The E major piano concerto of Bach and Gran Sestetto Originale by Glinka will be played by Balázs Fülei on the 6th and 7th of April with the Mendelsson Chamber Orchestra at Hangvilla, Veszprém. Mikhail Glinka, whose works are less commonly played at concerts – known as the father of the Russian national opera – tried to interiorize musical influences from out of Russia as well. He made friends with Bellini in Italy and with Berliozz in Paris. He kept travelling across Europe and in a letter wrote to his family: he feels like an overworked poste horse. He composed the E flat major sextet, the piece about to be played in Veszprém, for piano, two violins, viola, cello and double bass.


The first Echo Summer Academy will be organised in the Károlyi Castle in Fehérvárcsurgó, in July this year, following the idea and artistic guidance of Balázs Fülei. Three teachers of the Liszt Academy, Péter Kováts violinist, István Varga cellist and Balázs Fülei are awating the applicantions of violinists, cellists and pianists for the mastercourse.


In the middle of March Balázs Fülei played Burlesque by Richard Strauss together with the Symphonic Orchestra of Kecskemét. With his interactive concert ’Bartók Reflections’ he brought Bartók’s personality closer to the young people four times – in his hometown, Kecskemét.


Hommage à Stravinsky is the title of the series of UMZE and the Concerto Budapest, started at the Acedemy of Music at the beginning of this year. Viktória Ozsvárt wrote critics for the magazine Muzsika about Ravel’s piano concerto for left hand – which has been played at the concert of January the 13th.

The two pieces ending the concert led us back to France around 1930. Even though after the premiere of the Rite of spring Maurice Ravel was one of the most enthusiastic supporters of the piece, at the time the D major piano concerto (1930) was composed he already distanced himself from the ideas of Stravinsky. The piano concerto fitted into the program of the evening also because of its varied rythms. The piece has been written for Paul Wittgenstein, the pianist that lost his right arm due to a war injury. Even Ravel himself was worried whether the material would feel empty. According to the sounding, Ravel did an excellent job and so did Balázs Fülei, the soloist of the evening. Since the melody and the accompaniment are both played with the same hand, the two voices are mostly separated by huge gaps. Implementing it doesn’t only require a technical virtuosity but also a sensitive musicality as handling the time well is crucial for understanding. in spite of the necessarily twisted hand positions we could hear the arpeggios of the piano’s upper registers and the accompanying figurations with perfect sophistication. The transparent, lyrical sections had an unearthy softness at times, while the densely added mixtures fulminated inexorably in the performance of Balázs Fülei. Thanks to the composer and its congenial performer, the work that was born from a tragic situation of shortage left us the feeling of completeness.

Muzsika, 2016. no.3,,
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