Bögöthy Trio (HU)
The trio's repertoire includes their own compositions that show the musical interest of the members in an extremely honest way and demonstrate the unrestricted work of airy sound.
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Last event date: Tuesday, May 03 2022 8:00PM
Bögöthy Trio (HU)
Featuring:
Ádám Bögöthy - double bass
Richard Szaniszló - vibraphone
Dániel Mester - saxophone
"A meeting between three instrumentalist and the freedom between bound forms." Somehow, this is how Ádám Bögöthy's newly formed formation can be described, in which his partners are such excellences as Dániel Mester, who playing on wind instruments, and Richard Szaniszló, the inimitable vibraphone player. The trio's repertoire includes their own compositions that show the musical interest of the members in an extremely honest way and demonstrate the unrestricted work of airy sound. The thoughts of Ádám Bögöthy bandleader, also reflect this: "Improvisation and chamber-like sound have always occupied me, and in this formation I can finally live for both musical qualities at the same time. It is an uplifting feeling to lead a line-up in which the musicians walk on Earth with both feet, while at the same time being able to take the music in the most unexpected directions by reading from each other’s reactions on stage”.
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We hold reservations until 8pm.
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Benjamin Appl recorded songs by Schubert, Brahms, and Kurtág on his album Lines of Life, released in 2025. On the album, the composers and their works are closely intertwined in the truest sense. Listeners will not only marvel at how Kurtág's music keeps the world of 19th-century German songs alive in various ways, but will also notice that at times Schubert or Brahms seem to continue or develop phrases, motifs, or ideas from Kurtág.
The importance of the Blue Note record company can hardly be overstated. The famous blue note-labeled albums recorded the pioneers of bebop after 1945, and then the defining small-band recordings of the hard bop era – these have become the eternal high points of jazz. The soloists of the Modern Art Orchestra, starting from the recordings of the first great era, relive the moments recorded on the blue-and-white label records.
As in Anton Webern's work, the short piece, short movement, or musical miniature in György Kurtág's oeuvre is not the result of any form of reduction. It is well known that, for neither composer, brevity refers to the duration of musical processes, but rather to the density of musical communication. The large-scale cycles composed of these dense communications – from The Sayings of Péter Bornemisza to Kafka Fragments and beyond – are particularly characteristic of Kurtág's output.
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