large orchestra and the chamber ensemble categories. Selection of the winning pieces was made in two rounds. In the semi-fi nal the jury judged the pieces category by category, and in a closed session selected four of the works submitted in each section. The compositions that made it to the fi nal were presented in a public concert on 8 February 2011 in the Palace of Arts, then after the performance of the last piece the jury sat in situ to deliberate.

Jury in the Chamber ensemble - semi-final:
Géza Gémesi ? composer, conductor
János Pilz - violinist
Zsolt Serei ? composer and conductor, assistant professor

Jury in the Large orchestra - semi-final:
László Kovács ? conductor, artistic director of the Miskolc Symphony Orchestra
László Tihanyi ? composer and conductor, university lecturer
László Vidovszky ? composer, university lecturer

Jury on the final:
Zoltán Jeney, chairman ? composer, university lecturer
Dr. András Batta ? university lecturer, Rector of the Liszt Academy of Music
András Keller ? violinist and conductor, music director of the Concerto Budapest
Zoltán Rácz ? percussionist and conductor, artistic director of the UMZE Chamber Ensemble
József Soproni ? conductor, professor emeritus

Results of the UMZF 2011 Composing Competition:

Chamber ensemble category:
1st prize - Péter TORNYAI: QuatreQuatuors
2nd prize - Balázs HORVÁTH: (Tek)tonic
3rd prize - Marcell DARGAY: Circ(u)s

Large orchestral category:
1st prize - Balázs HORVÁTH: The Fausts in the Enchanted Castle
2nd prize - Judit VARGA: Piano Concerto for an Imaginary Pianist
3rd prize - Árpád SOLTI: Nudes

The prizes

Winners of the first prize were awarded HUF 1 000 000 and HUF 500 000, the second prize winners HUF 750 000 and HUF 500 000, and the third prize winners HUF 375 000 and HUF 250 000 respectively. The prizes were donated by the Hungarian Intellectual Property Office.

As a special prize, Editio Musica Budapest, a member of the Universal group, has undertaken to publish and promote the eight pieces that made it to the final. The special prize from Fidelio Média consists of print and media coverage worth one million forints, awarded to Ákos Zarándy. Filharmónia NKft. commissioned a new orchestral work from Balázs Horváth, winner of the large orchestra category. The piece will be premiered at the International Bartók Festival in 2012 in Szombathely. The special prize from the Hungarian Composers? Union (a collection of 30 CDs of works by contemporary Hungarian composers) went to Judit Varga. The Liszt Academy of Music offered Péter Tornyai, its sudent to feature most effectively at the competition, the opportunity of a composer?s concert, while the Bartók Conservatory gave László Sándor the opportunity to present there his piece played in the final.

Voice mail from Ferenc Liszt

It would seem that in today?s musical trends ? from electronic pop music to contemporary classical music ? dramaturgical linearity, and motivic and harmonic development are far from being the most obvious ways of shaping form. The ad hoc form of Balázs HORVÁTH?s composition (Tec)tonic, its harmonic homogeneity and the blurredness of its motives encourage the audience to take up the position of creative, participative listeners. The dramaturgy of the work is quite perceptibly the dynamic of compression and rarefaction, accomplished with small shifts. Over the course of the piece it is primarily the ?parameters? of rhythm and instrumentation that change. In this recorded concert hall version, in the first half of the composition is more formally articulated, and the individual sections seem to have a clearer contour. In the second half of the work there is indeed much less room for the operation of traditional dramatic reflexes. At the centre of the composition?s instrumentation is the string orchestra, and this body of instruments determines the core of the sound world and its changeable surface. The function of the materials played by the much smaller wind section is characterized by a paradoxical duality: while they delineate parts of the form, they also provide for the merging of each part into another.

