BUDAPEST FESTIVAL

ORCHESTRASEASON2015-16

2015-16SHARE THE

MAGIC

“When I listen to the BFO’s con-certs, I feel myself enveloped by the music. I am embraced by the notes, the dynamics, the fortes and the pianos, and I feel the composer’s innermost thoughts flowing through my very being ... Magic? Yes, with Iván Fischer as the magician.”Gyuláné Fenyvesi, audience

GREETINGS 4BFO 8BRIDGING EUROPE 15CONCERTS 25BFO IN THE COMMUNITY 59YOUNG BFO 65SUNDAY CHAMBER MUSIC 75BFO AROUND THE WORLD 81SUPPORTERS AND SPONSORS 87TICKETS 101CONCERT CALENDAR 117

CONTENTS

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GREETINGS

I feel a great responsibility to our subscribers here in Hungary, who faithfully attend all our con-certs filling the largest concert halls three times for each programme. I certainly don’t want to let them down. International critics may call us one of the best orchestras in the world, or we may be regarded as a precious export commodity, we still consider playing music at home to be our most important mission. This is because a very large family has formed around us that feels now like Hungary’s happiest club. Our family is our top priority! Iván Fischer

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GREETINGS

DEAR MUSIC LOVERS! The Budapest Festival Orchestra is delighted to present you today with its 2015/2016 season. Iván Fischer worked hard on designing a colourful programme to share the magic of music with you. We are extremely proud of our sophisticated, supportive and faithful audience who is contributing to the outstanding success of the orchestra at home and internationally. Again, the BFO brings world-renowned artists and emerging talents on stage together with your orchestra to create spe-cial moments of inspiring music making.This is our passion that we would like to share. We believe that music belongs to everyone and is bridging barriers between people, ethnic and nations. It is a universal language with the ability to connect in a way the orchestra does connect with you in the various concerts wherever we perform. In this spirit we continue our Bridging Europe Festival kicking off the season which will focus on the rich culture of Austria. However, the Budapest Festival Orchestra plays not only an active role in the cultural life of Hungary with its main stage concerts in Budapest, it also offers a variety of programmes aiming at younger generations and since last year aiming to serve the communities in the country. The overwhelmingly positive response to these activities encouraged us to create a new project in June 2015 at Heroes Square: Dancing on the Square. The orchestra will perform the incidental music to Mendelssohn’s A Midsummer Night’s Dream while hundreds of underprivileged children who then will have been taught for four months from all around the coun-try dance together, in the spirit of mutual understanding.We invite you to join us on an exciting musical journey through the year. The Budapest Festival Orchestra is looking forward to share the magic of music in remarkable moments such as described in the New York Times after a concert of the orchestra in January at Lincoln Center: “… all the elements of performance worked as one, each in balance. All in a night’s work for what might be the best orchestra in the world.”Thank you for supporting us! Yours SincerelyStefan Englert

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THE BUDAPEST FESTIVAL ORCHESTRA is one of the Hungarian music scene’s major success stories, being rated among the top ten orchestras in the world. Its key figure is Music Director Iván Fischer who, alongside Zoltán Kocsis, was one of the Orchestra’s founding fathers. The BFO’s unique system works to encourage the artistic qualities of its musicians to blend together, forming an exquisitely homogenous orchestral sound. Both audience and critics alike acknowledge the quality in the ensemble’s captivating chamber music performances, as well as the all-pervasive dynamism with which it shares the joy of music-making with the audience.

OVER THE DECADES, the Festival Orchestra has presented the Hungar-ian audience with such stars as Sir Georg Solti – until his death he was the Principal Guest Conductor of the BFO, as well as great musicians such as Yehudi Menuhin, Pinchas Zukerman, Gidon Kremer, Radu Lupu, Sán-dor Végh, Sir András Schiff and Richard Goode. Iván Fischer also makes great efforts to invite young, internationally-acclaimed musicians and singers to perform for domestic audiences.

THE ORCHESTRA IS A REGULAR GUEST at the world’s most important music venues and concert halls, including Carnegie Hall and the Lincoln Center in New York, Vienna’s Musikverein, the Royal Concertgebouw in Amsterdam and London’s Royal Albert Hall. They have repeatedly been invited to perform at international music events such as the Mostly Mozart Festival, the Salzburger Festspiele or the Edinburgh International Festival.

THE ORCHESTRA’S OWN BRIDGING EUROPE FESTIVAL, focusing on the culture of a different nation every year, was launched in partnership with Palace of Arts – just like the famous Music Marathons. Opera per-formances, directed by Iván Fischer, are also staged as joint productions; following on from the highly-acclaimed renditions of Don Giovanni and The Marriage of Figaro, they recently performed The Magic Flute.

IN 2014, THE ORCHESTRA DEDICATED ITSELF to two Community Weeks of free concerts given in S.O.S. Children’s Villages, nursing homes, church-es and synagogues, and these will continue into 2015. This summer will

BFO

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BFO

see the initiation of a further grand project when two hundred underpriv-ileged youngsters will dance to the orchestra’s tune on the Square Concert in Budapest’s Heroes’ Square.

THE ORCHESTRA REGULARLY PLAYS TO YOUNG AUDIENCES, including Cocoa Concerts for the youngest and ’Choose Your Instrument’ programmes for primary school children. They hold frequent film competitions for sec-ondary school students, while making efforts to reach out to young adults too – not least through the highly successful Midnight Music series.

OVER THE YEARS, THE BFO HAS RECEIVED THE HIGHEST OF ACCO-LADES. In 2008, internationally-renowned music critics rated the orchestra the 9th best in the world, bettering such prestigious ensembles as the New York Philharmonic and the Boston Symphony Orchestra. In New York Magazine’s 2013 list of the city’s top classical music events, the BFO’s production of The Marriage of Figaro was voted the best of the year. The orchestra’s albums have twice won Gramophone Awards, while their ren-dition of Mahler’s first Symphony was nominated for a 2013 Grammy. In 2014, the recording of Mahler’s Symphony No. 5 received wide acclaim, being awarded both the Diapason d’Or and Italy’s Toblacher Komponier-häuschen for Best Mahler Recording.

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IVÁN FISCHER

IVÁN FISCHER is the Music Director and a founder of the Budapest Fes-tival Orchestra, while also fulfilling the role of Music Director at Berlin’s Konzerthaus and Konzerthausorchester. Recently he has seen his repu-tation rising as a composer too, with his works being performed in the United States, the Netherlands, Belgium, Hungary, Germany, and Austria. He has also directed a number of successful opera productions.His thirty-year-long partnership with the Budapest Festival Orchestra is one of the greatest success stories on the classical music scene. The BFO’s frequent worldwide tours as well as a series of critically-acclaimed and fast-selling records, released first by Philips Classics and later by Channel Classics, have contributed to Iván Fischer’s reputation as one of the world’s most successful orchestral directors.As a guest conductor, he has worked with the finest symphony orchestras in the world. The Berlin Philharmonic has played more than ten times under Fischer’s baton, and he spends two weeks every year with the Am-sterdam’s Royal Concertgebouw Orchestra. He is also a frequent guest of the leading US symphony orchestras, including the New York Philhar-monic and the Cleveland Orchestras.As Music Director, he has led the Kent Opera and the Opéra National de Lyon, and was Principal Conductor of the National Symphony Orchestra in Washington DC. Many of his recordings have been awarded prestigious international prizes.He studied piano, violin, and later the cello and composition in Budapest, before continuing his education in Vienna where he studied conducting under Hans Swarowsky.Iván Fischer is a founder of the Hungarian Mahler Society and Patron of the British Kodály Academy. He has received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services in promoting interna-tional cultural relations. The government of the French Republic made him Chevalier des Arts et des Lettres. In 2006 he was honoured with the Kossuth Prize, Hungary’s most prestigious arts award, while in 2011 he received the Royal Philharmonic Society Music Award, Hungary’s Prima Primissima Prize and the Dutch Ovatie Prize. In 2013 he was given Hon-orary Membership to the Royal Academy of Music in London.

I VÁ N F I S CH ER

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THE BFO’S MUSICIANS

ViolinBence AsztalosZsuzsanna BerentésÁgnes BíróAntónia BodóBalázs BujtorCsaba CzenkeGyörgyi CzirókVioletta Eckhardt, orchestra leaderMária Gál-TamásiTibor GátayEmese GulyásGiovanni Guzzo, orchestra leaderKrisztina HajákRadu HribErika IllésiTímea Iván, principalIstván KádárPéter KostyálEszter Lesták BedőZsófia LezsákTamás Major, orchestra leaderNoémi MolnárAnikó MózesGyöngyvér OláhJános Pilz, principalGábor SelmecziGábor SiposLevente SzabóZsolt SzefcsikGabriella Takácsné NagyZoltán Tuska

ViolaMiklós BányaiJudit BendeCecília BodolaiLászló BolykiÁgnes CsomaZoltán FeketeCsaba GálfiBarna JuhászPéter Lukács, principalIstván PolónyiIstván RajncsákNikoletta ReinhardtNao Yamamoto

CelloLászló BánkLajos DvorákÉva EckhardtPéter HáryGyörgy Kertész

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Tamás PótiBalázs TóthZoltán Tóth

TromboneCsaba BenczeJustin ClarkMariann KrasznaiRóbert StürzenbaumBalázs Szakszon, principalAttila SztánNorbert Zakó

TubaJózsef Bazsinka

HarpÁgnes Polónyi Júlia Szilvásy

TimpaniRoland Dénes

PercussionBoglárka FábryLászló HerbolyIstván KurcsákGábor PusztaiGáspár Szente

Keyboard instrumentsDávid BállGábor BartinaiSoma DinyésZoltán FejérváriLászló Adrián NagyJános Palojtay

Gabriella LiptaiKousay MahdiGyörgy MarkóOrsolya MódRita SoványPéter Szabó, principal

Double BassZsolt Fejérvári, principalAlajos H. ZováthyKároly KaszásGéza LajhóLászló LévaiCsaba MagyarAttila MartosCsaba Sipos

FluteAnett JóföldiZsuzsanna Kovács-MadaiBernadett NagyGabriella Pivon, principalErika Sebők, principal

Oboe Victor Aviat, principalEmmaunel Laville, principalEva NeuszerovaClément Noël Holly RandallJérémy Sassano

ClarinetÁkos Ács, principalRoland CsallóRudolf Szitka

BassoonAndrea Bressan, principalMihály DuffekSándor PatkósDániel Tallián

HornDávid BereczkyPéter Dávida, principalMiklós Nagy, principalZsombor NagyAndrás SzabóZoltán Szőke, principal

TrumpetZsolt Czeglédi, principalBence Horváth

“Iván Fischer and his orchestra are a shining gem of Hungarian and European culture. They strive for perfection in the way they sound, yet manage to avoid pre-tension. What they represent is music in its purest form. At the same time, they educate their audience, in the most noble sense of the word, helping them understand and enjoy contem-porary works as well as pieces seldom heard elsewhere.”Ágnes Heller

BRIDGING EUROPE

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“By pledging to belong to the family of Europeans, we decided to become members of a community. This is not a group of selfish countries bickering and wrangling amongst one another, but a family of nations that love and respect each other. And we need to make good on our promises.” Iván Fischer

A joint production by the Budapest Festival Orchestra and the Palace of Arts, the ’Bridging Europe’ festival brings a special flavour to the opening of each season. As well as lighter classical music concerts, jazz groups and open-air film screenings will help the festival bid adieu to the summer. The focus and driving force of the series has always been one country with a colourful, rich, and significant cultural heritage; for a nation’s mu-sic tells more than anything else about its people. As clarinetist and con-temporary composer Jörg Widmann aptly put it: “Musical heritage in itself defines a country’s identity.”In the autumn of 2013, Czech melodies took centre stage; in 2014, we used the energies of German culture to pull down further the walls that sepa-rate nations. In 2015, the focus will move on to the music of Austria. Iván Fischer has selected such composers as Hugo Wolf and Gustav Mahler. Following tradition, baroque and contemporary Austrian music will com-plete the festival.The organisers are convinced that trust and fellowship among the nations of Europe are sorely needed, and that art is a perfect means to help bring that about. “The power of European culture lies in the interaction of the peoples living here. This should form the basis of our future development. To carry on a dialogue and produce a collective mentality, we have to meet and get to know each other. This is the way to build our mutual, recover-ing European culture,“ says Csaba Káel, Chief Executive Officer of the Palace of Arts.Although ’Bridging Europe’ introduces the festival audience to the culture of a different country every year, one of the permanent features is an in-ternational conference on the culture of the guest country. 2015 will bring us closer to Austria.

IN THE SPOTLIGHT: AUSTRIA

CA F É S CHWARZ ENB ERG , B É CS

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Hugo Wolf: Anakreons Grab Denk› es, o Seele! Gebet Gesang WeylasHarfenspieler I. Herz, verzage nicht geschwind

Gustav Mahler: Symphony No. 7 in E minor

Roman Trekel (baritone) Conductor: Iván Fischer

SEPTEMBER 11-12-13Palace of Arts, Béla Bartók National Concert Hall11th Friday 7:45 pm Doráti12th Saturday 3:30 pm Reiner13th Sunday 7:45 pm Solti

WOLFMAHLERFISCHERTREKEL

BOTH WOLF AND MAHLER were born in 1860. For a while, they were both studying in Vienna and their career paths crossed, although in most as-pects they were polar opposites of each other. “The label ’song composer’ is meant as a compliment, yet deep in my heart it makes me sad,” wrote Hugo Wolf in a letter dated October 1891. “Surely, this is nothing but a reproach to me composing only songs, suggesting that I am unable to handle any other genre.” Wolf may have taken this classification as an insult, but the term ’song composer’ adequately describes his œuvre. Throughout his life, which ended in a Viennesse mental asylum in 1903, he composed more than three hundred songs of which 24 have come down to us with full orchestral accompaniment. A selection of these will be performed by the Festival Orchestra at the opening of the season.

SYMPHONY NO. 7 “It is my best work and predominantly of a cheerful character”, wrote Mahler in a letter to the Munich impresario and concert promoter Emil Gutmann. This description, however, suits only the final two movements; the Andante amoroso (4th movement) and the imposing 5th, the Rondo-Finale. Mahler composed his seventh Symphony in 1904–1905. The two charming ’Nachtmusik’ movements, the 2nd and the 4th, were written in the summer of 1904, while the rest was finished the fol-lowing summer. A letter he wrote to his wife Alma in 1910 recalls the circumstances around his composing; he was struggling and still unable to get on with his work. Mahler was on the verge of giving up, had recon-ciled himself to another wasted summer, when he decided to go rowing. The first few strokes evoked in him the subject of the first movement, or its rhythm at least, and from then on it took him barely four weeks to com-plete the entire symphony. For a while, the finished work lay in a drawer in Mahler’s desk, as the premiere of Symphony No. 6 still had yet to take place. Three years passed before the work was finally premiered.

HUGO WO L F

O L G A N E UW I R T H

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Georg Friedrich Haas: Nach-Ruf … ent-gleitend …

Olga Neuwirth: Five Daily Miniatures

Joanna Wozny: brown, fizzled out

Beat Furrer: linea dell’orrizzonte for chamber ensemble

Bernhard Lang: DW 24 “Loops for Al Jourgensen”

Ensemble PHACETim Severloh (countertenor)Conductor: Ernst Kovacic

SEPTEMBER 15Palace of Arts, Festival Theatre15th Tuesday 7:45 pm

HAASNEUWIRTHWOZNYFURRERLANGKOVACIC PHACESEVERLOH

THIS YEAR’S SPECIAL GUEST at the BFO’s Bridging Europe festival is PHACE, one of the most successful, innovative and multi-faceted contem-porary music ensembles in Austria. Apart from performing chamber mu-sic by contemporary composers, the group often takes part in musical theatre productions, in dance and non-musical productions, as well as in videos and art installations. Since 2010, PHACE has gone to great lengths to present more frequent crossover projects. The active core of the group consists of eleven instrumentalists. They hire other musicians for specif-ic productions on a temporary basis, and sometimes bring in guests to represent other art forms. As for their contemporary programme at the BFO’s ’Bridging Europe’ festival, the group has made an effort to present a sample of the work of outstanding composers from Austria’s middle generation to the Hungarian audience.“On the one hand, it is important that we engage in a wide range of activ-ities, on the other, though, we follow a clear-cut policy, regardless of gen-re – no matter whether it is something interdisciplinary or something in the range of dance theatre,” said the conductor of PHACE, Simeon Piron-koff, in an interview. Artistic director Reinhard Fuchs emphasizes that the ensemble has an interest in composers “who have developed their own, personal musical idiom and who attempt to broaden their artistic horizons in terms of musical modernity. There is an incredibly wide range of exciting works, and aesthetically they are pretty diverse. Besides keep-ing up our repertoire, PHACE commissions a number of new pieces every year.” To date, more than two hundred works have been written for them.

