The Dresch Quartet has been playing in its current lineup for four years, and its founder, the highly acclaimed Mihály Dresch, has been a key figure in Hungarian music since the 1980s. This year he was awarded the Kossuth Prize. His band consistently and confidently treads its own unique path with an individual fusion of Hungarian folk music and African-American jazz, developed by the leader and the members. Commitment to the musical concept, respect and humility towards the sources, outstanding musicians, new and evergreen compositions, standards in the Dresch manner – all these combine to create the musical experience that may always strike the audience with its freshness.  

A wind player equally at home in the fields of folk, world music, jazz and contemporary music, being extremely popular both in Hungary and abroad, Mihály Borbély is one of the leading figures of Hungarian jazz as a performer and composer. The folk music heritage of the Carpathian Basin and the Balkans is strongly present in his works, organically combined with elements from the various jazz streams or even from the music of twentieth-century classics. His music is characterized by exciting melodic twists, sometimes subtly translucent, sometimes powerful rhythms, lyricism and energy, always infused with the freshness and spontaneity of improvisation. This time, the Mihály Borbély Quartet presents its new album, to be released on 18 November. Miracles of the Night – the second BMC Records album from the current line-up of the Quartet, and Borbély's sixth album on the label as a composer – opens up a rather melancholic world, requiring inner stillness and focused attention. The sharp-eared listener might detect the nuances that inspire and briefly appear, from Jancsó and Pilinszky to Miles Davis and John Coltrane. These inspirations, however, never appear in a direct way, but are powerfully reinterpreted in the final form of the compositions. The musicians wallow in the ocean of improvisation, flashing countless musical colours, characters, and even extremes, also embracing humour and drama.

The duo of Austrian sitarist Klaus Falschlunger and Italian accordionist Luciano Biondini look east and west at the same time. The two seemingly disparate artistic directions and instruments react through the universal language of jazz to merge in an iridescent compound. Falschlunger and Biondini draw on their own musical identities on Once in a Blue Moon, an album praised in Songline magazine, to create a world that is instantly striking in its vivacity, immediacy and solid colourfulness, with Latin and minimalist elements alongside jazz, pop and Hindustani traditions. The explosively tense songs and the quiet, introspective tracks are born from the same gripping elan and stunningly beautiful melodies; the dialogue between the two instruments unfolds with inventive and intriguing twists and turns, but never ostentatiously.  

June in October is a quartet from Vienna which combines the sound of three string instruments with two voices and the sound of an analog synthesizer. The music is influenced by structures of pop-songs, the dynamic and interaction of chamber music and multi-layered rhythmic patterns. In her compositions and arrangements the bass player and band leader Judith Ferstl uses role reversal to explore new possibilites and sounds. The strings sometimes play a drum-like-groove, the melody might be played by the double bass, a bass- or guitar-riff by the violin or the cello. In 2021 they released their debut album „My Feet on Solid Ground“. 11 Songs about the search for a „solid ground“ and the realization that there might not be a need for permanent direct contact to the ground. If you engage to the fragile state of insecurity, the fear of a deep fall might repeatedly be unmasked as an illusion. www.judithferstl.com/juneinoctober