Marcell DARGAY in his entry Circ(u)s, similarly to Schoenberg in the Chamber Symphony, uses almost all of the instruments of the orchestra. In a piece subjected to a lean compositional logic, vigorous contrasts, regardless of the composer?s intent, imply epic content. The atmosphere of expectation, of tension (one might say of circus) and a dramaturgy of accumulation and discharge create the basic character of the work?s first section. The role of marked contours in formal organization is later gradually assumed by sound clouds. Dargay weaves a full-bodied chordal texture of long sustained ?beautiful? and rich harmonies. The colour of each static chord (rather like the technique of Klangfarbenmelodie used by Schoenberg and Webern) continually changes and transforms while it is being sounded. In the last third of the piece, more melodic in character, a chromatically ascending scale fragment appears as a melody hinting at almost romantic, mystic allusions, and intermittently a pure harmony shines through the texture. And though the material from Liszt?s work Via crucis, cited by the composer, is hidden in the composition, he has indeed grasped the spirit. Towards the close of the work some expressive, sensual and eloquent melodic fragments prepare for the finality of the conclusion.

László SÁNDOR, composer of the piece A Flower ? in the birthday bouquet for Ferenc Liszt relies on the possibilities of the diatonictonal harmonic world for formal organization. In poetic devices of this piece, which is easy to grasp and organically developed, the composer gives a significant role to decoration. Perhaps even without the composer?s commentary, it is clear that the work is built around a single core, and the repeatedly sounded tonal centre is surrounded by foreign harmonic layers, like skin. In this sense the instrumental ornamentation is highly functional, since it perceptibly marks off the harmonic strata of the composition.

In his four-movement work Quatre Quatuors Péter TORNYAI has further developed the twelvenote theme from Ferenc Liszt?s Faust Symphony, astonishingly novel in its time, and irregular from the point of view of Schoenberg?s compositional method. At the beginning of this work, written for four quartets of unusual make-up, the Faust theme appears as if a quotation, but as it continues the compositional promise is kept: the piece does indeed explore the possibilities latent in the thematic material. The instrumental thinking behind the work also affords exciting opportunities. Tornyai has formed four groups of instruments. Beside each instrument of the string quartet he has grouped three other instruments. The first violin is paired with oboe, horn and piano; the second violin with clarinet (in E fl at and B fl at), trombone and percussion; the viola is coupled with clarinet (B flat and bass clarinet), trumpet, and cimbalom; the cello with flute, bassoon and harp. The instrumentation of the piece could also be described as a game played with combinations of quartets.

Its use as concrete musical material, as a quoted musical motive, is not the only way the Faust theme can serve as the starting point for a new work. Balázs HORVÁTH took as a basis the poetic content of the Faust Symphony. In The Fausts in the Enchanted Castle he has transformed the dramaturgy of Liszt?s symphony. Mephisto is merely a grotesque reflection of Faust, and by further distorting Mephisto we are led back to Faust. As with Liszt, so with Horváth, the Gretchen music is enigmatic. While the exaggerated gestures in the enchanted castle create a grotesque effect, even in these circumstances Gretchen has something fetching and mysterious. The reflection of the choral epilogue closing Liszt?s work is found in an on-line prologue. At times the pre-recorded text accelerates incomprehensibly, elsewhere slowing down, and sinking lower in pitch. The orchestra colours this strange recitative with a highly sensitive accompaniment.

Judit VARGA?s Piano Concerto for an Imaginary Pianist is a light, conversational piece. And though the ?piano automaton? (for instance in the music of László Vidovszky or Péter Eötvös) makes us intensely aware of the loss, of the absence of something, or of irrevocable transience, Judit Varga considers the use of the instrument primarily as a sort of attempt at illusion. But when does the listener begin to have reservations the human playability of the piano part? The piece teases at the paradoxes of the Romantic concerto and its performance traditions. The accompaniment, subordinated to the ?quasi pianist? follows slavishly the automated mannerisms of the ?soloist?, and the conductor and orchestra become merely one register of the machinery. Strangely, however, the embedded nature of the orchestra conceals rather than highlights the technical difficulties, which skirt with virtuosity. We can consider it an attempt at illusion, and it is among the special strengths of the Piano Concerto for an Imaginary Pianist that Judit Varga uses purely compositional means to give the impression of flexibility and the freedom of improvisation.