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Baroque music from Austrian imperial courts: works by Heinrich Ignaz Franz Biber, Georg Muffat, Charles Mouton, Benedict Anton Aufschnaiter, Pavel Josef Vejvanovský, Antonio Maria Bononcini, Johann Joseph Fux and Romanus Weichlein

Marelize Gerber (soprano)Maria Mühlbacher (dance)Artistic director and leader: Gunar LetzborBaroque gesture: Sigrid T’Hooft

SEPTEMBER 16Palace of Arts, Festival Theatre16th Wednesday 7:45 pm

BAROQUE CONCERTLETZBORGERBERMÜHLBACHERT’HOOFT

THE AUDIENCE AT THE FIRST HISTORICAL CONCERT will be treated to a mixed programme: the composer of every work to be performed was born in the 17th century. The careers of most of them also date back to that century, with only a few having composed on into the early 18th cen-tury. What they have in common is that they all created the major part of their oeuvre in various courts of the Habsburg Empire. This period saw much of the exchange between the musical centres, royal and aristocrat-ic courts in Europe take the shape of composers and virtuosos – which is how they received various cultural inputs. Career opportunities present-ed themselves as positions at courts or in churches. Many of the compos-ers knew each other either personally or through correspondence, or there was some form of connection between their works. The most famous and influential composers were arguably Biber, Muffat, and Fux, but the works which will be performed by the other, minor masters, provide a good im-pression of the exceptionally high quality, rich, and varied genres of the period. Heinrich Ignaz Franz Biber (1644–1704), a Czech-Austrian composer and violin virtuoso, composer of the Rosary (Mystery) Sonatas – the first known work for unaccompanied violin – is one of the most important figures of violin literature, a composer known and imitated across Europe during his age. He served for decades at the Archbishop of Salzburg’s court.The French Georg Muffat (1653–1704), who was also of Scottish descent, studied in Paris, where his teacher is assumed to have been Lully. He visited Prague and Salzburg, studied under Corelli, and later worked as an organist and composer in cities including Ingolstadt and Vienna. He was in the employment of the bishop of Passau from 1690 until his death.

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Johann Joseph Fux (approx. 1660–1741) was a well-known composer and music theorist of his age. During his youth he studied in Graz and Ingol-stadt, and became the organist of the Schottenstift in Vienna in 1696. He remained in this position until 1702, when he was appointed as court composer to the Emperor. He became assistant conductor of the Viennese court orchestra in 1712, and principal conductor in 1715. (This was one of the most important musical positions in Europe.) As a teacher of com-position, Fux had such famous pupils as Georg Friedrich Wagenseil, Gott-lieb Muffat (Georg Muffat’s son) and Jan Dismas Zelenka.

GUNAR L E T Z BOR

“Their extraordinarily high professional artistic standards are coupled with so much to love – intimacy, a richness of ideas, humour and respect for the audience. Quite simply: it is good to be around them, to share in their successes and to wait for the next opportunity to see them.” Tamás Horváth, audience

CONCERTS

B EN J AM I N B R I T T E N

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Benjamin Britten: The Little Sweep, Op. 45 (Let’s Make an Opera!)

Director: Eszter NovákConductor: Gergely Dubóczky

SEPTEMBER 29Academy of Music, Solti Hall29th Tuesday 7:00 pm

BRITTENNOVÁKDUBÓCZKY

OVER THE PAST FEW YEARS, an opera for children or younger audienc-es has become part of the BFO’s season curtain-raiser. Noye’s Fludde by Benjamin Britten and Hans Krása’s Brundibár were followed last season by Der Jasager (The Yes Sayer), a school opera by Kurt Weill and Bertolt Brecht. In September 2015, the orchestra will present another work by Britten to its young audience in the Liszt Academy’s beautiful and recent-ly refurbished small hall, the Solti Hall, which is perfect for chamber opera productions.Britten composed several educational works with the young in mind. The Little Sweep is the third part of the ’Let’s Make an Opera!’ series, all writ-ten for children. The story takes place in 1810. Librettist Eric Crozier used William Blake’s poem ’The Chimney Sweeper’ as his inspiration:

“When my mother died I was very young,And my father sold me while yet my tongueCould scarcely cry weep! weep! weep! weep! So your chimneys I sweep, and in soot I sleep.”

Cheerful as the prevailing tone of Britten’s opera for children may be, the work tells the story of eight-year-old Sam with sympathy and pity. A brutal chimney sweep sends the boy into a fireplace to clean the chimney. Sam gets stuck in the chimney-stack, but children come to his rescue. They hide him and help him escape from his evil master. Dickens, too, used the tale of the little sweep more than once.The piece is performed by eleven amateur and professional singers, ac-companied by a minimal instrumental ensemble. The audience is an ac-tive part of the production: the composer and librettist included four easy-to-learn songs for children in the auditorium.

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TWO SYMPHONIES will top-and-tail tonight’s concert, which opens with one of Mozart’s early compositions and ends with a 1788 work by Haydn – widely known as the father of the genre. As a child prodigy in Salzburg, Mozart composed a number of symphonies in the Italian ’sinfonia’ style (Mozart himself referred to them as such). That is to say, these pieces consist of multiple-movements similar in form to a baroque opera overture, the first great master of which was Alessan-dro Scarlatti. Mozart finished this symphony on May 5, 1774.According to Mozart’s own catalogue of works, he completed his Piano concerto in C major on December 4, 1786. Written at the same time as the ’Prague’ symphony, this is the last of the acclaimed virtuoso composer’s twelve concertos, written in Vienna between 1784 and 1786 for his own ’academies’. The Concerto in C major is an outstanding piece of work, although it took some time for its popularity to reach the level of the gen-re’s other showpieces. During 1791, the last year of Mozart’s short life, he was hugely prolific. His last opera, La clemenza di Tito, was written for the coronation of Holy Roman Emperor, Leopold II, and premiered during the celebrations in Prague on September 6, 1791. True, The Magic Flute premiered later, but most of it had already been composed by the time Mozart received his commission for La clemenza. This opera seria was rediscovered in the second half of the 20th century by opera houses and record companies. Today it enjoys a secure place within the operatic canon, and its overture remains a popular addition to symphonic concerts.

Wolfgang Amadeus Mozart: Symphony No. 30 in D major, K. 202 Piano concerto No. 25 in C major, K. 503La clemenza di Tito, K. 621 – overture

Joseph Haydn: Symphony in C major, Hob. I:90

Péter Frankl (piano)Conductor: Gábor Takács-Nagy

MOZARTHAYDNTAKÁCS-NAGYFRANKL

OCTOBER3-4Academy of Music Grand Hall3rd Saturday 7:45pm Ormándy 4th Sunday 7:45pm Solti A

Haydn wrote the final piece of tonight’s concert, his Symphony No. 90 in C major, following the success of his six ’Paris’ symphonies (Numbers 82–87). Commissioned by Count d’Ogny, it too was composed for the Ma-sonic Loge Olympique in Paris together with two other symphonies (Nos. 91 and 92).

GÁBOR TA K Á CS -N AGY

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SOPH I E K L USSMANN

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Richard Strauss: Death and Transfiguration, Op. 24

Benjamin Britten: Les Illuminations, Op. 18

Jean Sibelius: Symphony No. 4 in A minor, Op. 63

Sophie Klussmann (soprano)Marek Janowski, conductor

OCTOBER 15-16-17Academy of Music Grand Hall15th Thursday 7:45pm Doráti A16th Friday 7:45pm Doráti B17th Saturday 7:45pm Ormándy

STRAUSSBRITTENSIBELIUSJANOWSKIKLUSSMANN

COMPOSED BETWEEN 1888 AND 1890, Death and Transfiguration was the third symphonic poem by the young Richard Strauss, following on from Macbeth and Don Juan. ’Thus Spoke Zarathustra’ also dates from this early period. The storyline of the work, portraying a strong Wagneri-an influence, was written by Strauss himself. The music depicts the pains and suffering of a dying man, recalling the events of his life as he lies on his deathbed, until finally his soul attains transfiguration upon his death. Alexander Ritter’s poem, which forms a preface to the orchestral score, was written afterwards and drew inspiration from the composition. Death and Transfiguration premiered in Eisenach in 1890, conducted by the composer himself.

MUSICOLOGISTS regard Les Illuminations, composed for tenor or sopra-no to poems by Rimbaud, as the greatest achievement of Benjamin Britten’s two-and-a-half years in the United States. Britten began working on the piece while still in England, but finished it in America in 1939. On its pre-miere in 1940 it was met with great enthusiasm by the London audience. Even though Jean Sibelius was born in 1865, he outlived all of his signif-icant contemporaries; Richard Strauss, Mahler, Puccini and Debussy. By the 1920s his oeuvre was mostly complete. His symphonies and symphon-ic poems form his most significant works. And even though Sibelius’ sym-phonic composition cannot be compared to Mahler’s, they share the blend of expression which both inherited from Romanticism and nascent Mod-ernism. Another feature of Sibelius’ symphonies is the confluence of his influences, notably from Wagner and Tchaikovsky, with the newly-emerg-ing Finnish national mood. The opening movement of the Fourth sym-phony, composed in 1911, displays a particularly strong Wagnerian theme.

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FOR TODAY’S CONCERT, IVÁN FISCHER HAS CHOSEN THE WORKS of two classical Russian composers of the 20th century – Prokofiev and Stravinsky. Their careers show several similarities; they have parallel musical roots and they both left Russia during the 1917 revolution. Stravin-sky remained in Europe, then the United States, while Prokofiev, unhappy abroad, was enticed home by the Soviet authorities.

PROKOFIEV COMPOSED HIS OVERTURE ON HEBREW THEMES, Op. 34, in America in the autumn of 1919. The original version was written for a sextet of Jewish musicians called the Zimro Ensemble, the members of which had all studied under Prokofiev at the Saint Petersburg Conserva-tory. It took ten days for the composer to compile a final version from the themes improvised on a piano, and following a successful New York pre-miere he arranged it for a small orchestra.Prokofiev wrote the Violin concerto in G minor in 1935 for French violin-ist Robert Soetens who premiered it in Madrid the same year. Originally, the piece was intended to be a sonata for violin and piano but it outgrew these confines during the composition process.

STRAVINSKY’S JEU DE CARTES (Card Game) was written in 1936 for the American Ballet to a libretto by the composer and M. Malaev, with chore-ography by George Balanchine. Today’s concert presents the suite in three ’deals’ which follow each other attacca. All three begin with a march-like introduction, symbolising the shuffling and dealing of the cards. The pro-tagonists are all cards in a game of poker, where the joker disturbs the peace. Jeu de cartes premiered in New York in 1937.

Sergei Prokofiev: Overture on Hebrew themes, Op. 34Violin concerto No. 2 in G minor, Op. 63

Igor Stravinsky: Jeu de cartes The Firebird suite, No. 2 (1919)

Thomas Zehetmair (violin)Conductor: Iván Fischer

PROKOFIEVSTRAVINSKYFISCHERZEHETMAIR

NOVEMBER 07-08-09 Palace of Arts, Béla Bartók National Concert Hall7th Saturday 7:45pm Solti B + Midnight Music 11:30pm8th Sunday 3:30pm Reiner9th Monday 7:45pm Doráti

Stravinsky’s ballet The Firebird, written to accompany Mikhail Fokin’s story, is described as a ’Fairy-tale ballet in two tableaux’. The piece was premiered in 1910 by Diaghilev’s company, Ballets Russes, in Paris. This was Stravinsky’s first work for Diaghilev. The ballet brought Stravinsky fame and recognition overnight. A year later the composer reduced the ballet to an orchestral suite, which he revised twice later on. The second version, dating from 1919, is the one most commonly heard in concert.

T H OMAS Z E H E TM A I R

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Jean-Baptiste Lully: Roland Suite

Jean-Féry Rebel: La FantaisieLes Plaisirs champêtres

Louis-Nicolas Clérambault: La Muse de l’Opéra – cantata for soprano

Jean-Phillipe Rameau: Platée Suite

Stefanie True (soprano)Conductor: Sigiswald KuijkenBaroque gesture: Sigrid T’Hooft

NOVEMBER 27-28Academy of Music Grand Hall27th Friday 7:45pm Ormándy28th Saturday 7:45pm Doráti A

LULLYREBELCLÉRAMBAULTRAMEAUKUIJKENTRUET’HOOFT

DURING THE 2015-16 SEASON, one of the ’big guns’ of historical music performance, violinist and conductor Sigiswald Kuijken, will direct two concerts by the BFO’s early music ensemble. The founder and leader of Belgium’s ’La Petite Bande’, an ensemble established in the 1970s which counts his brothers, Barthold and Wieland, among its members, Kuijken has chosen works by French Baroque composers for the first concert to be given together with the BFO’s Baroque ensemble.

THE FIRST, AND ARGUABLY MOST INFLUENTIAL COMPOSER of French Baroque music was a musician called Giovanni Battista Lulli (1632–1687). He was born in Italy to noble parentage and, having travelled to France, he entered the service of the ’Sun King’ Louis XIV. At the French court he assumed the name Jean-Baptiste Lully. Possessing both great musical and business sense, Lully held a monopoly on the city’s musical life for many years. As a favourite of the King, he enjoyed unrestricted power over the Parisian music establishment, composing one opera and ballet after another for his own theatre. At the peak of his career, however, he fell victim to an ’occupational hazard’ and can therefore be regarded as the conducting profession’s first martyr. He struck his foot with his long conducting baton and eventually died from the ensuing infection …While Lully’s suite opens the concert, it concludes with a suite compiled from the witty opera Platée, composed by another giant of French Baroque music, Rameau (1683–1764). In between the two suites, pieces by Jean-Féry Rebel (1666–1747), a pupil of Lully, and by Louis-Nicolas Clérambault (1676–1749), the creator of the ’French cantata’, will give a taste of Baroque music with a French accent.

S T E FA N I E T R U E

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Conductor: Iván FischerDECEMBER 26-27-28Academy of Music, Grand Hall26th Saturday 7:45pm Solti A27th Sunday 3:30pm Reiner A 27th Sunday 7:45pm Reiner B28th 7:45pm Solti B

SURPRISECONCERTFISCHER

“People always want to eat food with which they are famil-iar. The great majority is afraid of anything new. We must find a way to overcome that fear.” Iván Fischer

TWELVE YEARS AGO, Iván Fischer and the Budapest Festival Orchestra came up with a new form of concert – the details of their Surprise Concerts are a closely guarded secret, where the audience only learns what they will see and hear during the concert. The Surprise Concerts were a huge success from the off; the key factor being the absolute trust which a great many people had in Iván Fischer. They were ready to join this adventure even without knowing what would be performed and by whom.

