Septet
Meeresstille und glückliche Fahrt
The Große Fuge – orchestral version

Featuring | Bernát Tószegi – clarinet | Endre Tekula – horn | Kristóf Szilágyi – bassoon | Tamás Major – violin | Veronika Halmay – viola | Krisztián Kurucz – cello | Norbert Mohácsi – contrabass | New Liszt Ferenc Chamber Choir
Hosted by | Máté Hámori
Greatest composers always have some baffling or enigmatic compositions in their baskets, or ones simply seeming fatal mistakes These are the children of insanity: those make the oeuvre brilliantly uneven. Then, as time passes, it turns out that the composition is not freakish, but the perspective lacks of enough spaciousness and the era catches up with the creative fantasy that ran way ahead. Such are Beethoven’s late quartets, including one that looms over like mountain, op. 130 in B-flat Major, the monumental fugue of which would not be performed together with the otherwise extensive string quartet, anyway. What did the composer see, what kind of canvases and perspectives exposed to his spiritual ears? We seek to answer this by contrasting Beethoven’s traditionalist Septet and two of his masterpieces that may not be pigeonholed.

Conferencing in Hungarian language will transit the compositions.