Ákos ZARÁNDY?s four-movement work Nightmare Symphony is related to the Berliozian tradition of the programme symphony. If we think of the programme of the Symphonie Fantastique (which incidentally is impossible to guess at without the composer?s commentary), of the idea of an unstaged opera, and of the genre music related to the scenes (waltz, pastorale, march to the scaffold), it is clear that on Zarándy?s stage too, the various genre pieces or atmospheric moments rich with visual associations occur in the logic of some sort of plot thread. At first sight the titles seem to refer to highly concrete situations (Schizophrenia, Crash, Champagne, Abortion), but unlike Berlioz, Zarándy betrays nothing of the details of these situations. Thus based on the first movement?s apparition-music, swinging between two extremes, the lively ostinato music of Crash, the pretty impudence of the waltz parody in Champagne, and the tone of the last movement, linking the worlds remote folk musics and peoples, the listener?s imagination has ample scope.

Árpád SOLTI?s symphonic poem Nudes links pictures into a musical triptych. The composer points to three paintings as his source of inspiration, all three identical in subject, but strikingly different in style. The strengths of this composition are not, however, to be found in its development of the relation between image and music. More decisive is the way the movements are linked: they follow without a break, and the musical characters flow smoothly into one another. The composition recreates the symphonic style of the turn of the nineteenth and twentieth centuries with great artifice. Of the broad contours of the composition, the listener goes away with an impression of a uniform tone, while each movement and parts thereof have strikingly individual profiles.

Szabolcs Molnár
music critic

Balázs HORVÁTH: (Tek)tonic

Portrayals of natural phenomena, historical events and architecture often appear in Liszt?s works. Following this model, I have tried to move towards a special ?depiction of nature?, one that rather examines structures, attempting in my piece (Tec)tonic to take the slow, but important tectonic movements of the planet Earth as a basis for musical composition. Although the speed of geological changes, the movement of tectonic plates and thus the shaping of various geographical formations is usually slow, their size is considerable. In one lifetime, a human being rarely experiences a geological change, but we are confronted with the spectacular and often drastic effects (for instance, earthquakes). It is this duality (slow, minute shifts leading to large changes) that I have tried to realize in (Tec)tonic. The first version of the piece was written in 2008 in response to a commission for a five-minute piece. But while sketching out the movements I imagined, it became clear that the duration of the composition was well over five minutes. While the work was in progress I noticed that, similarly to geotectonic movements, this piece has no clearly definable beginning or end. The work can be started or concluded with almost any of the formal sections.

Balázs Horváth

Marcell DARGAY: Circ(u)s

This one-movement composition for eighteenpiece chamber ensemble refers to the circle, circularity, the arena, and cyclicality, thinking along the lines of how to transfer this (these) concept(s) to the building-blocks of music without adopting the most obvious interpretation, that of the form that comes full circle with a recapitulation ? indeed, avoiding such a solution. Read without the letter in parenthesis, the title means circumstances, and is just a play on words, an attempt to broaden the range of associations. An important element in the musical texture (though not actually a solo) is the prepared piano, which takes as a basis for its tonal system the highly chromatic musical language of Liszt?s late work Via Crucis, without actually quoting from the original material. The composition is dedicated to the Krétakör theatre company.

Marcell Dargay

László SÁNDOR: A Flower ? in the birthday bouquet for Ferenc Liszt

Our great grandparents knew the meaning of flowers. They knew why sage grows in love?s garden, why I have planted violets in the flowerpot, and why my sweetheart left rosemary for me. The flower is a symbol. The colour, the number of petals, and the distribution of the leaves all have meaning. The five blue petals of the meadow cranesbill have a different meaning to the yellow petals (usually thirteen, though varying in number) of the goatsbeard. But they also knew that a flower is not just a colour, a number, a ratio, a scent, nourishment or medicine. A flower is a harmonic unity of all of these, in which, as in a mirror, God unfathomable reveals himself to the world of perception. This piece follows the growth of an imaginary flower. The first brief motive is the seed in which is contained all the information important for the ?flower?. For the elderly Liszt, the internal logic of the musical work became increasingly important. I have tried to follow this approach to music by hiding in the ?seed? the structural pointers, proportions, main motives, scales, and numbers that lend coherence to the piece. The final years of Liszt?s life, particularly his last days, were pitiful, even undignified. I have long considered putting into music the sorrow I feel over the circumstances of his death. But this year we celebrate Liszt?s birth, so this ?flower? has found its way into the birthday bouquet. This time the plant will put forth a shoot not before our very eyes, but beside our very ears; the stem will grow, leaves will form, and finally a bud will blossom and turn its petals towards the light. The secret of the flower is present in folk ornamentation, but it can also be found in the Hungarian words for flower (virág) and world (világ). The ornamentation in my piece follows the customs of ornamentation in Transylvanian folk music, and this is reinforced by the presence of a cimbalom. A few years ago I too began to immerse myself in botany, going beyond the simple naming of names to collecting, drying and cultivating medicinal plants. The work A Flower is also the musical impression of these studies and experiences.