AT ONE SURPRISE CONCERT, during Stravinsky’s Tango, two members of the orchestra laid down their instruments and took to the floor, giving a tango performance which would have put even the most seasoned of professional Argentinian dancers to shame. That same night, as Iván Fis-cher was conducting Ravel’s Boléro, a ballerina emerged from behind the timpani to tie herself to the conductor, making the performance a once-in-a-lifetime experience. As the orchestra celebrated its 30th anniversary, the Surprise Concert became a ’request concert’, with the audience se-lecting the elements of the programme from an extensive ’menu’. In 2014, a part of the programme was also based on requests, and that time the audience chose Bach’s Air and a Slavonic dance by Dvořák.Naturally, the programme of the 2015 Surprise Concert is a secret. It will come as no surprise, however, to learn that the concert is going to be held in the hall, the one from where the orchestra began its journey in 1983 – The Grand Hall of the Liszt Ferenc Academy of Music.The Festival Orchestra’s greatest merit is that surprise and miracles are not limited to Surprise concerts. As a member of the audience, Tamás Barta said “every time Mr. Fischer reveals new secrets about the capabil-ities of the orchestra, and that is the real miracle.”

SURPR I S E C ONC ER T

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JANUARY 14-15-16 Palace of Arts, Béla Bartók National Concert Hall14th Thursday 7:45pm Solti15th Friday 7:45pm Doráti16th Saturday 3:30pm Reiner

LINDBERG DVOŘAKSIBELIUSSARASTETETZLAFF

Magnus Lindberg: Feria

Antonín Dvořák: Violin concerto in A minor, Op. 53

Jean Sibelius: Symphony No. 2 in D major, Op. 43

Christian Tetzlaff (violin)Conductor: Jukka-Pekka Saraste

FOR THIS BUDAPEST CONCERT, tonight’s Finnish conductor is fittingly bringing with him two works by his fellow citizens. He will open with a contemporary piece by Magnus Lindberg, born in 1958, and close with the second symphony by the most internationally known classical com-poser of Finnish music, Sibelius.Lindberg’s orchestral work, Feria was composed between 1995 and 1997. The title emphasises the hustle and bustle qualities of the work through the Spanish word feria (carnival). Lindberg’s piece premiered in 1997 at the BBC Proms in London, where it was played by the Finnish Radio Sym-phony Orchestra and conducted by Jukka-Pekka Saraste. Critics noted the Spanish fiesta-like energies emanating from the piece, as well as Lind-berg’s dazzling, colourful, yet clear, orchestration.Between the two Finnish works which frame the programme, a well-known piece will be played. Dvořák is one of the Festival Orchestra’s favourite composers. The orchestra produced a critically-acclaimed recording of this Violin concerto, conducted by Iván Fischer alongside soloist Akiko Suwanai. The work, first composed in 1879 and then twice revised, was originally dedicated to one of the best violinists of the era, József Joachim, who greatly assisted the composer with suggestions.Tonight’s performance is going to be the season’s second Sibelius sym-phony. The oeuvre of the great Finnish national composer has not been given due credit in Hungary. Which is why the orchestra is dedicating two concerts to attracting new devotees to this noteworthy Northern com-poser, whose works serve to fill a niche. Sibelius’ oeuvre is dominated by

symphonic works; his seven symphonies and five symphonic poems are an integral part of the concert canon in Northern and Western Europe. Besides their originality, the symphonies’ characters are typically influ-enced by a mixture of Romanticism and nascent Modernism, as well as by Tchaikovsky, Wagner and Finnish folk music. His second symphony, composed in 1901, also bears the marks of Tchaikovsky’s influence. The symphony is regarded by many to be the composer’s musical statement, through which he didicated himself to a Finland fighting for independence. 39

CHR I S T I A N T E T Z L A F F

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JANUARY 22-23 Academy of Music Grand Hall22nd Friday 7:45pm Doráti B23rd Saturday 7:45pm Ormándy

HÄNDELCORELLIVIVALDITELEMANNC. PH.E.BACHHASSEKUIJKENLABELLESUHT’HOOFT

HAVING CONDUCTED A FRENCH BAROQUE PROGRAMME at the end of November, Sigiswald Kuijken, a world-renowned interpreter of the his-torical style, is returning to the Festival Orchestra to conduct Baroque works with the orchestra’s early music ensemble, and this time he is tak-ing the BFO’s audience on a historical journey through the music.

WORKS TO BE PERFORMED DURING PART ONE represent composers from the heyday of Baroque music, and the selected pieces showcase their most typical genres. Händel’s Samson overture will be followed by a work from the oldest of them, Corelli, creator of the concerto grosso. Those two pieces will then be followed by a pair of well-known Vivaldi concertos, before a concerto from Telemann’s Tafelmusik brings part one to a close.

AFTER THE BREAK, a new style will be represented on stage as the BFO’s Baroque ensemble play pieces from two influential late-Baroque German composers whose works evoke the later Classical music period. Part two will open with an excerpt from the Hamburg symphony series by Carl Philipp Emanuel Bach, the second son of Johann Sebastian Bach, also known as the ’Hamburg Bach’. This is followed by a cantata by Johann Adolf Hasse, a celebrated opera composer of the age, performed by the two great sopranos Yeree Suh and Dominique Labelle, who are now famil-iar returning guests of the BFO.

Händel: Samson Overture

Corelli: Concerto grosso in D major, Op. 6, No. 4

Vivaldi: Concerto for Two Flutes and StringsA piece from the Four Seasons

Telemann: Concerto in E flat major from Tafelmusic part III

C. Ph. E. Bach: Hamburg Symphony No. 3 in C major

Hasse: L’Amor prigioniero – cantata for two sopranos

Dominique Labelle (soprano)Yeree Suh (soprano)Conductor: Sigiswald KuijkenBaroque gesture: Sigrid T’Hooft

YE R E E S UH

J Ö R G W I DMANN

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“FIRST OF ALL, I HAVE TO TELL YOU that I have always loved Budapest, not only as a city, but as a musical city as well. I have always had the feel-ing here that people listen differently. Music means something. After concerts when I talk to people in Hungary I feel this seriousness. I see a long tradition and a loving for culture and music in their eyes. For them it is still sacred.” Said Jörg Widmann recently. The Festival Orchestra is now dedicating an entire concert to his works. Widmann studied at the Music Academy in his home town, Munich, and later at the Juilliard School of Music in New York. From eleven years of age he studied composition as well under the tutelage of Hans Werner Henze, Heiner Goebbels and Wolfgang Rihm, among others. He is one of the most sought-after clarinet performers of our time, and in addition to his classical repertoire he is also one of the most knowledgeable inter-preters of new music. Many significant contemporary pieces have been dedicated to him. He teaches clarinet at the Freiburg Academy of Music, and since 2009 he has also been a professor of composition there. His oeuvre incorporates wildly varying genres, from solo instrumental works through string quartets, works for chamber and symphony orches-tras to pieces for musical theatre. Of his stage works, ’The Face in the Mirror’ was voted the best opera of the 2003-2004 season by the prestigious journal Opernwelt. His latest opera, Babylon, was composed at the request of the Bavarian State Opera.The Festival Orchestra has performed just one of his works so far, the Dubairische Tänze (Dances of Dubai). During his Budapest concert this musical great will star as composer, soloist and even conductor.

Jörg Widmann: Liebeslied (love song) for Eight InstrumentsFantasy for Solo ClarinetFreie Stücke (Free Pieces)Air für Horn solo (Aria for Solo Horn) QuintetDubairische Tänze (Dances of Dubai)

Zoltán Szőke(horn)Conductor and clarinet: Jörg Widmann

WIDMANNSZŐKE

JANUARY 24 Budapest Music Center23rd Saturday Midnight Music 11:30pm24th Sunday 7:45pm

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A joint event by the Budapest Festival Orchestra and the Palace of Arts.

Artistic director: Iván Fischer

JANUARY 31 Palace of Arts, Béla Bartók National Concert HallPalace of Arts, Festival Theatre31st Sunday 10:30am–10:00pm

MENDELS SOHN MARATHONFISCHER

THE BFO AND THE PALACE OF ARTS ESTABLISHED A TRADITION IN 2008. Music buffs consider the annual marathon a red-letter day when everybody gets the chance to indulge in the music of their favourite com-poser. The marathon attracts almost ten thousand people year by year, and there is a considerable contingent of the most indulged who sit through every concert. After Tchaikovsky, Bach, Beethoven, Bartók, Mozart, Schu-bert, Dvořák, and Stravinsky, the protagonist of the 31 January 2016 mar-athon is Felix Mendelssohn, yet there are a couple of ’supporting actors’ to appear on stage too. In the backgrund of the portrait there are other, distinctly recognizable figures as well: In addition to Mendelssohn’s works, Iván Fischer will select compositions by the representatives of early Ger-man Romanticism (1800–1830). The programme will be announced in the autumn of 2015 – don’t miss our website!When seventeen-year-old Mendelssohn sojourned in Goethe’s home in Weimar for the first time, he was improvising, and also sight-reading Mo-zart’s and Beethoven’s pieces, much to the delight of this prince of poets. Goethe likened him to an earlier child prodigy, Mozart. And he found that at this age Mozart was much behind Medelssohn. Little Felix’ accounts have also come down to us. One of his notes tells us that Goethe would open the cover of the piano every afternoon, saying “I haven’t yet heard you today, come, make a little noise now.”Mendelssohn was barely seventeen when he composed his overture to ’A Midsummer Night’s Dream’. ’The Octet’ was another of his early works, while he composed his first, short opera while still in his teens. He made his concert debut at the age of nine, and was just sixteen when, encouraged by Cherubini, he chose music as his profession. By virtue of his oeuvre alone, he deserves to hold a place in the pantheon of the greatest compos-ers of all time. Yet he is also widely credited with the rediscovery of Bach’s works, with the improvement of musical life in Leipzig, and the founding of the city’s conservatory, both as conductor and music director.

F E L I X M E ND E L SSOHN

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FEBRUARY 05-06-08 Palace of Arts, Béla Bartók National Concert Hall5th Friday 7:45pm Doráti6th Saturday 3:30pm Reiner+ Midnight Music 11:30pm8th Monday 7:45pm Solti

WEBERBRAHMSPROKOFIEVFISCHERSGOUROS

CARL MARIA VON WEBER’S three-act romantic opera was born under a lucky star – despite the intrigue which surrounded the Italian music direc-tor, the work premiered in Berlin’s recently-renovated Prussian Court Op-era House in 1820. Within a year of its premiere, the opera featured on the programme of twenty theatres, and since then it has gone from strength to strength. Considered the founding work of German romantic opera, it in-fluenced many composers of the age, including the young Richard Wagner. In contrast to the reception received by today’s opening piece – Weber’s Overture – the premiere of the 26-year-old Johannes Brahms’ first piano concerto was anything but successful. Originally, he had in mind a piece for two pianos. However, the serene subject of the work begged to be portrayed in concerto form. To orchestrate the piece, Brahms employed the help of his friend, the great violinist of the age, József Joachim. Yet the premiere flopped as the audience at the Leipzig Gewandhaus strug-gled to cope with Brahms’ style. Most probably, the unconventional nature of the work took the audience by surprise. And possibly, in the shadow of Liszt’s popular concertos, Brahms’ musical language appeared dull and puritanical. What is more, the near-hour-long composition is physically and intellectually exhausting, burdening both the performers and the audience alike. However, the story does have a happy ending. Brahms was not put off by the failure, and after a few years he could be happy to see the success and growing popularity of the concerto.“A symphony owed to the greatness of the human spirit, a song in praise of free and happy mankind. I wouldn’t dare to say that I chose the subject – rather it had been budding inside me when it finally blossomed,” wrote Prokofiev. Fifteen years after his Fourth symphony, as the second world war approached its climax, in 1944 the composer took a little over a month to write his Fifth. Reflecting contemporary world events, the work’s tone is serious, almost elevated. The 1945 Moscow premiere was conducted by the composer himself.

Carl Maria von Weber: Der Freischütz (The Marksman) – overture

Brahms: Piano Concerto No. 1 in D minor, Op. 15

Prokofiev: Symphony No. 5 in B flat major, Op. 100

Dimitris Sgouros (piano)Conductor: Iván Fischer

AT A R E H E ARS A L

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FEBRUARY 25-26-28 Palace of Arts, Béla Bartók National Concert Hall25th Thursday 7:45pm Doráti26th Friday 7:45pm Solti28th Sunday 3:30pm Reiner

SHOSTAKOVICHPROKOFIEVTCHAIKOVSKYTAKÁCS-NAGYLUGANSKY

THE RUSSIAN PIANO SOLOIST, NIKOLAI LUGANSKY, will be the special guest of Gábor Takács-Nagy and the Festival Orchestra for the duration of the Russian night. The concerts will feature two 20th century classics, followed by a piece rarely heard in Hungary, by one of the greats of Roman-ticism.As well as his compositions for the concert hall and musical stage, Dmitri Shostakovich wrote a number of pieces of incidental music for theatre and film. Among those numbers, he composed the music for Kozintsev’s groundbreaking film interpretations of Shakespeare; Hamlet and King Lear. He later compiled an orchestral suite from the score of Hamlet, which has been a favourite of symphony orchestras ever since.As the composer of the second piece on the programme, performed today with Nikolai Lugansky, recalled: “My second piano concerto premiered on September 5th, 1913 in Pavlovsk, and was conducted by Aslanov. The premiere had a stupendous effect.” The St. Petersburg Gazette devoted an entire column to the concert, detailing how, “A young man who seemed barely out of school appeared on stage. This was Sergei Prokofiev. He sat down at the piano and was apparently occupied either with dusting the keys or with blindly smashing them under his hard, dry touch. The audi-ence could make nothing of it. There were indignant murmurs. A couple leapt up and made for the exit, proclaiming that “This music is driving us insane!” The hall started to empty. The young artist concluded his concerto with a cacophony of chords mer-cilessly accompanied by the brass section, Causing outrage in the audi-ence. The majority of the spectators booed and hissed. Prokofiev bowed mockingly, sat down at the piano again and played an encore. On the other hand, modernist critics were enraptured. “Brilliant!” They cried. “Fantastic! Such temperament! Such originality!”

Dmitri Shostakovich: Hamlet (film score)

Sergei Prokofiev: Piano Concerto No. 2 in G minor, Op. 16

Pyotr Ilyich Tchaikovsky: Symphony No. 2 in C minor, Op. 17

Nikolai Lugansky (piano)Conductor: Takács-Nagy Gábor

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N I KO L A I L U G ANSK Y

The popularity of the first trio of Tchaikovsky’s six symphonies has never come close to matching that of his latter three. It is irrelevant to argue with taste, and indeed the Fourth, Fifth and Sixth symphonies are excep-tional masterpieces. However, it is interesting to listen to their predeces-sors as well. The young composer, enthralled by Russian folk music, often drew on the motifs of these folk songs. He even went so far as to base every melody in his Second symphony on them. This helps explains why the work was posthumously nicknamed the ’Little Russian’ or ’Ukrainian’.

GUS TAV M AH L E R

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MARCH 10-11-12 Palace of Arts, Béla Bartók National Concert Hall10th Thursday 7:45pm Solti11th Friday 7:45pm Doráti12th Saturday 3:30pm Reiner

MAHLERFISCHERROMBERGERBAVARIAN RADIO CHOIRCANTEMUS CHILDREN’S CHOIR

“JUST IMAGINE A WORK OF SUCH MAGNITUDE that it actually mirrors the whole world – where one is, so to speak, only an instrument, played on by the universe …” wrote Mahler to his lover, the singer Anna von Milden-burg, while he was working on his Third symphony. “My symphony will be something the likes of which the world has never yet heard! In it the whole of nature will be lent a voice, and it will impart such deep secrets as those one might only imagine in one’s dreams. Some passages in it seem so uncanny to me that I can hardly recognize them as my own work.”

How highly the composer considered his abilities is well demonstrated by a humorous event which took place when Bruno Walter, a conductor friend of Mahler’s and one of the the composer’s greatest interpreters, arrived in Steinbach by steamboat. He was observing the scenery when Mahler told him: “No need to look, I have composed all this already.” Walter was the first to hear the work when Mahler played the completed symphony for him on the piano. As Walter recalled, “I was dazed by the power and novelty of the music, and bowled over by the creative ardour and loftiness from which the work was born. I thought that only now, and only through his music, did I get to know him; it seemed that his whole character breathed an enigmatic intimacy with nature, the elemental power of which I had hitherto only suspected.” The description Bruno Walter used at the time, a ’symphonic world dream’, is widely regarded as the most accurate portrayal of Mahler’s wonderful work.

