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About the concert

The contemporary music concert of the Bridging Europe Festival presents a work each by four important German composers—in a special way. Imagine sitting of the stage of the concert hall at the Palace of Arts with the musicians of what is considered one of the ten best orchestras in the world. Now you can have a chance to do so, because on this occasion the tickets are for seats on the stage, not the auditorium, and are consequently available in a limited number only.

The Festival Orchestra considers it important to bring music as close to its audience as possible. Midnight Music has already established a tradition where the audience can enjoy music while sipping wine among the musicians, and a similarly exclusive experience was recently had by those fifty people at the Night of the Museums who could take their seats on the stairs of the Museum of Fine Arts along with the performers.

Now lovers of contemporary music can become insiders for an evening, having a very immediate impression as the enjoy the music in the special atmosphere of the vast stage.

About the music

The contemporary music concert of the Bridging Europe Festival presents one work each by four important German composers. Hans Werner Henze, who died in 2012 at the age of 86, was one of the most prolific German composers of the post-war period. Throughout a long career, he absorbed the most diverse influences from old and new music. He lived in Italy from 1953 until his death. L’Heure Bleue (The Blue Hour), a serenade for sixteen instruments, was commissioned by the Frankfurt Alte Oper. At its 2001 world premiere, it was conducted by the famous English composer and conductor Oliver Knussen.

Born in 1952 and considered among the most prominent artists in Germany both as a composer and as an author on music, Wolfgang Rihm acknowledges such early models as Hans Werner Henze, Karlheinz Stockhausen, and Luigi Nono. The sister arts – literature, painting and sculpture – have a profound influence on his thinking as a composer. Versuchung (Temptation), a piece for the cello and orchestra, was inspired, as is often the case with Rihm, by a work of visual art, The Temptation of St Anthony, a triptych by the great 20th-century German painter Max Beckmann.

Manfred Trojahn, who was born in 1949, originally studied the flute to be an orchestra musician, before learning composition and conducting. His first compositions were presented in the early 1970s. The symphonies, string quartets and songs with orchestral accompaniment are particularly noteworthy in an oeuvre that spans almost all genres and forms. Contrevenir, the piece we will now perform, was written in memory of Hans Werner Henze.

Jörg Widmann, another well-known composer, was born in 1973. He has also earned a name as a clarinet player, both as a virtuoso interpreter of the literature and as an artist to whom several contemporary pieces have been dedicated. His Dubairische Tänze (“Dubavarian Dances”) was inspired by the musical experiences of a month’s stay in Dubai, as well as the music of his homeland Bavaria.


3 000 HUF


Hans Werner Henze: l’Heure Bleue
Wolfgang Rihm: Versuchung. Hommage à Max Beckmann für Violoncello und Orchester
Manfred Trojahn: Contrevenir – pour ensemble – musique à la mémoire de H. W. Henze
Jörg Widmann: Dubairische Tänze


Franck Ollu


Sonia Wieder-Atherton, cello