László Sándor

Péter TORNYAI: QuatreQuatuors

Though it is difficult to put into words exactly how, I was greatly affected by the marathon concert given by the New Music Studio on 15 October 2010 in the Millenáris Theatre, Budapest. The next morning I began writing this ensemble piece (until then existing only as a sketch of a few unconnected ideas), and fortunately I managed to keep up a (for me) unusually fast working tempo over the next three weeks. Both as an instrumentalist and a composer I have the greatest affinity for chamber music, and this is probably the reason that when writing pieces for relatively large numbers of musicians I am tempted by the opportunities inherent in dividing the apparatus into smaller groups. The title QuatreQuatuors refers to the piece?s instrumentation and to its temporal form: four quartets of differing make-up (and a ?joint? or independent percussionist) perform the four movements, played without a break but clearly distinct in their musical material, in which chamber music situations within and between the groups are manifest in various ways. The starting point for the tonal system of the piece is the famous ?row? at the beginning of Liszt?s Faust Symphony, where the twelve notes of the chromatic scale are given as a chain of thirds. Continuing this line of thinking, QuatreQuatuors is based on the four possible towers of thirds, encompassing the entire chromatic scale. In addition to Liszt, the tonal material refers to works by Alban Berg and György Kurtág.

Péter Tornyai

Balázs HORVÁTH: The Fausts in the Enchanted Castle

Prologue: Online Message
I. Distorted Mephistopheles
II. Distorted Gretchen
III. Distorted Faust

This piece sets before us the distorted figure of the three main characters from Ferenc Liszt?s work Eine Faust-Symphonie. It is as if the characters were walking through the hall of mirrors in the enchanted castle, where the reflections turn their faces into different grimaces. In spite of their apparent differences the characters of the three figures have much in common: for all three, the movements are built on the same series of harmonies, so it may be that they are in fact one person (perhaps even the composer himself...). Contrary to the transfiguration of the epilogue of Liszt?s symphony, the composer introduces the movements of these distorted figures with an online prologue. (In other words, it?s no use his denying the piece is about him!)

Balázs Horváth

Judit VARGA: Piano Concerto for an Imaginary Pianist

The basic idea was related to the Liszt Year, and fitted well with one of my compositional techniques (which I use rather rarely, but quite willingly): I improvise on the piano, record the improvisation as a MIDI file, then take it through several phases of reworking (using just a computer), and very infrequently I might keep it as it is and notate it. This kind of exact recording of improvisation, fixing every parameter (volume, tempo, pitch, tone colour) and a simple processing of it is in the age of modern technology an opportunity composers could not even have dreamed of for hundreds of years. This possibility not only facilitates the composer?s work, but can inspire the creation of new musical structures and sounds. This piece is partly deception, part a stage gag: the concert grand is rolled to the centre of the platform, around it sits the Lisztian symphonic orchestra, the conductor appears and the music starts ? with no pianist. The piano part is a pre-recorded track played through loudspeakers. This is necessary primarily because the piano part is in every respect unplayable, not just by one, but even by two or three pianists; it is made impossible not just by the quantity of notes, but by the wild tempos and the extreme changes in dynamics. In this piece instrumental virtuosity is placed firmly before the composition, and the unseen soloist shines with the technique used mainly by Liszt, but also of Chopin, Nancarrow and Ligeti, which I have further developed. The sound experience teeters down a narrow band: sometimes we think it is just about playable, sometimes it seems utterly impossible. While composing I noticed it is precisely this narrow borderline band between the possible and the impossible that seems the most virtuoso to the listener: in terms of perception over-chaotic material auto matically slips into the ?machine-music? category, and I wanted to avoid that at all costs. In the same way, completely unknown materials, unrelated to the classic sound experience of the piano, are difficult to process, hence the abundance of allusions to music history. My aim was to make my piano automaton seem as human as possible, so that I could provide today?s audience with something of the experience Liszt?s public must have felt hearing a piano virtuoso who had mastered his instrument with a level of virtuosity hitherto unknown: a minor miracle, the realization of the impossible.