The composer spent three summers working on the symphony which he finished in August 1896. Mahler himself conducted the world premiere of his longest symphony. Written for orchestra, alto solo, and a boys’ and womens’ choir, it lasts about an hour and a half.

Gustav Mahler: Symphony No. 3 in D minor

Gerhild Romberger (alto)Bavarian Radio ChoirCantemus Children’s Choir (artistic leader: Dénes Szabó)Conductor: Iván Fischer

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Joseph Haydn: Symphony No. 4 in D major, Hob. I:4

Wolfgang Amadeus Mozart: Violin concerto No. 1 in B flat major, K. 207Adagio and Fugue in C minor, K. 546 Symphony No. 35 in D major “Haffner”, K. 385

Kristóf Baráti (violin)Conductor: Takács-Nagy Gábor

APRIL 01-02Academy of Music, Grand Hall1st Friday 7:45pm Ormándy2nd Saturday 7:45pm Solti B+ Midnight Music 11:30pm

HAYDNMOZARTTAKÁCS-NAGYBARÁTI

“I WROTE DILIGENTLY, but not entirely correctly, until I had the good fortune to learn the true fundamentals of composition from the celebrat-ed Porpora. Finally, due to a recommendation from the late von Fürnberg, I was appointed as director to Count Morzin …” wrote Haydn in 1776, hav-ing already served the Esterházy family for fifteen years by then. The composer directed Count Morzin’s court orchestra between 1758–59 and 1761. Haydn, often referred to as ’the father of the symphony’ wrote his first works in that genre around that time. To this day, music historians struggle to pin-point the chronology of his first symphonies. What is cer-tain however, is that this early, three-movement symphony dates from the period in which he was serving under Count Morzin.

“YOU DON’T KNOW JUST HOW WELL YOU PLAY THE VIOLIN” – wrote Leopold Mozart to his son, Wolfgang, in 1777. We’ll never know whether Wolfgang actually needed this encouragement or if he knew full well of his own abilities. In any case, it is well-known that Wolfgang regarded the piano as his primary instrument. While he had composed five brilliant violin concertos, and movements from his unfinished ones still survive, he never really returned to the genre in later life. He probably wrote the concertos only for himself, although there is a conflicting theory which postulates that the works were dedicated to Antonio Brunetti, music di-rector and the orchestra’s leader at court. Our concert will feature the first of these concertos.

THE ADAGIO AND FUGUE IN C MINOR was originally written for a string quartet, however today it is commonly performed by full string orchestras. The composer’s own notes say it is “a short adagio for two violins, viola and bass, for a fugue I wrote a long time ago for two pianos.”

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Mozart received his commission to compose the Haffner symphony short-ly after the ’Entführung’s’ premiere in 1782. He had previously composed for the Haffners, and especially for Sigmund Haffner; his K. 250 Serenade too bears the name of the family from Salzburg . Mozart composed anoth-er serenade, turning this one into a proper four-movement symphony for the Viennese premiere by leaving out the march and minuet movements.

KR I S T Ó F B A R ÁT I

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Wolfgang Amadeus Mozart: Per questa bella mano, K. 612Clarinet concerto in A major, K. 622Requiem, K. 626

Barbara Kozelj (contralto)Bernard Richter (tenor)Hanno Müller-Brachmann (bass)Collegium Vocale GentÁkos Ács (clarinet)Zsolt Fejérvári (double-bass)Conductor: Iván Fischer

MAY 04 + 08Palace of Arts, Béla Bartók National Concert Hall4th Wednesday 7:45pm Doráti8th Sunday 3:30pm Reiner8th Sunday 7:45pm Ormándy

MOZARTFISCHER

DURING 1791, THE LAST YEAR OF MOZART’S SHORT LIFE, he was hugely prolific. His Piano concerto in B flat major, K. 595, the last in a long line of concertos for the instrument, was included in his thematic catalogue on January 5. Then, over the subsequent eleven months (he died on De-cember 5) Mozart composed, among others, his last two operas; La Clem-enza di Tito and The Magic Flute; the Clarinet concerto and the Requiem Mass, although he died while working on the latter. Per questa bella mano, K. 612, a bass aria with an Obbligato double-bass accompaniment, was most probably penned originally as an incidental aria. Mozart then ’enhanced’ it into a contemporary opera buffa presented in Vienna. We do not know precisely which opera this was. We do know, however, that the piece, later very popular as a concert aria, was sung and was made a success by Mozart’s friend and fellow composer, Franz Xaver Gerl, who performed Sarastro in the premiere of The Magic Flute.

MOZART COMPOSED HIS LAST COMPLETE INSTRUMENTAL OPUS, the Clarinet concerto, K. 622 in between the composition of his last two works for the stage, La Clemenza di Tito, written in an incredibly short time for the coronation of Holy Roman Emperor Leopold II in Prague, and The Magic Flute. The concerto is dedicated to his good friend and fellow free-mason, the virtuoso clarinetist Anton Stadler. Musicologists believe that the work was finished some time before October 1791. It was premiered on October 16, at Stadler’s charity concert in Prague.

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IVÁN F I S CH ER

MYTHS AND LEGENDS ABOUNDED FOR CENTURIES over the genesis of Mozart’s keystone work, Requiem, K. 626. However, researchers now be-lieve they have finally uncovered the truth. In 1964 the great musicologist, Otto Erich Deutsch, found unquestionable evidence which showed it was Count Franz von Walsegg who sent Mozart the commission through a mysterious messenger. The count had a predilection for commissioning compositions, only to copy them and present them as his own work. One of the best known fragmentary works in the history of music, the Requiem is usually performed with the completion of his pupil Süssmayr.

S TA G E S E T F O R T H E C ONC ER T

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MOZARTFISCHER

MAY 06Palace of Arts, Béla Bartók National Concert Hall6th Friday 7:00pm Solti

Wolfgang Amadeus Mozart: The Magic Flute, K. 620

Mandy Fredrich: Queen of the NightNuria Rial: PaminaBernard Richter: TaminoHanno Müller-Brachmann: PapagenoRodolph Briand: Sarastro

Conductor and director: Iván Fischer

THE MAGIC FLUTE (Die Zauberflöte), widely seen as Mozart’s most pro-found masterpiece, can be interpreted in a host of different ways. What is more, the opera is integral to the story of Iván Fischer and the Festival Orchestra. As children, both Iván Fischer and his elder brother, Ádám, per-formed in the Hungarian State Opera House’s production of The Magic Flute. Later, in the 1990s, an acclaimed rendition of The Magic Flute estab-lished the Festival Orchestra’s tradition of operatic performances. Fol-lowing on from the three Da Ponte operas; The Marriage of Figaro, Don Giovanni and Così fan tutte, the BFO presented Mozart’s final stage mas-terpiece once again last season, conducted and directed by Iván Fischer.Of all his operas, The Magic Flute brought Mozart his greatest success. The Magic Flute was composed in a new environment and for a new au-dience. Mozart’s ’machine comedy,’ as the genre was called in those days, was commissioned by the Wiedner Theater (or Freyhaustheater), then in the suburbs of Vienna.We know about the reception of the opera from the composer himself, since he sent a detailed account of the performance in an affectionate letter to his wife, Constanze. A week after the first night, he wrote “I have just this moment returned from the opera, which was as full as ever. The ’Mann und Weib’ etc. duet and the chimes of the first act had to be encored as always, as did the boys’ terzetto in the second act. But what always gives me most pleasure is the silent approval – you can see how this opera is being held in higher and higher esteem.”Mozart was sadly unable to witness the success of The Magic Flute the following season, when it saw runs of a hundred or more performances across the theatres of the German-speaking world. The opera’s global fame has been growing ever since.

NOTE! This performance is the English-language public dress rehearsal of The Magic Flute, which debuted in March 2015, before it goes on tour.

“I have been playing in the orchestra since 1992. It is not easy to pick a single experience! Every moment is a ‘flight’, from the open-mouthed wonder of a juvenile audience to the suggestive expressions of our conduc-tors. God must have been in high spirits when he came up with the idea of creating such a team. I feel grateful to be a part of it!” József Bazsinka, tuba player

BFO IN THE COMMUNITY

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“Let this event demonstrate that we live together and appreciate each other. Let’s show everyone that we can create something together, and take enjoyment from doing it.” Iván Fischer

THE BUDAPEST FESTIVAL ORCHESTRA, generally considered one of the ten best orchestras in the world, makes every effort to take its music out of the confines of the concert hall. The orchestra introduces unique var-iations of concerts, and is performing at more and more unconventional venues to build new ties with audiences. They turn up wherever they can be of assistance: streets, schools, hospitals, orphanages, prisons. It is the orchestra’s aim to allow the positive effects and extraordinary powers of music to be experienced by people who, for financial, social or other rea-sons, cannot otherwise enjoy them.In addition to Community Week, launched in 2014, the Budapest Festival Orchestra is preparing a grand-scale project involving some two hundred children, to take place during June 2015. At the Dancing on the Square concert, the orchestra will play Mendelssohn’s incidental music to A Mid-summer Night’s Dream in Heroes’ Square (Hősök tere), gathering under-privileged young people from all over the country for a dance that mixes elements of folk, hip hop and contemporary dancing. A joint production, it will focus on mutual understanding and the discovery of the beauties of classical music.The Budapest Festival Orchestra wants to give children the experience of dancing together and of classical music, still unknown to so many of them, entirely free of charge. From February to June, professional chore-ographers will be giving weekly lessons to the children involved. The chief choreographer of the production is Harangozó Prize winner Bertalan Vári.

BFO IN THE COMMUNITY

CONC ER T S I N N URS I N G HOMES

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“The biggest problem for those living here is that they are confined to these homes. No matter how good their circumstances are, they are unable to get into town to be present at an event, classical concerts included. Yet they would like to.” Emese Gulyás, violinist

HAVING LAUNCHED IT IN 2014, the orchestra is continuing with its high-priority project known as Community Week. Over the course of the week, twice a year, our musicians play for underprivileged children, for the elderly in nursing homes or for local people in churches and aban-doned synagogues.

Supporting underprivileged children is a top priority for the BFO. In 2014, three SOS Children’s Villages in Battonya, Kőszeg and Kecskemét, were filled with music as part of the Cocoa Concerts door-to-door project. Next year the musicians will visit another six children’s institutions to deliver the playfulness and beauty of music, not to speak of the mug of hot cocoa.

For those living in nursing homes it is practically impossible to get to a classical concert, although many would love to go. Music evokes sweet memories for them and helps them forget their pain and loneliness. Last year, musicians of the Festival Orchestra visited fifteen nursing homes, this year they will play in twenty to defy the obstacles in the lives of the elderly and to make their days happier.

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“Nowadays you seldom see a church packed with people. The sacraments and music inspired by divine qualities go hand-in-hand – all musicians and everybody in the congregation would have experienced that in times gone by.” Someone from the crowd

Hungary used to have a vibrant Jewish community, but owing to the holo-caust most synagogues have been abandoned and the buildings have lost their original function. With its Synagogue Concerts, the Festival Orchestra wants to fill the empty synagogues with life, music and culture. Tunes, stories and flavours can introduce local communities to the one-time tol-erance and many colours that used to be so typical of Hungary. This is a joint project with Slomó Köves, the chief rabbi of EMIH, the United Hun-garian Jewish Congregation.

The Baroque ensemble of the Festival Orchestra presents new productions several times a year. As part of the Community Week they perform Bach’s music on period instruments, playing in traditional concert halls as well as in Roman Catholic, Calvinist and Lutheran churches.

Through its engagement programmes, the Budapest Festival Orchestra undertakes to enrich the cultural and social life of Hungary. To support the ’BFO in the Community’ concerts, or the Open-air-Dance Concert, please visit our website: WWW.BFZ.HU.

BFO IN THE COMMUNITY

“BFO is magic. At home, or anywhere in the world, it makes both adults’ and kids’ eyes twinkle, turning us musicians into children too. The secret of this magic lies in the playing – music is something to be played, so we play it (seriously), for playing is fun and playing is a must!” László Herboly, percussionist

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The Budapest Festival Orchestra’s globally unrivalled programme of mu-sical education endeavours to introduce the treasures of classical music to children, families and young adults. During these action-packed adven-tures, younger learners become familiar with instruments and shorter tunes while older ones get to know entire operas and symphonies. The 2015–2016 season will see us continue our renowned and popular concerts, although now school children will also be able to join our re-hearsals from their classrooms as all orchestral rehearsals will be broad-cast on our website. Through our new programmes and our Newsletter, we are working to strengthen relations with our partner schools, the num-ber of which continues to grow. With this in mind, in 2014 we launched our TEACHERS’ CAFÉ programme of open rehearsals, free talks and coffee events.Registration for our partner school programme can still be done through ZENEPEDAGOGIA@BFZ.HU. Among the programmes on offer you’ll find CHOOSE YOUR INSTRUMENT, visits to open rehearsals and a children’s opera. School children can enjoy our concerts for just 1500 Forints per ticket. To give a taste of what we offer, we are organising a FAMILY DAY at Millenáris on June 7, 2015 where the PARTNER SCHOOL OF THE YEAR will also be an-nounced. In the autumn, the BFO will present another children’s opera, Benjamin Britten’s The Little Sweep, in which the children themselves compose and perform an opera. After the Budapest premiere, the production will tour Hungary and will be performed at a number of partner schools. For secondary school students, we are announcing another SEE WHAT YOU HEAR! film contest, which will draw on the creative powers of different branches of art, music and film. Night owls are kindly invited to our four unforgettable MIDNIGHT MUSIC concerts. Young fans can opt for a Youth Season Ticket, which allows them to create their own programme by se-lecting their preferred concerts.Be sure to check out the Budapest Festival Orchestra’s colourful and var-ied programme.

Orsolya Erdődy, Deputy Executive Director

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COCOA CONCERTS

2016FEBRUARY 07BFO Rehearsal HallSunday 2:30pm + 4:30pmIván Fischer

APRIL 03BFO Rehearsal HallSunday 2:30pm + 4:30pmHábetler András

2015OCTOBER 10BFO Rehearsal HallSaturday 2:30pm + 4:30pmAndrás Hábetler

NOVEMBER 01BFO Rehearsal HallSunday 2:30pm + 4:30pmIván Fischer

DECEMBER 20BFO Rehearsal HallSunday 2:30pm + 4:30pm Iván Fischer

“People who listen to classical music in their childhood will be happier throughout their lives.” Iván Fischer

5 TO 12 YEARS OF AGEA number of Budapest Festival Orchestra season ticket holders became fans of live classical music at one of the ensemble’s early Cocoa Concerts. It is only natural that their children form the core of today’s Cocoa Concert audience. The series can now look back over more than two decades of weekend afternoons of music and storytelling in a family atmosphere, introducing the world of music to a young audience. This season, Iván Fischer and the musicians of the orchestra welcome children from 5 to 12 years of age – and, of course, their parents and grand-parents too. In these concerts Iván Fischer, András Hábetler and members of the orchestra introduce children to the secrets of classical music in an informal and interactive way. After the music and applause have died away, the young audience can queue up for polka-dot mugs of hot cocoa.

COCOA CONCERT SEASON TICKETS In addition to the old Cocoa Concert Season Tickets, family season tickets are also available for committed concert-goers. For details see the leaflet at the end of this issue.

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“As I listened and saw how enraptured the musicians were by the music, I felt as though there was nothing but music in the world.” Andrea Bálint, 8th class

6 TO 8 YEARS OF AGECHOOSE YOUR INSTRUMENT This is a special programme for children who are interested in music but have not yet decided which instrument they would like to take up. During ’Choose your Instrument’ sessions, some of the orchestra’s musicians introduce young schoolchildren to their own instruments with a short concert. Children can try out instruments, under the supervision of music teachers and musicians.

8 TO 18 YEARS OF AGEBFO REACHES OUT! Through BFO Reaches Out!, members of the Festival Orchestra visit groups of young people in provincial Hungarian towns. The visits include short classes for the children to bring them closer to the musician’s vocation. These occasions also form great opportunities for orchestra members to discover young talent. In preparing these pro-grammes, the BFO works with the Association of Hungarian Music Schools, local concert organisers, conservatories and music schools. When on a BFO Reaches Out! tour, the musicians, in addition to their master classes, also give short, casual concerts at unconventional venues: in public baths, libraries, hospitals, prisons and rehabilitation centres.

8 TO 18 YEARS OF AGEOPEN REHEARSALS It goes without saying that it is not just the BFO ’reaching out’; children can also reach out to the orchestra. Visits to open rehearsals give the opportunity to students of participating schools to experience directly how an orchestra works. Children can learn tricks of the trade and see how a performance is prepared. Students who are inter-ested are welcome to make an appointment to visit the BFO Rehearsal Hall. Experience shows that children and young people simply love these visits. They sit through the rehearsals attentively, in utter silence. After-wards they post enthusiastic comments on Facebook.

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COCOA CONC ER T

CH I L D R EN ' S O P ER A

“Classical music is cool and fantastic for it covers everything.” Kornél Mundruczó, film director

8 TO 18 YEARS OF AGECHILDREN’S OPERA The Budapest Festival Orchestra has presented several opera productions for primary and secondary school students – with children on stage as singers and instrumentalists. The first of these children’s productions was Hans Krása’s opera, Brundibár, which was appropriately refashioned in the autumn of 2013. During autumn 2012, nearly one hundred children performed with the Festival Orchestra, as singers and instrumentalists, in presenting Noye’s Fludde by Benjamin Britten. In the course of that season, the piece was performed in numerous schools in Budapest and further afield, sharing the joy of collective singing with almost 4500 schoolchildren. September 2014 saw the production of the school opera Der Jasager (The Yes Sayer) by Kurt Weill and Bertolt Brecht. In 2015 The Little Sweep, another work by Britten, will be premiered for children.

14 TO 18 YEARS OF AGESEE WHAT YOU HEAR! CONTEST Once again, for the 2015–16 season, the Festival Orchestra is inviting entries to a film contest. This time we are asking teams of secondary school students to shoot a film to accom-pany the incidental music to Shostakovich’s Hamlet. The aim is to present the feelings and impressions which music evokes in young people. It can be a short feature film, a documentary, or an animation – anything, no genre is given preference. The best clips will be shown at a gala in the Palace of Arts alongside performances by the Festival Orchestra. Winners will receive valuable prizes (participation in foreign or Hungarian tours, concert tickets, etc.) FACEBOOK.COM/LASDAMITHALLASZ

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“It’s very friendly and intimate. I don’t feel like a moron for lacking knowledge of classical music. The audience and the orchestra are practically one and the same community.” A member of the audience

18+MIDNIGHT MUSIC: CLASSICAL MUSIC FOR NIGHT OWLS! Some prefer listening to music by night, and, fortunately, there are also some who like to play music at night. It has become a tradition that the highlights of certain concerts are presented again for youth audiences as late as half past 11 in the evening – after the regular concert hall performance. Mid-night Music is for the open-minded who enjoy the arts and exquisite ex-periences, and, of course, who also like staying up late. These are no or-dinary concerts. They begin very late, tickets are assigned to large bean-bags, not seats, there is no dress code whatsoever and, as well as a top quality musical performance, the audience gets short, professional and entertaining introductions to the pieces, facilitating a better understand-ing of the music. Those arriving by bicycle receive a 30 per cent discount. FACEBOOK.COM/BFZ.MIDNIGHTMUSIC

2016JANUARY 23 MillenárisSaturday 11:30pm

FEBRUARY 06 MillenárisSaturday 11:30pm

APRIL 02 Millenáris Saturday 11:30pm

2015NOVEMBER 07 MillenárisSaturday 11:30pm

MIDNIGHT MUSIC

M I DN I GH T MUS I C

“I like the orchestra for the variety of new tasks; it’s never boring; we could be playing chamber music at the Sunday Chamber Music con-certs, at community weeks or at Cocoa Concerts – it is a labour of love. There is an inspiring milieu and we make good friends when on tour. We travel to wonderful places and after taking in the lovely sights, we try to give colourful and enjoy-able performances in the evening.” Antónia Bodó, violinist

SUNDAY CHAMBER

MUSIC

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2015SEPTEMBER 27 BFO Rehearsal Hall 5:00pm

LECLAIR, HAYDN, KODÁLY, BRAHMS

Jean-Marie Leclair: Sonata for Two Violins in C major, Op. 3, No. 3Joseph Haydn: Duet in D major, Hob. VI:D1Zoltán Kodály: Duo, Op. 7Piano Quintet in F minor, Op. 34

Ágnes Bíró (violin)Antónia Bodó (violin)István Kádár (violin)Gabriella Nagy (violin)Nao Yamamoto (viola)Mahdi Kousay (cello)Péter Szabó (cello)Balázs Fülei (piano)

NOVEMBER 22 BFO Rehearsal Hall 5:00pm

SCHUBERT, GLAZUNOV, RAVEL, DEBUSSY

Franz Schubert: Trio in B flat major, D. 581Alexander Glazunov: Five Novelettes, Op. 15Maurice Ravel: Introduction and Allegro, Op. 46Claude Debussy: String Quartet in G minor, Op. 10

Balázs Bujtor (violin)Erika Kovács (violin)Gyöngyvér Oláh (violin)Gabriella Nagy (violin)János Pilz (violin)Levente Szabó (violin)Zsolt Szefcsik (violin)László Bolyki (viola)Csaba Gálfi (viola)Barna Juhász (viola)Péter Háry (cello)György Kertész (cello)Gabriella Liptai (cello)Orsolya Mód (cello)Anett Jóföldi (flute)Roland Csalló (clarinet)Ágnes Polónyi (harp)

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2016JANUARY 17 BFO Rehearsal Hall 5:00pm

BACH, ANONYMUS FROM THE LUMLEY PART BOOKS, STROGERS, ORBÁN, WEBER

Johann Sebastian Bach: Sonata for Recorder and Continuo in F major, BWV 1035Anonymous, from the Lumley Part Books: Pavana and GalliardNicholas Strogers: In nomine IIIClement Woodcock: Browning My DearJohann Sebastian Bach: Sonata for Violin and Harpsichord in F minor, BWV 1018György Orbán: Ball Music for Count RazumovskyCarl Maria von Weber: Clarinet Quintet in B flat major, Op. 34

Mária Gál-Tamási (violin)Antónia Bodó (violin)János Pilz (violin)Ágnes Csoma (viola)István Rajncsák (viola)Gabriella Liptai (cello)Mahdi Kousay (baroque cello, cello)Györgyi Czirok (treble viola da gamba)János Pilz (treble viola da gamba)Eszter Lesták Bedő (alto viola da gamba, baroque violin, violin)Soma Dinyés (tenor viola da gamba, harpsichord)Rita Sovány (bass viola da gamba) Salamon Eredics (recorder)Rudolf Szitka (clarinet)Gábor Tokodi (lute)

MARCH 27BFO Rehearsal Hall 5:00pm

BOCCHERINI, HINDEMITH, REGER-SCHÖNBERG

Luigi Boccherini: Stabat MaterPaul Hindemith: Die junge Magd, Op. 23Max Reger – Arnold Schönberg: Eine romantische Suite, Op. 123

Emőke Baráth (soprano)Judit Rajk (alto)Bence Asztalos (violin)Zsuzsanna Berentés (violin)Zsófia Lezsák (violin)Anikó Mózes (violin)Csaba Gálfi (viola)István Rajncsák (viola)Éva Eckhardt (cello)György Kertész (cello)Gabriella Liptai (cello)Erika Sebők (flute)Ákos Ács (clarinet)Dávid Báll (pump organ)Gergely Dubóczky (pump organ)Irina Ivanyickaja (piano)Emese Mali (piano)

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APRIL 17 BFO Rehearsal Hall 5:00pm

VIVALDI, MIKI, JANÁČEK, SCHUBERT

Antonio Vivaldi: Concerto in C major, RV 443Minoru Miki: Marimba Spiritual Leoš Janáček: Mládí (Youth) - Wind SextetFranz Schubert: Piano Quintet in A major, Op. 114 (Trout)

Tibor Gátay (violin)Tímea Iván (violin)Zsuzsanna Szlávik (violin)Miklós Bányai (viola)Csaba Gálfi (viola)Rita Sovány (cello)Zsolt Fejérvári (double-bass)Csaba Sipos (double-bass)Anett Jóföldi (flute, piccolo)Berta Beáta (oboe)Rudolf Szitka (clarinet)Dániel Tallián (bassoon)Dávid Bereczky (french horn)Roland Csalló (bass clarinet)Boglárka Fábry (percussion)István Kurcsák (percussion)Gábor Pusztai (percussion)László Herboly (percussion)Angelika Csizmadia (harpsichord)András Kemenes (piano)

MAY 29BFO Rehearsal Hall 5:00pm

SCHUMANN, KURTÁG, POULENC, BARTÓK

Robert Schumann: Märchenerzählungen (fairy tales) – four pieces for viola, clarinet and piano, Op. 132Kurtág György: Hommage à R. Schumann, Op. 15dFrancis Poulenc: SextetBéla Bartók: String Quartet No. 6

Balázs Bujtor (violin)Violetta Eckhardt (violin)Erika Illési (viola)Gábor Sipos (viola)Rita Sovány (cello)Anett Jóföldi (flute)Eva Neuszerova (oboe)Ákos Ács (clarinet)Dániel Tallián (bassoon)Zoltán Szőke (french horn)Emese Mali (piano)Brigitta Taraszova (piano)

“I am turning 46 this year. And as this year sees my 23rd season with the orchestra, I can say that I have spent half of my life with the BFO. It was here, as a novice, that I learned many tricks of our trade, here where I have met fel-low musicians of whom I can talk only with the greatest respect. Here I have been able to work with conductors and soloists of the highest calibre, some-thing which many of my contemporaries can only dream of when listening to their recordings. And it was here, under Iván’s baton, that I have experienced the kind of success I never dared to imagine beforehand. I don’t just hope but I firmly believe that this Family will endure into the future, a Family we can be proud of on both sides of the con-ductor’s podium.” Ákos Ács, clarinetist

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“All the elements of performance worked as one, each in balance. All in a night’s work for what might be the best orchestra in the world.” The New York Times

THE SUCCESSES OF THE PAST THREE DECADES could not have come to pass without the support and devotion of the Budapest audiences. Throughout a season there are numerous opportunities for the audience to experience the unique qualities of their orchestra playing as one, to hear the unity of musical expression and the joy of music-making. The sound of the Budapest Festival Orchestra is as if a single instrument were playing as opposed to an ensemble, an extraordinary quality nowadays.The Budapest Festival Orchestra not only thrills Hungarian audiences, but is also greatly admired worldwide. The enthusiasm of the BFO’s loyal audience in Budapest is shared by the concert-goers of numerous impor-tant international music centres, from the Concertgebouw in Amsterdam through the Salle Pleyel in Paris, the Royal Festival Hall and Royal Albert Hall in London to the Carnegie Hall and Lincoln Center in New York. The orchestra takes the magic and beauty of music with it all around the world.From the Salzburg and Lucerne Festivals through the BBC Proms, the Edinburgh International Festival and the San Sebastian Musical Fortnight to MITO, the BFO is a returning guest of many great international festivals. In the last few years the orchestra has also been invited to the Mostly Mozart Festival in New York, leaving an ecstatic audience and raptured critics in its wake. Both the performances of Don Giovanni and The Mar-riage of Figaro were voted among the best opera performances of the year – a rather flattering fact in the city that houses the Metropolitan Opera. The success story is set to continue with The Magic Flute, which premieres at the Palace of Arts this March.During its tours the orchestra is often faced with questions along the lines of “Why can’t our orchestra play like this?” and “Is there another orchestra capable of a similar performance?” The fact that these questions are asked by music enthusiasts in cities that regularly host the world’s leading

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orchestras demonstrates the importance and value of the Budapest Fes-tival Orchestra, as well as the recognition it receives worldwide. Con-cert-goers who have witnessed a BFO production tend to recall their con-cert experience with great pleasure well after the performance.Professional praise received by the orchestra also serves to underline the significance of the BFO. Gramophone ranks the BFO among the ten best orchestras in the world, along with well-established ensembles that can look back on many decades of prestige.

IVÁN FISCHER HAS REALISED HIS LONG-TERM VISION: when the founder of the BFO began to work he had the creation of one of the best, if not the best orchestras in the world in mind. This has now been realised thanks to the unrelenting efforts of Iván Fischer and his musicians, which has also strengthened the outstanding status of Hungarian music culture in the musical world. The BFO serves as an ambassador of a country that played an almost unparalleled role in contributing to classical music of the 20th century.The primary objective of the tours is to preserve the position attained by the BFO during its first thirty years and to establish an even closer con-nection with international audiences. Yet the orchestra is not satisfied with only giving a single concert at various venues. Instead it strives to become a resident orchestra in cities that serve as major musical centres of the world, giving multiple concerts to the local audience. This also allows the orchestra to establish a connection with the local audience that is similar to its relationship with the Budapest audience.It is a great honour for the BFO to be able to perform as resident orchestra three times during the next five years at the Edinburgh International Fes-tival. The first series of five concerts will be performed in August 2015. There are other invitations in the orchestra’s calendar too, to such venues as the Beethovenfest in Bonn, the Mozart Festival in Amsterdam and the Carnegie Hall in New York. The Budapest Festival Orchestra attracts the world, while bestowing the exceptional qualities of Hungarian culture on international audiences.

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TOURS201501–02 AugustItaly-Austria01st Milan, Teatro alla Scala02nd Salzburg Festival, Großes

Festspielhaus

13–18 August Great Britain13th Edinburgh International

Festival, Festival Theatre14th Edinburgh International

Festival, Queens Hall15th Edinburgh International

Festival, Festival Theatre16th Edinburgh International

Festival, Festival Theatre18th Edinburgh International

Festival, Usher Hall

18–20 September Germany 18th Beethovenfest Bonn,

Beethovenhalle19th Beethovenfest Bonn,

Beethovenhalle20th Beethovenfest Bonn,

Beethovenhalle

12–18 November Belgium, Greece, Turkey12th Antwerp, De Singel15th Athens, Megaron16th Athens, Megaron18th Istanbul, CRR

04–10 December Germany, Switzerland, Netherlands, Austria04th Dortmund, Konzerthaus06th Frankfurt, Alte Oper07th Eindhoven, Muziekgebouw08th Basel, Stadtcasino09th Rotterdam, DeDoelen10th Vienna, Konzerthaus

201615–18 February USA, CanadaConductor: Iván Fischer15th Washington DC, Kennedy Center16th Montreal, Symphonie18th New York, Carnegie Hall

13–22 March Italy, Poland, France13th Rome, Santa Cecilia14th Milan, Teatro alla Scala16th Klara Festival Brussels, BOZAR18th Wroclaw, Filharmonie20th Barcelona, Palau de la Musica21nd Toulouse, Halles aux Grains22nd Aix-en-Provence, Le Grand

Théâtre de Provence

10–18 May Great Britain, Belgium, Germany, NetherlandsConductor: Iván Fischer10th London, Festival Hall12th Bruges, Concertgebouw13th Bruges, Concertgebouw14th Bruges, Concertgebouw15th Baden-Baden, Festspielhaus17th Amsterdam, Concertgebouw18th Amsterdam, Concertgebouw

„One of the key areas of K&H Bank’s sponsoring strategy is performing arts: over the years we have contributed to the cre-ation of a number of great art performances. We decided to sponsor the Bridging Europe fes-tival as arts and culture brings people together and allows us to forge friendships and partners-hips. Our ambition is to become the reference in bank-insurance and we are proud to sponsor an orchestra, which is already a reference in Hungarian and inter-national cultural life and builds a bridge between cultures and individuals.” Rik Scheerlinck, CEO, K&H Group

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“As a key sponsor of the Budapest Festival Orchestra, Central Médiacsoport Zrt. is proud to support one of the best orchestras on the international classical musical scene. Our company backs a range of educational and cultural initiatives through a number of institutions in order to foster cultural life in Hungary. The Budapest Festival Orchestra project is particularly dear to our hearts. I believe I speak on behalf of my colleagues when I say that we are proud to be able to help organi-sations and people that are not only admired at home, but have also gained considerable international ac-claim.” Zoltán Varga, CEO, Centrál Médiacsoport

THE BUDAPEST FESTIVAL ORCHESTRA is not only one of the ten best orchestras in the world; besides presenting world class performances in the main music centers of Europe, Asia and the United States, Ivan Fischer and the members of the BFO feel responsible for the community and the underprivileged people, especially children in our society.Over 5.000 adults and elderly people get connected in each year with the BFO in community venues beyond established concert halls, such as an abandoned synagogue, a church or a nursing home and over 7.000 children are inspired in their classroom or their “home” through BFO’s Communi-ty and Education programmes.We kindly encourage you to support these gorgeous initiatives. Please make a gift to the Budapest Festival Orchestra along with your contribu-tion today, and make a difference in the life of our community.