Judit Varga

Ákos ZARÁNDY: Nightmare Symphony

I. Schizophrenia
II. Crash
III. Champagne
IV. Abortion

A symphony or programme music? My composition is dressed in a nineteenth century suit, a work that aims to speak to listeners in today?s musical language about the problems and feelings of ordinary people in modern times. Written in November 2010, this piece can be considered first and foremost as a symphony, since it consists of four organically interconnected movements. Although the first movement is far from resembling a sonata form, by contrast third movement adheres to classical traditions. In both its character and its musical material it is a typical ?scherzo? movement in trio form, which in its dramaturgy too employs the tried and tested formulae of the nineteenth century; its light pulsating sixeight dance counterbalances the high drama of the first, second and fourth movements. The basis of the second movement is a nine-note ostinato, which gradually metamorphoses over the course of the movement. The fourth movement is a fifteen-part mensuration canon, followed by a folk-like melody and its ?dying away?. The titles of the symphony?s movements allude to programme music: Schizophrenia, Crash, Champagne and Abortion, all familiar expressions, which we often come across in today?s world. These titles form a cyclic succession of the following feelings and actions: stress, frustration, fear, panic, alcohol abuse, debauchery, emptiness, depression, disappointment, melancholy. The work aims to express this process in sound, using the composition techniques of various eras.

Ákos Zarándy

Árpád SOLTI: Nudes - symphonic poem

I. L?Origine du monde
II. Dream Caused by the Flight of a Bee
Around a Pomegranate a Second
Before Awakening
III. La Baigneuse endormie

The problem of programme music divides composers and critics to this day. Can music depict anything other than itself ? is it in fact capable of representing anything? As the father of the genre of the symphonic poem, Liszt held a steadfast belief in music?s power of depiction. The representation of an image in music is interesting in several respects. We can pluck the image from its apparently static state, or supply additional shades of colour to it. The mystic relationship between Liszt and the women who appeared around him led me to choose to depict nude paintings in music, in the formal framework of the symphonic poem. Liszt?s relationship to eroticism has been treated in Jesús Franco contemporary Spanish film director?s Erotic Symphony. This art-house film is unusual in that it chose Liszt?s music to represent eroticism. I have drawn on this experience, among others, for my first orchestral work, in which I represent the meaning behind the paintings that inspired the composition. Nudes depicts three paintings ? in music. Gustave Courbet?s picture L?Origine du monde (1866) is the most expressive; here I have dismantled and shred the motivic fragments of Bagatelle sans tonalité, and the resulting material is poured into a free form, rich in extremities. Salvador Dali?s Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening (1944) portrays his own wife, using Sigmund Freud?s research into dreams as a theoretical background. Its musical material is formed using the notes of the chords in Hindemith?s Kammermusik No. 4. In the second movement of that piece can be found one of the motives of Liszt?s B minor sonata, which presumably appeared from Hindemith?s subconscious, rather than being a deliberate quotation. For Pierre-Auguste Renoir?s painting Bagneuse endormie (1897) I sought for Impressionist tones, and found them in the Jeux d?eau ? la Villa d?Este, and I created the movement?s harmonies and melodic structure using the tonal organization of that piece.