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ANDRÁS S I MOR

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HOW TO SUPPORT THE BFO

INDIVIDUAL GIVING

Join the Supporters’ Club! Donors to the Budapest Festival Orchestra un-derpin the sustainability of the orchestra and play a critical role in enabling the orchestra to develop and expand its rich diversity of concerts and edu cational activities. All donors to the orchestra automatically become mem bers of the Supporters’ Club and have access to a comprehensive range of benefits. It’s our way of saying thank you for your support and commitment.

Support a special Project! The Budapest Festival Orchestra continu ally develops new projects to reflect the needs of our community and the or-chestra’s key priorities. Current projects seeking support include our performances in abandoned synagogues, nursing home, churches and underprivileged children’s homes. Beside of these we are working on a unique social programme aiming to enrich the musical education of dis-advantaged children living in the countryside.

Contribute 1% tax! Hungarian taxpayers are able to donate 1% of their personal income tax to non-profit institutions. In 2014 the funds raised from this source will be used to support the BFO’s Cocoa Concert and to create even more opportunities for children to discover the joy of music. The Buda pest Festival Orchestra’s tax number is 18 00 54 88-2-41.

Come to an event! Each year the Budapest Festival Orchestra launches its Season with a gala dinner in an iconic Budapest venue and this is an opportunity to celebrate with Ivan Fischer, musicians from the orchestra

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and other supporters. In addition members of the Supporters’ Club at Patron level and above are invited to a series of intimate events through-out the year.

Join the Music Director’s Circle! The Music Director’s Circle is an ex-clusive group of donors who each contribute 10M HUF to support key pro jects associated with the artistic vision of Iván Fischer. In Return for their contribution these donors will be invited to an annual Music Direc-tor’s Cir cle Dinner and will become part of an inner circle that is amongst the first to find out about the BFO’s Future plans and activities.

Leave a legacy! Leaving a gift in your will to the Budapest Festival Or-chestra will help ensure the sustainability and vitality of the orchestra for future generations. Legacy gifts secure the foundation of the orchestra and support the development of exceptional orchestral experiences and inspiring education activities. We advise you talk to your family and legal representatives about any legacy intentions because we understand this is an important decision. Please contact us directly at szponzor@bfz.hu if we can be of any assistance and we would be happy to discuss how your gift will make a difference to the Budapest Festival Orchestra.

Join the International Friends! The Budapest Festival Orchestra enjoys the support of an international network of Friends around the world that assist the orchestra with local events and fundraising activities. The three most important international circles are the British Friends of the Buda-pest Festival Orchestra, the (US) Friends of the Buda pest Festival Orchestra, and the German, Die Freunde des Budapest Festi val Orchestra.

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CORPORATE GIVING

Become a corporate partner! The Budapest Festival Orchestra creates bespoke sponsorship packages to suit the needs of its corporate partners with marketing solutions, employee engagement and leadership develop-ment programmes and exclusive VIP opportunities. We begin every spon-sorship with a conversation about your business objectives and how we can work together for mutually beneficial results.

Become a tao partner! Companies sponsoring performing arts organisa-tions benefit from double tax relief under the performers act. These compa-nies can deduct this support from their taxes as well as from their tax base.

Corporate Social Responsibility The CSR represents an opportunity for a socially aware organization like the BFO to contribute to society while simultaneously raising funds. All of these activities in this area are ap-proached with sincerity and care and directly related to the BFO’s Core business, such as the education activity for underprivileged children.

You are welcome to donate any amount to support the work of the festival orchestra.MKB BANK 10300002–10 61–2608–49020027, Swift Code: MKKBHUHB

IBAN: HU53–1030-0002–1061–2608–4902–0027 (HUF)

IBAN: HU53–1030-0002–1061–2608–4882–0013 (EUR)

Please feel free to contact us with any questions about contributions. Please send your inquiries to SZPONZOR@BFZ.HU by email or call us at +36 1 489 43 33.

THANK YOU FOR YOUR SUPPORT!

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BRONZE (20 000)Possibility to buy max. 2 season tickets 1 day before general publicReceive the BFO e-newsletter and concert programmes in advanceInvitation to 2 open rehearsal per annum

SILVER (40 000) Benefits above plus: + Possibility to buy max. 2 season tickets 2 days before general public

GOLD (80 000) Benefits above plus: + Possibility to buy max. 2 season tickets 3 days before general public+ Invitation to 3 open rehearsal per annum+ Access to interval receptions at select MÜPA concerts

PATRON (120 000) Benefits above plus: + Possibility to buy max. 2 season tickets 4 days before general public + Invitation to the annual Patrons’ dinner to the BFO’s rehearsal hall + A BFO CD signed by Ivan Fischer + Preferential treatment at the Season Opening Gala + Opportunity to participate on Supporters’ Club tours with the

Orchestra (additional expenses)

BENEFACTOR-SILVER (250 000) Benefits above plus: + Possibility to buy max. 4 season tickets 4 days before general public + Invitation to 4 open rehearsal per annum+ Invitation to the annual Benefactor’s Dinner

BENEFACTOR-GOLD (500 000) Benefits above plus: + Invitation to attend 1 concert per annum with the Executive Director

DIAMOND (1 000 000) Benefits above plus: + Invitation to attend 2 concert per annum with the Executive Director

PLATINUM (2 000 000) Benefits above plus: + Invitation to attend 3 concert per annum with the Executive Director

STAR PLATINUM (5 000 000) Benefits above plus:Invitation to a post-performance reception with Ivan Fischer

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MEMBERS OF THE SUPPORTERS’ CLUB

STAR PLATINUM Tamiko Soros

PLATINUM Stephen and Radka Benko . John and Caroline Flüh . András Simor . Sylvia Tóth . Jutta von Falkenhausen . Hubertus von Wulffen

DIAMOND László and Petra Balássy M. . Gábor Bojár and Zsuzsanna Zanker dr. . Bernhard Hulla . György Markovich dr. and Anikó Sátai dr.

BENEFACTOR-GOLD Erzsébet Bottka and Péter Feldmájer dr. . Zoltán Juhász . György Mosonyi and Ágnes Mosonyi . Gabriella Zsámboki dr.

BENEFACTOR-SILVER Ágnes Bíró . Jalsovszky Attorney at Law . Béla József Jankovich . Nicholas Kabcenell and Orsolya Gudor . Kálmán, Szilasi, Sárközy Law Office . David Kirkby . Ruth Kirkby . Miklós Mar-schall dr. . Endre and Andrea Mécs . Zsuzsanna Meinczinger-Krug and Armin Krug . István Nyitrai . Ildikó Rosta dr. and Miklós Ferjentsik dr. . Nyina Roszkopf . S. B. G. & K. Attorney at Law / Katalin Szamosi dr. . László and Zsuzsa Steiner . Elek Straub and Andrea Rényi . Szecskay Attorney at Law . David and Petra Thompson . György Vámos dr.

PATRONS Arriba Taqueria . Árpád Balázs and Andrea Dénes . Péter Ben-ke . Loretta Bernabei – Reynolds· István Boros . Ferenc Bőcs and Ágnes Sárdy . Richard Brasher and Zsuzsanna Deák . Péter and Ildikó Bródy dr. . Valéria Csépe and Imre Molnár . Gabriella Csík dr. and Ferenc Hu-decz dr. . Alajos Dornbach dr. and Zsófia Zachár . László Dulin and Bence Dulin . John Farago and Jeanne Martin . Tamás Felkai . Nancy and Ste-phen Fuzesi . György Gábor and Ágnes Bey . Gala Tours Kft. . Kinga Göncz and László Benedek . György Gyarmati dr. and Katalin Kuti . Pál György dr. and Ágnes Simon . Zsuzsanna Győri dr. and Ferenc Garai . Gábor Hanák and Ágnes Tatai . László Hancz and Éva Mester . Miklós Havass .

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2015-16

Géza Homonnay . Ágnes Horváth dr. . Charles and Suzanne Huebner . György Kalmár . Katalin Visky Kelemenné dr. . Júlia Király . György Királyfalvi dr. . Mihály Kökény dr. and Mária Stiller . János Máthé dr. and Éva Ligety . Gábor Molnár dr. . Ágnes Németvölgyi . Judit Szabady Nyárádiné dr. . Pre-Tax Kft. . Professional Orvosi Kft. . Mariann Sárváry . Éva Sólyom dr. . Éva Somfai dr. . Igor Szabados . Sándor and Sándorné Surányi . Péter Szauer . Zoltán Székely and Csilla Leposa . Tóth Gábor and Wife . Zoltán Török . Pál and Katalin Varsányi . István and Ágnes Zoltán

GOLD Marianne Bakró-Nagy . Andrásné Bálint dr. . Mária Bánáti . Oreste Paoloné Beghetto . Péter Bittner . Ingeborg Burger Balogh . László Cser-nay dr. . György Csillag dr. and Alexandra Keszthelyi . Miklós Drexler and Gabriella Lengyel . Mária Dunavölgyi . Péter Eisler dr. . László Faze-kas . Szilvia Gabriel dr. and Lajos Kalmár dr. . Gabriella Anna Győrfi Gálné . Karl Philip Hall . Mirella Szakonyi Horváthné . Edit Hugyecz . Gabriella Kertész dr. . Viktor and Terézia Kertész . János Kocsány . Péter Komáromy and Katalin Pollák dr.· Katalin Kuti . András László . István Matskási dr. . Károly Nagy dr. . Judit Pálfia dr. . Tibor Pallag and Anikó Karner . Judit Salgó . Lajosné Sápi . Hedvig Sápi . István and Judit Sess-ler . Erika Szomor Szabóné dr. . Iván Szelényi . Zsuzsanna Szever dr. and Mihály Dalos . Ágnes Szigeti . Béláné Szilágyi and Éva Szilágyi . Péter Szívós . András Szűcs . Lászlóné Tanos

SILVER ÁGA Consulting Tanácsadó and Szolgáltató Bt. . László Ágosthá-zi and Wife . István Alföldi . Ágnes Ambrus dr. . Gusztáv Bacher . Lász-ló Barczikay . Jolán Barkóczi . Istvánné Barta . Mária Batta and Gyula Madar . Zoltán Bende . Andor Benedek . Györgyné Berger . Éva Bertalan dr. . András B. Nagy . Péter Bognár . Katalin Böszörményi dr. . Judit Csanádi and József Gyabronka . Edina Csibi . Miklós Elsner . Pál Féle-gyházi . István Feuer and Wife . Éva Földényi and Péter Korda . Ernőné

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Gábor . Mátyásné Gál . Éva Galambos dr. . György and Júlianna Gálo-si . Péterné Garai . Zsuzsa and Ágnes Gerő . Géta Center Kft. . Pál Gor-don . Mária Gosztákné Plank and Olga Madaras . Ákos Greiner . András Gyulai . Judit Halmos and Mihály Magyar . József Holéci . György Hol-lay . Hajnalka and János Hornung . László Horváth . Márta Ihász and József Spollár . Gyula Jáger . Ferenc Kabódi . Mátyás Kabódi . Gáborné Kenesei . Zsuzsanna Kertész . László Keviczky . Ádám Kis . Balázs Kis . András Klauber dr. and Éva Szigeti dr. . Júlia and Zsolt Komlósi . Kata-lin Komlósné Hlatky . László Kőszegi . Gábor Kreiss és Gabriella Har-tai . István Lantos dr. . Péter Lastofka and Katalin Patkós . János László dr. and Bernadette Péley . Katalin Lehel E. . Gábor Lövenberg and Júlian-na Radó dr. . János Márton . Katalin Mezei . Zoltán Mitsányi and Beáta Juvancz . János Moór and Wife . György Müller and Anikó Anna Bárd . László Nagy . Erzsébet Németh . György Németh . László Paksy dr. . János Palotai and Soltész dr. . Pappné Radics Edit dr. . Páris György and Wife . Mihály Patyánik dr. . Istvánné Pék . Gáborné Pelle . Péterné Pernesz . Györ-gy Petrucz . Tibor Piller . Éva Prágai . Erzsébet Radinkó dr. . Béla Rein-icz . Péter and Maya Révai . Zoltán Rimanóczy and Éva Csala . Tiborné Rónai . Salgó Judit . Judit Simó és László Bokor . Éva Sitkei dr. . Róbert Sívó ·Soltész + Soltész Kft. . Éva Somogyi and László Horváth . Ferenc Spohn . Gábor Szabó dr. . Klára Szabó . Éva Szalai . Péter Szentesi dr. . Mária Szent-Martoni . Gyöngyi Tárnok . Geoffrey Thomas . Kálmán Torma and Anna Halász . Katalin Tóth . Mihály Tóth and Wife . Tamásné Tóth . Andrásné Törő dr. . János Váradi . Mónika Váradi dr. and Gabri-ella Varjú . Gyula Varsányi . Józsefné Végh . János Vígh . Imre Vörös

BRONZE Iván Abonyi dr. and Wife . Zoltán Ábrahám . Lívia Feldmájer Albáné . Zoltán Alföldy and Erika Szász . József Almási dr. . Józsefné Almási . Erika Amoser dr. . István Apáthy . Jánosné Árvay . Zsuzsanna Bácskai . Ervinné Bánki . Iván Bánki . István Barna dr. and Szabó Zsu-zsanna . Barsi Gusztáv dr. . Beer Istvánné . Judit Benkő dr. . Gábor