Árpád Solti 

 Marcell DARGAY (1980) was a composition student of István Fekete Győr in the Bartók Conservatory, Budapest. He graduated in 2004 from the Liszt Academy of Music in composition under László Vidovszky, and in music theory as a student of Katalin Komlós. Amongst his teachers were Gyula Fekete, Zoltán Jeney, Zsolt Serei and András Wilheim. Between 2003 and 2005 he was répétiteur at the Hungarian State Opera House, since 2004 has taught music theory at the Bartók Conservatory Budapest. In 2003 he took part in a three-week composition course led by Tristan Murail, Christian Wolff, Alvin Lucier and Frederic Rzewski, in Ostrava, Czech Republic. As well as in Hungary, his works also have been played in the USA, France and Germany. Since 2005 he has been a beneficiary of a composer?s grant from Artisjus, and received Artisjus Award in 2001. Several of his works were written for famous festivals - the Budapest Autumn Festival, the Spring Festival, Music of Our Time and Making New Waves. He has written incidental music for several pieces at the József Katona Theatre, the Miklós Radnóti Theatre, the University of Theatre and Film and the Ódry Theatre. As a performer of contemporary works he often features as a pianist, and there have been several radio and TV broadcasts of him both as a soloist and in chamber ensembles. As a soloist his premieres include that of Attila Bozay?s Improvisations No. 3 with the Budapest Chamber Symphony, Gyula Bánkövi?s piece Sodrás with the Hungarian Symphony Orchestra, and László Vidovszky?s 405, accompanied by Componensemble. Since 2000 he has played in a two-piano duo with Dániel Dinyés, and several Hungarian composers (Gyula Fekete, Ádám Kondor, Balázs Horváth, Balázs Futó) have written pieces for them. In 2007 Editio Musica Budapest published his pieces First Words After The Last and Városligeti fasor 33. (No. 33 City Park Avenue). His chamber opera, Hálátlan dögök (Unthankful Beasts) will be presented in Munich in 2011 July in coopertion with Krétakör Ensemble Budapest and Bayerische Staatsoper.

 Balázs HORVÁTH (1976) began to study composing in the Composition department of the Bartók Conservatory, Budapest, then continued as a student of Zoltán Jeney, Attila Bozay and János Vajda at the Composition department of the Liszt Academy of Music. He graduated in 1999, and obtained the degree of DLA in 2005. Since 2002 he has taught composition, counterpoint and music theory at the Academy. As a participant on many international courses he has attended lectures with Dr. Richard Cornell, Louis Andriessen, Robert HP Platz, Rodney Sharmen, Brian Ferneyhough, Michael Jarell, Marco Stroppa, Denis Smalley, Andrea Szigetvári, Péter Eötvös, Karlheinz Stockhausen and László Tihanyi. In 2003 he was assistant at the Composers? programme at the Bartók Seminar in Szombathely, with Michael Jarrell and Jonathan Harvey. In 2004 and 2007 he was the organizer and one of the artistic directors of the joint project between the Liszt University of Music in Budapest and the Juilliard School of Music in New York, and also participated as conductor. In 1997 and 1999 he won second prize in the Music Academy composition competition. In 1999 he won third prize in the competition of the Zoltán Kodály Institute of Music Pedagogy in Kecskemét. In 1999 his piece Idődalok [Time Songs] was played in Boston at the final of the 17th ALEA III. International Composition Competition. In 2000 his choral work Petrus Passion won a prize in the ?Redemption Competition? in Törökszentmiklós. In 2002 his chamber work Contraindications won 2nd prize in the competition of the István Vántus Society in Szeged. In 2007 he won first prize with his piece Poly in the ?In Memoriam György Ligeti? composers? competition in Berlin. Second prize winner of the UMZF in 2009 at orchestral category. His compositions have been played in the Budapest Autumn Festival, the Mini Festival, the Showcase of New Hungarian Works, the Hommage a Bartók - Concert Cycle 2006, the Gaudeamus Music Week in Amsterdam, the 25th Centre Acanthes Festival in Villeneuve-lés-Avignon, the Bartók Festival in Szombathely, the Making New Waves, the ISCM World Music Days Festival (Ljubljana 2003), the Music of Today Festival in London, the Huddersfield Contemporary Music Festival and the Focus! 2007: The Magyar Legacy (New York). He regularly conducts contemporary compositions. In 2000-2002 he held a Zoltán Kodály Music Scholarship. In 2007 he was awarded the Benedek Istvánffy Prize, and the Ferenc Erkel Prize. In the recent years he is also active as a conductor, and since 2009 he has been the leader of the THEReNSeMBle.