MEMBERS OF THE SUPPORTERS’ CLUB

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Berényi . Károlyné Béres . Péter Biksz . Erzsébet Birman and Magda Tóti . Aranka Bodor and Károly Liliom . Istvánné Bogdán . Éva Bog-dány . Béla Bognár . János Bonta and Katalin Nemes . József Borissza and Wife . Iván Borsa dr. and Mária Farkas . Boglárka Brunner . Miklósné Budaházy . József Bumberák dr. . Józsefné Búzás . Viktória Buzás . Kin-ga Chabada. . János Cocron . Terézia Csepregi . Magda Cseszkó . Beáta Csillag . Ottóné Csurgó dr. . Dénes Dalmy . Éva Danziger dr. . János Deák . Zsuzsanna Lehel Deményné . Sándorné Doubravszky . Anna Dögei dr. . Jenő Duba dr. and Wife . Lajos Dvorák . István Egri . András Fáber and Katalin Fejes . András Fábián . Katalin Ható Faragóné . Gábor Far-kas . László Fazekas . Györgyi Feldmájer and Zsolt Benedek . Lea Feld-májer and Tamás Kocsis . Máté Feldmájer and Anna Csillag . Ágnes and Sándor Feldmájer . László Félix . Judit Fendler . Péter Fenyő dr. . Erzsébet Földesi and Kornél Fendler . Antalné Földi . Erzsébet Francsicsné dr. Czinege . Annamária Fülöp . Gábor Füredi . Kraszimira Gadzsokova . Nóra Gál dr. . Imréné Galambos . József and Edit Gallasz . Jolán Gecse . Dezsőné Gecsey . Judit Gerő and Tamás Reich . Júlia Gidáli dr. . Tamásné Görög . György Grósz dr. . Péter Guti . Béla Gyarmati and Wife . András Hajdú dr. . Péterné Halász . Pál Halbrohr . Tibor and Ilona Hargitai . Fer-enc Hámori and Éva Ács . Rudolf Hámori dr. . Mária Harkányi . Ágnes Havas . István Havas dr. . Judit and László Hazai . Ágnes Hetényi and Györgyné Bender dr. . Ágnes Hitesy dr. . Éva Hlavács dr. and István Bölcs-földi . János Hollós . Anna Horváth . István Horváth dr. . Jánosné Horváth dr. . Lajos Horváth . László Horváth . Sándor Horváth . Vilmos Horváth and Anna Kőszegi . Gábor Hőnig . Lajosné Jablonszky . János Jáki and Marika Jáki . Károly Jakob . Katalin and Béla Jankó . Sarolta Jeney . Judit Jórend dr. and Ferenc Herczeg . Györgyné Kádár dr. . Lászlóné Kádár . Zsuzsanna Kádár dr. . Mária Káldor . Imre Kalivoda . Istvánné Kálmán dr. . Gabriella Kapronczai . István Kardos . András Kárpáti . Lajos Kecskés . Antal Kelemen . Istvánné Kenesei . Kálmán Kerék-gyártó . Károly Keve . Andrea Kiss . Mariann Kiss dr. . Leonid Kit-

2015-16

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MEMBERS OF THE SUPPORTERS’ CLUB

ainik . Ágnes Klinga . György Kocsis . Albert Kónya and Alice Sárkö-zi . Katalin Kónya dr. . Ágnes Koós . András Koós . János Korda . Mihály Korodi dr. and Zsuzsanna Magyar . Jánosné Kósa dr. . Katalin Kovács . Péter Kovács dr. . Viktorné Kovács . András Krausz . József Kriston dr. . Mag-dolna Kutas . Judit Láner . Béla Láng . Bálint Lantos dr. . Gáborné Lantos dr.· Zsolt Lantos dr. . Júlia László . György Lellei dr. . Gabriella Lendvayné Győri dr. . Jánosné Lovas dr. . Judit Maár dr. and Zsolt Krokovay dr. . Iván Magyar dr. and Ildikó Fadgyas dr. . Sylvia Magyar . György Major . Lász-ló Marosffy dr. . Lászlóné Mátay . András Máté . Tamás Meitner . Józse-fné Meleghegyi . Gábor Merényi . Sándorné Mészáros . Mila Mituszova dr. . Gáborné Molnár . Klára Monoki . Ákos Nagy and Izabella Papp . Anna Nagy . Boldizsár Nagy . Ervinné Nagy dr. . Gábor Nagy· Gyuláné Nagy . István Nagy . Judit Nagy and Gábor Róbert Kis . Margit Nagy and György Lantos . Pál Nagy . Zsófia Németh . Lászlóné Németujvári . Lajosné Őze . Éva Kutasi Pálné and Andrásné Banász . Valéria Palotai . Csaba Pankotai . Margit Lux Pankotainé . Ágnes Pap . Szabolcs Papp . Osz-kár Pártos . Iván Pável dr. and Ivánné Pável . Irén Pogány . Judit Pongó . Ist-vánné Prepeliczay . Zsuzsanna Rácz . István Radnóti dr. . Andrásné Radó . János Radó dr. . Józsefné Réti . Kálmán Rimanóczy and Márta Szomor . Imre Rónyai . Beáta Rózsa dr. . Jánosné Rudas . Judit Sáfár and Sándor Kocsis . László Sáfár . Géza Sáska . Gábor Segesváry and Wife . Ágnes Horváth dr. Sikóné . András Soltész . Tamás Somogyi . Már-ta Szabó . Piroska Szabó dr. and Ruben Oláh dr. . Gabriella Szántó . Mária Szegvári dr. . József Székely dr. . Klára Szemenyei dr. . Mihály Szem-ler . András Szepesi . Edit Sziráki . András and Helga Szőke . Mariann Szőke . Péterné Szőnyi dr. . Theatrum Mundi Theatral and Literatural Agency . Györgyné Thuróczy . Rozália Turcsányi Thurzóné . Ilona Török . Mária Turi dr. . Tibor and Erika Ujvári . Júlianna Vajda dr. . Éva Márta Valis . Ildikó Varga . Márta Varga . Magdolna Várnai and István Kajtár dr. . Ferenc Vas . Gabriella Vass . Anna Végh . Edit Vida . Paula Volenszky . László Wéber . Pál Zahorán and Éva Komáromi

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THANK YOU TO OUR PARTNERS!

Strategic Partners

Media Partners

Government Partners

Silver Partners

Gold Partners

Bronze partners

Supporting Partners

Emberi ErőforrásokMinisztériuma

The Budapest Festival Orchestra creates bespoke sponsorship packages to suit the needs of its partners with marketing solutions, employee engagement and leadership development programmes and exclusive VIP opportunities. For more information please contact us at szponzor@bfz.hu or call +36 1489 4333.

SPONSORS

“I believe the BFO’s audience is a true community. I see nothing but friendly and familiar faces at their concerts. And it is as though the members of the orchestra were also all old friends as they take the stage. Of course, there are always some new faces; but we have seen many of the members since the day the orchestra was founded. I feel as though we are able to share the excitement of waiting together for a new experience. And the experience never disappoints: the orchestra radia-tes their love of music and their love of making music. I’ve never felt that they were simply there on stage to “tick the boxes,” and get it over with. Their enthusiasm infects the audience.” Eszter Jurák, audience

TICKETS

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SEASON TICKETSThe Budapest Festival Orchestra’s 2015–16 season offers four major sea-son tickets, one student season ticket, one cocoa season ticket, and a family cocoa season ticket, giving everyone a chance to find what suits them best. Detailed information about season tickets can be found in the fanfold at the end of the season brochure, and naturally everything you need to know is available online at WWW.BFZ.HU.

TICKETS PRICES Premium I. II. III. IV.

Palace or Arts, Concert Hall 13.600 8.400 5.900 4.600 2.500 Palace or Arts, Festival Theater – 6.000 4.200 3.400 – Liszt Ferenc Academy of Music 13.600 8.400 5.900 4.600 2.500 ! Haydn-Mozart Plus, Baroque 10.500 6.300 4.400 3.500 2.500 

The Little Sweep – opera for children 3.000 Cocoa Concert 2.500 Contemporary Concert 3.000 Midnight Music 1.500

Mendelssohn Marathon 990 Sunday Chamber Music 3.000

PURCHASING SINGLE AND SEASON TICKETSSeason tickets (and tickets for performances not included in the season tickets) are available from 18 March. Tickets for concerts included in sea-son tickets are available from 18 May.

ONLINE All tickets can be purchased online at WWW.BFZ.HU or WWW.JEGYMESTER.HU.

TICKETS AND SEASON TICKETS

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TICKETS AND SEASON TICKETS

IN PERSON AT THE ORCHESTRA’S SECRETARIAT . At the BFO’s office (District III, Polgár utca 8–10, Building B), between

9:30 am and 5:00 pm on working days between 18 and 27 March, and between 10:00 am and 4:00 pm following that.

. We accept credit/debit cards, SZÉP cards, Sodexho culture vouchers, Erzsébet gift/leisure vouchers, and Ticket Culture & Sport vouchers.

BY POST, FAX, EMAILADRESS H–1033 Budapest, Polgár utca 8–10

FAX +36 1 355 40 49

E-MAIL rendeles@bfz.huRequests will be processed in order of receipt. Please include your contact details (phone number, email address) with your order and indicate alter-natives regarding your preference for season tickets or seating.

AT TICKET OFFICESSingle and season tickets can also be purchased at offices of Jegymester.hu country-wide, and from our orchestra’s premium sellers at: . Palace of Arts, ticket office (District IX, Komor Marcell u. 1, Tel. +36 1 555 33 00 and District VI, Andrássy út 28, Tel. +36 1 555 33 10) . Rózsavölgyi Zeneműbolt (District V, Szervita tér 5., Tel. +36 1 266 83 37) . Liszt Ferenc Academy of Music, ticket office (District VI, Liszt Ferenc

tér 8, Tel. +36 1 321 06 90) . Ticket Express Ticket Office (District VI, Dalszínház u. 10, Tel. +36 30 303 09 99)

BFO CARD If you wish to have a closer link with the Budapest Festival Orchestra beyond the occasional concerts, join the BFO family and get your free gift card. The BFO Card will be upgraded in the 2015/16 season to offer even more benefits. For details, please visit our continuously updated website.

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SEASON TICKETS

DORÁTI A+B9 CONCERTS+ bonus (10th) concert: one of the Sunday Chamber Music series

2015

SEPTEMBER 11 Friday 7.45 pmWolf: Anakreons Grab Wolf: Denk’ es, o Seele! Wolf: Gebet Wolf: Gesang WeylasWolf: Harfenspieler I. Wolf: Herz, verzage nicht geschwindMahler: Symphony No. 7 in E minorFischer, Trekel

OCTOBER 15 Thursday 7.45 pm (A)OCTOBER 16 Friday 7.45 pm (B)Academy of MusicStrauss: Death and TransfigurationBritten: Les IlluminationsSibelius: Symphony No. 4 in A minorJanowski, Klussmann

NOVEMBER 9 Monday 7.45 pmPalace of ArtsProkofiev: Overture on Hebrew themesProkofiev: Violin concerto No. 2 in G minor Stravinsky: Jeu de cartes Stravinsky: The Firebird suite, No. 2Fischer, Zehetmair

NOVEMBER 28 Saturday 7.45 pm (A)Academy of MusicLully: Roland SuiteRebel: La FantaisieRebel: Les Plaisirs champêtresClérambault: La Muse de l’Opéra – cantata for sopranoRameau: Platée SuiteKuijken, True, T’Hooft

2016

JANUARY 15 Friday 7.45 pmPalace of ArtsLindberg: FeriaDvořák: Violin concerto in A minorSibelius: Symphony No. 2 in D major Saraste, Tetzlaff

JANUARY 22 Friday 7.45 pm (B)Academy of MusicBaroque music with compositions of Händel, Corelli, Vivaldi, Telemann, C. Ph. E. Bach, Hasse Kuijken, Labelle, Suh, T’Hooft

FEBRUARY 5 Friday 7.45 pmPalace of ArtsWeber: Der Freischütz (The Marksman) – overtureBrahms: Piano Concerto No. 1 in D minorProkofiev: Symphony No. 5 in B flat majorFischer, Sgouros

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FEBRUARY 25 Thursday 7.45 pmPalace of ArtsShostakovich: Hamlet (film score)Prokofiev: Piano Concerto No. 2 in G minorTchaikovsky: Symphony No. 2 in C minorTakács-Nagy, Lugansky

MARCH 11 Friday 7.45 pmPalace of ArtsMahler: Symphony No. 3 in D minor Fischer, Romberger, Bavarian Radio Choir, Cantemus Children’s Choir

MAY 4 Wednesday 7.45 pmPalace of ArtsMozart: Per questa bella manoMozart: Clarinet concerto in A majorMozart: RequiemFischer, Kozelj, Richter, Müller- Brachmann, Collegium Vocale Gent, Ács, Fejérvári

PRICES30% discount compared to the single tickets’ prices Premium Category: 85 600 FtI. Category: 53 550 FtII. Category: 38 350 FtIII. Category: 30 300 FtIV. Category: 17 850 Ft

SOLTI A+B9 CONCERTS+ bonus (10th) concert: one of the Sunday Chamber Music series

2015

SEPTEMBER 13 Sunday 7.45 pmPalace of ArtsWolf: Anakreons Grab Wolf: Denk’ es, o Seele! Wolf: Gebet Wolf: Gesang WeylasWolf: Harfenspieler I. Wolf: Herz, verzage nicht geschwindMahler: Symphony No. 7 in E minorFischer, Trekel

OCTOBER 4 Sunday 7.45 pm (A)Academy of MusicMozart: Symphony No. 30 in D major Mozart: Piano concerto No. 25 in C majorMozart: La clemenza di Tito – overtureHaydn: Symphony in C major Takács-Nagy, Frankl

NOVEMBER 7 Saturday 7.45 pmPalace of ArtsProkofiev: Overture on Hebrew themesProkofiev: Violin concerto No. 2 in G minor Stravinsky: Jeu de cartes Stravinsky: The Firebird suite No. 2 Fischer, Zehetmair

DECEMBER 26 Saturday 7.45 pm (A)DECEMBER 28 Monday 7.45 pm (B)Academy of MusicSurprise concertFischer

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SEASON TICKETS

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2016

JANUARY 14 Thursday 7.45 pmPalace of ArtsLindberg: FeriaDvořák: Violin concerto in A minorSibelius: Symphony No. 2 in D major Saraste, Tetzlaff

FEBRUARY 8 Monday 7.45 pmPalace of ArtsWeber: Der Freischütz (The Marksman) – overtureBrahms: Piano Concerto No. 1 in D minorProkofiev: Symphony No. 5 in B flat majorFischer, Sgouros

FEBRUARY 26 Friday 7.45 pmPalace of ArtsShostakovich: Hamlet (film score)Prokofiev: Piano Concerto No. 2 in G minorTchaikovsky: Symphony No. 2 in C minorTakács-Nagy, Lugansky

MARCH 10 Thursday 7.45 pmPalace of ArtsMahler: Symphony No. 3 in D minor Fischer, Romberger, Bavarian Radio Choir, Cantemus Children’s Choir

APRIL 2 Saturday 7.45 pm (B)Palace of ArtsHaydn: Symphony No. 4 in D majorMozart: Violin concerto No. 1 in B flat majorMozart: Adagio and Fugue in C minor Mozart: Symphony No. 35 in D major “Haffner”Takács-Nagy, Baráti

MAY 6 Friday 7 pmPalace of ArtsWolfgang Amadeus Mozart: The Magic FluteFischer, Fredrich, Rial, Nahoun, Müller-Brachmann, Briand

PRICES 30% discount compared to the single tickets’ prices Premium Category: 85 600 FtI. Category: 53 550 FtII. Category: 38 350 FtIII. Category: 30 300 FtIV. Category: 17 850 Ft

SEASON TICKETS

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REINER A+B7 AFTERNOON CONCERTS + bonus (8th) concert on May 8

2015

SEPTEMBER 12 Saturday 3.30 pmPalace of ArtsWolf: Anakreons Grab Wolf: Denk’ es, o Seele! Wolf: Gebet Wolf: Gesang WeylasWolf: Harfenspieler I. Wolf: Herz, verzage nicht geschwindMahler: Symphony No. 7 in E minorFischer, Trekel

NOVEMBER 8 Sunday 3.30 pmPalace of ArtsProkofiev: Overture on Hebrew themesProkofiev: Violin concerto No. 2 in G minor Stravinsky: Jeu de cartes Stravinsky: The Firebird suite, No. 2 Fischer, Zehetmair

DECEMBER 27 Sunday 3.30 pm (A)DECEMBER 27 Sunday 7.45 pm (B)Academy of MusicSurprise concertFischer

2016

JANUARY 16 Saturday 3.30 pmPalace of ArtsLindberg: FeriaDvořák: Violin concerto in A minorSibelius: Symphony No. 2 in D major Saraste, Tetzlaff

FEBRUARY 6 Saturday 3.30 pmPalace of ArtsWeber: Der Freischütz (The Marksman) – overtureBrahms: Piano Concerto No. 1 in D minorProkofiev: Symphony No. 5 in B flat majorFischer, Sgouros