 László SÁNDOR (1975) started his music studies in the Bartók Conservatory, Budapest and continued at the violin department of the Teachers? Training Department of the Liszt Academy of Music. As violin teacher he graduated summa cum laude in 1998, with chamber artist certificate.

Currently he works as violinist and art counsellor in the Óbuda Danubia Orchestra. He has learned composing autodidactly. In 2005 he won the Attila József Composing Competition organized by the Pannon Philharmonic Orchestra and the Ministry for National Cultural Heritage. The prize-winner composition (Felhők ? Clouds) was presented by the Pannon Philharmonic Orchestra ? conducted by Zsolt Hamar ? on the 3rd of December 2005 in the Italian Cultural Institute.

Since May 2007 he has been member of the Hungarian Composers? Union. With three other young composers he was requested to compose an orchestral work for the state ceremony of the 15th of March 2008, organized in the Palace of Arts. The first performance of this composition was honoured with the Istvánffy Benedek Prize by the Hungarian Composers? Union.

 Árpád SOLTI (1986) at the age of fourteen he was accepted to the solfeggio department of the Zoltán Kodály Secondary School for Music (Kecskemét), where he additionally learned piano from László Gerhát and percussion from János Falusi. Meanwhile he also learned composing privately from Lajos Huszár. After successful admission to the composing department of the Liszt Academy of Music he studied in the class of Zoltán Jeney. He is going to graduate this year, his master is Gyula Fekete. In 2010 the Géza Gárdonyi Theatre of Eger presented a story based upon La Fontaine?s animal fables. He composed incidental music to this theatre piece that was written by Dóra Barta, András Almási-Tóth and Orsolya Karafiáth. Such ensembles and performers played his compositions so far as László Tömösközi, Ditta Rohmann, Mátyás Antal, Gergely Madaras, Péter Oberfrank, the Óbuda Danubia Orchestra, the MÁV Symphony Orchestra, the National Choir and the Stadler Quartet. As percussionist he worked under the guidance of Tamás Vásáry, János Rolla, András Ligeti and Gergely Madaras. He regularly attended the piano master courses of László Baranyay and Lívia Rév. He won first prize at the Regional Percussion Competition of South-Alföld in 2004. In 2009 he was the Best Composer of the Chanson Competition of the University of Theatre and Film Budapest, and was awarded Audience Prize of the Youth Contemporary Music Evenings; Pianist Special Prize of the Composer Contest of the Liszt Academy of Music; Special Prize of the Bozay Society Budapest; and Honorable Mention at the Ceremonial Composition Contest on the occasion of the 20th Anniversary of the Hungarian Republic. In 2010 he received Pianist Special Prize at the Composer Contest of the Liszt Academy of Music.

 Péter TORNYAI (1987) started his music studies under the guidance of Lajos Huszár and István Fekete Győr. Since 2007 he?s been studying at the Liszt Academy of Music as pupil of Zoltán Jeney (composing) and István Kertész (violin).

As violinist and viola player he often plays contemporary music in various chamber ensembles (THReNSeMBle, Rondo Quartet, Apponyi Quartet). In 2010 he won 2nd Prize at the Leó Weiner Chamber Music Contest. Since 2007 he is permanent member of Gábor Csalog?s ensemble that studies the music of György Kurtág and also used to perform it in frames of summer courses and concerts.

Recently he won first, second and third prizes at the Composing Contest of the Music Academy, and in 2008 he won the Composers? Contest of the Museum of Fine Arts. In 2010 he won Composer?s Prize at the Austrian ISA summer academy, where he was awarded by the Klangforum Wien. For his String Quartet presented by the Stadler Quartet he was awarded with the Gerhardus Prize in 2010 at the Saint Gerhard Festival of Szeged. He attended the composing master courses of Gyula Csapó, Johannes Schöllhorn, Nigel Osborne and Krzysztof Penderecki.