FEBRUARY 28 Sunday 3.30 pmPalace of ArtsShostakovich: Hamlet (film score)Prokofiev: Piano Concerto No. 2 in G minorTchaikovsky: Symphony No. 2 in C minorTakács-Nagy, Lugansky

MARCH 12 Saturday 3.30 pmPalace of ArtsMahler: Symphony No. 3 in D minor Fischer, Romberger, Bavarian Radio Choir, Cantemus Children’s Choir

MAY 8 Sunday 3.30 pmPalace of ArtsMozart: Per questa bella manoMozart: Clarinet concerto in A majorMozart: RequiemFischer, Richter, Müller-Brachmann, Collegium Vocale Gent, Ács, Fejérvári

PRICES28% discount compared to the single tickets’ prices Premium Category: 78 300 FtI. Category: 48 350 FtII. Category: 33 950 FtIII. Category: 26 500 FtIV. Category: 14 400 Ft

SEASON TICKETS

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ORMÁNDY A+B5 CONCERTS+ bonus (6th) concert on May 8

2015

OCTOBER 3 Saturday 7.45 pmAcademy of MusicMozart: Symphony No. 30 in D major Mozart: Piano concerto No. 25 in C majorMozart: La clemenza di Tito, K. 621 – overtureHaydn: Symphony in C majorTakács-Nagy, Frankl

OCTOBER 17 Saturday 7.45 pmAcademy of MusicStrauss: Death and TransfigurationBritten: Les IlluminationsSibelius: Symphony No. 4 in A minorJanowski, Klussmann

NOVEMBER 27. Friday 7.45 pmAcademy of MusicLully: Roland SuiteRebel: La FantaisieRebel: Les Plaisirs champêtresClérambault: La Muse de l’Opéra – cantata for sopranoRameau: Platée SuiteKuijken, True, T’Hooft

2016

JANUARY 23. Saturday 7.45 pmAcademy of MusicBaroque music with compositions of Händel, Corelli, Vivaldi, Telemann, C. Ph. E. Bach, Hasse Kuijken, Labelle, Suh, T’Hooft

APRIL 01 Friday 7.45 pmAcademy of MusicHaydn: Symphony No. 4 in D majorMozart: Violin concerto No. 1 in B flat majorMozart: Adagio and Fugue in C minor Mozart: Symphony No. 35 in D major “Haffner”Takács-Nagy, Baráti

MAY 8 Sunday 7.45 pmPalace of ArtsMozart: Per questa bella manoMozart: Clarinet concerto in A majorMozart: RequiemFischer, Kozelj, Richter, Müller-Brachmann, Collegium Vocale Gent, Ács, Fejérvári

PRICES25% discount compared to the single tickets’ prices Premium Category: 55 350 FtI. Category: 33 600 FtII. Category: 23 500 FtIII. Category: 18 550 FtIV. Category: 12 000 Ft

SEASON TICKETS

YOUNG BFO4 CONCERTS at the Palace of Arts + flexible choice

Discounted season tickets for students – choose what you want!

If you are a student then you can buy a season ticket (with a student id card) for some of the best category seats; it costs just 6000 Ft and can be used for four concerts of your choice. At the given venue, season-ticket holders can choose from any tickets not sold for the concert, 30 minutes before the concert starts.

The only risk is that you have to wait until the next concert if all the tickets are snapped up beforehand ... But it’s still a great deal!

COCOA SEASON TICKET4 COCOA CONCERTS+ gift mug

Our highly successful cocoa concert series continues. since the tickets are usually picked up quickly, it is a good idea to secure your place with a season ticket. Worth 12.500 Ft, your season ticket comes with a beautiful gift mug.

In the 2015-16 season we intro - duce family season tickets for the cocoa concerts, in addition to the normal cocoa concert season tickets: buy three season passes with a 20% discount, for 30.000 Ft, instead of 37.500 Ft.

SEASON TICKETS

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FOREIGN FRIENDS OF THE BFO

US Friends of the Budapest Festival Orchestra

Chairman: Stephen Benko

Board of Directors: Noreen Buckfire, Aniko Gaal-Schott, Sylvia Hemingway, Blaise Pasztory, Emese Tardy-Green, Timothy Warner

Director Emeritus: Daisy Soros

British Friends of the Budapest Festival Orchestra

Trustees: Vyvyan Harmsworth, Richard Fowler Pelly, David Ashley Kirkby, Patrick Walker

Die Freunde des Budapest Festival Orchestra

Board of directors: Konstantin Schimert, Lorenz Kiefer, Roland Schmidt, Hubertus von Wulffen

Members: Eckart Wilcke, Siegmar von Schnurbein, Jutta von Falkenhausen, Ernö Theuer, John Flüh, Christiane Paetsch-Friese, Friedrich Kuhn, Patrick Bellenbaum, Franz Willnauer, Wolfgang Schlenter

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Budapest Festival OrchestraMusic Director: Iván FischerExecutive Director: Stefan Englert Deputy Executive Director: Orsolya Erdődy

Financial Director: Györgyné MaglódiAccountant: Lászlóné Szalai Operational Manager: Dóra Magyarszéky Operational assistan: Szolongo Szani Touring Manager: Bence Pócs Assistant of Touring Manager: Ivett Wolf PR manager: Adél Tossenberger Marketing executive: Szilvia Fejes Senior Development Associate: Beáta Bukvai Manager of Audience Relations: Orsolya Bagi Secretary Office And Youth Programme Coordinator: Adrienn Balogh Assistant: Angyalka Aranyosné Boros Senior Associate Head of Office: Rita Szabó Personnel Manager: Éva Kelemen Stage Manager: Zentai Róbert Stage Technicians: Sándor Kathi, István Siba

Advisors: Zsuzsanna Deák (Suppor-ters’ Club), Inga Petersen (Personal Assistant to Music Director), Júlia Váradi (PR)

Budapest Festival Orchestra FoundationHonorary President: Árpád GönczChariman of the Board: András SimorKurátorok: László M. Balássy, István Boros, György Granasztói, Miklós Mar-schall, Konstantin Schimert, Tamiko Soros, András Szecskay, Sylvia Tóth, Hubertus von Wulffen, Péter B. Záboji, Izabella Zwack

Members of the Supervisory Board:Csaba László (chairman), János Dávid, János Sziklai

IMPRINT

Advisors: András Batta, Gábor Bojár, Károly Dán, László Donáth, Zsófia Dornbachné Zachár, Botond Elekes, Mária Feuer, Kinga Göncz, Gábor Győző, Charles Huebner, Péterné Jüttner, Mihály K. Varga, David Kirkby, Mihály Kökény, Aladár Madarász, Bálint Nagy, Károly Nagy, József Péter, Gergely Prőhle, János Schiffer, Imre Sívó, Éva Sólyom, László Tihanyi, Mark Wodlinger

Chairman of the Budapest Festival Orchestra Association: Eszter Bánffy

ContactsOffice: 1033 Budapest, Polgár utca 8-10.Telephone: +36 1 489-43 30Fax: +36 1 355-40 49Email: bfofound@mail.datanet.hu! New Bank account number: MKB Bank 10300002-10612608-49020027Website: www.bfz.huOnline ticket purchasing: www.jegymester.hu

Published by the Budapest Festival Orchestra FoundationPublisher-in-chief: BFO Director Stefan Englert Editor: László GyőriGraphic design: Büro für mitteilungen (BFM)

PhotosIan Douglas (6-7); István Kurcsák (9, 41, 47, 61, 83); Marco Borggreve (11, 42, 49, 58); Piska Ketterer (20, 33); Joachim Gern (30); Giorgia Bertazzi (39); John Kringas (53); Marcell Szász (69); Dániel Végh (70); László Balkányi / WeLoveBudapest (73); Dániel Németh (89);

“The entire orchestra – as a community and as a group of individuals – radiates joy as they transmit their music, transforming the audi-ence into a community.”Judit Berényi, audience

CONCERTCALENDAR

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2015CONCERTSThe colour-coded dots indicate which season ticket(s) are valid for which concerts.

Doráti A + B Reiner A + B Solti A + B Ormándy

SEPTEMBER 11th Friday 7:45pmPalace of Arts, BBNHBridging EuropeWolf, MahlerFischer, Trekel Doráti

12th Saturday 3:30pmPalace of Arts, BBNHBridging EuropeWolf, MahlerFischer, Trekel Reiner

13th Sunday 7:45pmPalace of Arts, BBNHBridging EuropeWolf, MahlerFischer, Trekel Solti

15th Tuesday 7:45pmPalace of Arts, Festival TheatreBridging Europe, Contemporary ConcertHaas, Neuwirth, Wozny, Furrer, LangKovacic, Severloh, PHACE Ensemble

16th Wednesday 7:45pmPalace of Arts, Festival TheatreBridging Europe, Baroque ConcertBiber, Muffat, Mouton, Aufschnaiter, Vejvanovský, Bononcini, Fux, WeichleinLetzbor, Gerber, Mühlbacher

27th Sunday 5:00pmBFO Rehearsal HallSunday Chamber Music

29th Tuesday 7:00pmAcademy of Music, Solti HallBrittenDubóczky, Novák

OCTOBER03rd Saturday 7:45pmAcademy of Music, Grand HallHaydn-Mozart PlusMozart, HaydnTakács-Nagy, Frankl Ormándy

04th Sunday 7:45pmAcademy of Music, Grand HallHaydn-Mozart PlusMozart, HaydnTakács-Nagy, Frankl Solti A

10th Saturday 2:30pm + 4:30pmBFO Rehearsal HallCocoa Concert

15th Thursday 7:45pmAcademy of Music, Grand HallStrauss, Britten, SibeliusJanowski, Klussmann Doráti A

16th Friday 7:45pmAcademy of Music, Grand HallStrauss, Britten, SibeliusJanowski, Klussmann Doráti B

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17th Saturday 7:45pmLiszt Ferenc Academy of Music, Grand HallStrauss, Britten, SibeliusJanowski, Klussmann Ormándy

18th Sunday Concert at the CountrysideStrauss, Britten, SibeliusJanowski, Klussmann Ormándy

NOVEMBER01st Sunday 2:30pm + 4:30pmBFO Rehearsal HallCocoa Concert

07th Saturday 7:45pmPalace of Arts, BBNHProkofiev, StravinskyFischer, Zehetmair Solti

07th Saturday 11:30pmMillenárisMidnight MusicStravinskyFischer

08th Sunday 3:30pmPalace of Arts, BBNHProkofiev, StravinskyFischer, Zehetmair Reiner

09th Monday 7:45pmPalace of Arts, BBNHProkofiev, StravinskyFischer, Zehetmair Doráti

22nd Sunday 5:00pmBFO Rehearsal HallSunday Chamber Music

27th Friday 7:45pmAcademy of Music, Grand HallBaroque ConcertLully, Rebel, Clérambault, RameauKuijken, True Ormándy

28th Saturday 7:45pmAcademy of Music, Grand HallBaroque ConcertLully, Rebel, Clérambault, RameauKuijken, True Doráti A

DECEMBER20th Sunday 2:30pm + 4:30pmBFO Rehearsal HallCocoa Concert

26th Saturday 7:45pmAcademy of Music, Grand HallSurprise ConcertFischer Solti A

27th Sunday 3:30pmAcademy of Music, Grand HallSurprise ConcertFischer Reiner A

27th Sunday 7:45pmAcademy of Music, Grand HallSurprise ConcertFischer Reiner B

28th Monday 7:45pmAcademy of Music, Grand HallSurprise ConcertFischer Solti B

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2016CONCERTS

JANUARY14th Thursday 7:45pmPalace of Arts, BBNHLindberg, Dvořak, SibeliusSaraste, Tetzlaff Solti

15th Friday 7:45pmPalace of Arts, Béla Bartók Natio-nal Concert HallLindberg, Dvořak, SibeliusSaraste, Tetzlaff Doráti

16th Saturday 3:30pmPalace of Arts, BBNHLindberg, Dvořak, SibeliusSaraste, Tetzlaff Reiner

17th Sunday 5:00pmBFO Rehearsal HallSunday Chamber Music

22nd Friday 7:45pmAcademy of Music, Grand HallBaroque ConcertHändel, Corelli, Vivaldi, Telemann, C. Ph. E. Bach, HasseKuijken, Labelle, Suh Doráti B

23rd Saturday 7:45pmAcademy of MusicBaroque ConcertHändel, Corelli, Vivaldi, Telemann, C. Ph. E. Bach, HasseKuijken, Labelle, Suh Ormándy

23rd Saturday 11:30pmMillenárisMidnight MusicWidmann

24th Sunday 7:45pmBMCContemporary ConcertWidmannWidmann, Szőke

31st Sunday, entire dayPalace of Arts Mendelssohn-MarathonFischer

FEBRUARY05th Friday 7:45pmPalace of Arts, BBNHWeber, Brahms, ProkofievFischer, Sgouros Doráti

06th Saturday 3:30pmPalace of Arts, BBNHWeber, Brahms, ProkofievFischer, Sgouros Reiner

06th Saturday 11:30pmMillenárisMidnight MusicProkofievFischer

07th Sunday 2:30pm + 4:30pmBFO Rehearsal HallCocoa Concert

08th Monday 7:45pmPalace of Arts, BBNHWeber, Brahms, ProkofievFischer, Sgouros Solti

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25th Thursday 7:45pmPalace of Arts, BBNHShostakovich, Prokofiev, TchaikovskyTakács-Nagy, Lugansky Doráti

26th Friday 7:45pmPalace of Arts, BBNHShostakovich, Prokofiev, TchaikovskyTakács-Nagy, Lugansky Solti

27th Saturday Concert at the CountrysideShostakovich, Prokofiev, TchaikovskyTakács-Nagy, Lugansky

28th Sunday 3:30pmPalace of Arts, BBNHShostakovich, Prokofiev, TchaikovskyTakács-Nagy, Lugansky Reiner

29th MondayConcert at the CountrysideShostakovich, Prokofiev, TchaikovskyTakács-Nagy, Lugansky

MARCH10th Thursday 7:45pmPalace of Arts, BBNHMahlerFischer, Romberger, Bavarian Radio Choir, Cantemus Children’s Choir Solti

11th Friday 7:45pmPalace of Arts, BBNHMahlerFischer, Romberger, Bavarian Radio Choir, Cantemus Children’s Choir Doráti

12th Saturday 3:30pmPalace of Arts, BBNHMahlerFischer, Romberger, Bavarian Radio Choir, Cantemus Children’s Choir Reiner

27th Sunday 5:00pmBFO Rehearsal HallSunday Chamber Music

31st Thursday Concert at the CountrysideHaydn, MozartTakács-Nagy, Baráti, Ormándy

APRIL01st Friday 7:45pmAcademy of Music, Grand HallHaydn-Mozart PlusHaydn, MozartTakács-Nagy, Baráti, Ormándy

02nd Saturday 7:45pmAcademy of Music, Grand HallHaydn-Mozart PlusHaydn, MozartTakács-Nagy, Baráti Solti B

02nd Saturday 11:30pmMillenárisMidnight MusicMozart, HaydnTakács-Nagy

03rd Sunday 2:30pm + 4:30pmBFO Rehearsal HallCocoa Concert

17th Sunday 5:00pmBFO Rehearsal HallSunday Chamber Music

MAY04th Friday 7:45pmPalace of Arts, BBNHMozartFischer, Kozelj, Richter, Müller-Brachmann, Collegium Vocale Gent, Ács, Fejérvári Doráti

06th Thursday 7:00pmPalace of Arts, BBNHMozartFischer, Richter, Rial, Fredrich, Müller-Brachmann Solti

08th Sunday 3:30pmPalace of Arts, BBNHMozartFischer, Kozelj, Richter, Müller-Brachmann, Collegium Vocale Gent, Ács, Fejérvári Reiner

08th Sunday 7:45pmPalace of Arts, BBNHMozartFischer, Kozelj, Richter, Müller-Brachmann, Collegium Vocale Gent, Ács, Fejérvári Ormándy

29th Sunday 5:00pmBFO Rehearsal HallSunday Chamber Music

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