 Judit VARGA (1979) has won first prize in many piano and composing competitions, and regularly plays as a solo pianist and in chamber ensembles in many countries in Europe. As well as the most important pieces from the classical literature, her broad repertoire includes new contemporary pieces. As a composer she is particularly interested in writing music for short films and theatre performances, and compositions for multimedia events. Between the age of 14 and 16 she was the winner of the János Richter Piano Competition in Győr, three times. In 1994 she represented Hungary in Moscow at the Music Garden Festival. One year later at the Békés-Tarhos International Piano Competition she won 1st prize, audience prize and Special Prize for the Best Interpretation of a Twentieth Century Work. In 2002 and 2003 she was second at the Composing Competition of the Liszt Academy of Music, then in 2003 she was the best interpreter again. Her recent triumph is the first prize of the UMZF 2009 in the large orchestra category. She graduated with honours in composition in 2005 from the Liszt University of Music, then she continued her studies at the Vienna University of Music, in piano, composition and applied and film music. Her composition have been premiered in large festivals. In 2001 she was resident at the Einklang composers? forum (Mittersill, Austria) and three times won the Zoltán Kodály Music Scholarship from the Ministry of Education and Culture (2002, 2003, and 2006) and in 2001 and 2004 won the Tokyo Foundation scholarship. In the years of 1999-2004 she participated on the courses of the Szombathely Bartók Seminar and Festival led by György Kurtág, Manuel Hidalgo, Martin Bresnik, Marco Stroppa, Michael Jarrell and Jonathan Harvey. In 2001 she was a student of Péter Eötvös, Zoltán Jeney, Florent Boffard and Pierre-Laurent Aimard on Acanthes, Avignon, in 2004 of Daniel Ott (Neue Musik-Theater course) on Making New Waves Festival. Since 1999, as a member of EAR Ensemble she has been presented several contemporary works, including her own compositions. Her Piano Concerto No 1. premiered in 1998 ? with her as a soloist -, then Piano Concerto No. 2 in 2005 at the Liszt Academy. Presently Judit Varga lives and works as a pianist and composer in Vienna.

 Ákos ZARÁNDY (1982) started his music studies in 1997 in the solfeggio-music theory department of the King Saint Stephen Secondary School for Music. Since 2000 he studied composing from László Draskóczy. Between 2001 and 2006 he was pupil of Máté Szabó Sipos and Valér Jobbágy at the singing and music teacher and conducting department of the Ferenc Liszt Academy of Music. In 2004 he was accepted to the composing department as well, his teacher was János Vajda and from 2007 Zoltán Jeney. In 2007 he was attending on courses led by Johannes Kretz and Andrea Szigetvári, in 2008 on the courses of Gaudeamus Music Week Amsterdam and in 2009 on courses by Richard Ayres, Petr Kotík, Michael Schumacher and Christian Wolff in Ostrava Days ? New Music Festival. On the 26th of August 2009 ? in frames of his composing diploma concert ? a cross-section from his first opera (?Las dos Fridas?) was played in the Great Hall of the Music Academy by outstanding instrumental soloists (Ildikó Szakács, Ágnes Herczku, Csaba Klenyán, László Ernyei, Ditta Rohmann, András Szalai, László Tömösközi) and the Symphonic Orchestra of the Hungarian Radio conducted by László Tihanyi. Ákos Zarándy is permanent participant of many contemporary music concerts (Music of Our Age, Budapest Autumn Festival, Youth Contemporary Music Evening, Con Spirito club concerts). His compositions were presented in Austria, the Czech Republic, Poland, Serbia and Mexico. The Hungarian Radio archived a number of his records and also played them many times.

További hírek
LIGETI 100 | A Budapest Music Center fesztivállal ünnepli a világhírű zeneszerző, Ligeti György centenáriumát
Eötvös Péter: Valuska│Opera-ősbemutató
Eiffel Műhelyház
Kurtág György: Fin de partie (A játszma vége) - magyarországi bemutató
További lemezek