Austrian band Shake Stew has become something of a phenomenon. With their premiere at Jazzfestival Saalfelden 2016 and their following debut The Golden Fang they seemingly exploded into the scene out of nowhere. Since then, their high energy mixture of hypnotic Afrobeat and jazz grooves has made them enormously successful not only on home turf but across Europe. Led by rising star bassist Lukas Kranzelbinder they quickly became one of the hottest live acts on the circuit, while the impact of their second album Rise and Rise Again (featuring Shabaka Hutchings) enabled them to spread their unique sound further afield, including an extensive tour of Canada, Mexico, Morocco and stand out shows at prestigious festivals like Montreal, Rochester and North Sea Jazz Festival. The band has also attracted the attention of Germany’s leading newspaper Die Zeit who, in an unusual move, sent one of its writers to spend 5 days with them to cover the formation's summer residence at Jazzclub Unterfahrt; the resulting feature was euphoric in its praise: “What I heard blew me away. Captivating rhythms, melting brass, hypnotic funk-beat-swing-afro-jazz-rock-rhythm-and-something. I was glued to my seat and could barely get up. […] Meanwhile, I know that other listeners had similar initiation experiences; something comes from this band that is new and special - and very attractive.” Riding on all this success, Shake Stew released their third studio album Gris Gris in November 2019. The album was soon awarded with the Preis der deutschen Schallplattenkritik for the first quarter of 2020 and was ranked as #1 album of 2019 by Jazzthing Magazine in their annual Best of. Further reactions included a front-page cover story in Jazzthetik Magazine as well as praise from The Guardian, MOJO, Der Spiegel, Jazzwise, Sunday Times, Radio France, and many more. In 2020 the band released their first live album (A)live! and went on to continue their impressive ascent when they were awarded the German Jazz Award in the category “Band of the year – International” in 2021. 2022 marks the release of their fifth album Heat as well as a change in personnel. The addition of Astrid Wiesinger on alto sax (replacing Clemens Salesny) has given the band an injection of new energy and we can hear the electricity buzzing on each track. Shake Stew’s unusual configuration of 2 drummers, 2 bass players and 3 horns is one of the key things that has made this 7-piece stand out. This instrumentation, which at first seems a little strange, seamlessly blends together, creating the trademark Shake Stew high-energy sound that their reputation has been built on. The addition of the Guembri (Moroccan bass lute) – something Kranzelbinder has been playing with for many years now – and flute add yet more texture to what is already a complex balance of sounds. Recorded in the Cicaleto Studio in Tuscany, Heat is comprised of seven original compositions and kicks off with Unmight. A perfect opener, it reveals layer by layer what makes this band so great: catchy, deceptively simple melodies which gradually build to a frenzy of increasingly dense rhythms, in this case a Moroccan chaabi groove-inspired finale. On I wear my heart on the outside – the band’s first drum-less track – new addition Wiesinger comes to the fore after a slow, almost fugue-like build up. The title track features the newly added log drums (slotted drums) played by Dolp and Pirker alongside bandleader Kranzelbinder’s Guembri adding an exciting new dimension to the band’s already strong arsenal of instruments. Stand out track Oh Captain, My Captain! is an atmospheric and playful piece characterised by the strikingly soft sound of the flute and muted trumpet and is a masterclass in how two double basses can be used simultaneously as melody and accompanying instrument. Other tracks include I am the bad Wolf, a rhythmically complex structured piece with overlapping wind lines; Lucidity, a 12 minute hallucinogenic sound scape and Wake Up and Be Gone which lies somewhere between Ethiopian tezeta and southern European melancholy.  

Modern Art Orchestra’s Legendary Albums series presents the most important and unique albums of jazz literature, performed by MAO. By learning and playing these compositions and arrangements, the musicians are paying tribute to the jazz legends and are undergoing an intense process of musical improvement. The band absorbs the material of the original recordings, sticking to the arrangements, forms and compositional features. As improvisation is the blood of jazz, solos are invented by the players at the moment. Due to the respect shown towards the original conceptions of the legendary composers and the level of craftsmanship known from Modern Art Orchestra, the Legendary Albums series both brings you the essence of jazz tradition and guarantees a fresh musical experience. Legendary Albums - Miles Davis: Bitches Brew "August of 1969 marked Miles Davis’ boldest venture yet into undiscovered country. This time there was no more holding back, no more tentative experimentation, no more walking on eggshells. The album that emerged, Bitches Brew, was groundbreaking…" - Paul Tingen Bitches Brew came out in 1970 on the Columbia Records label. Being a historical jazz album in the truest sense, it hit the music scene like an asteroid. Group leader and legendary trumpetist Miles Davis, a genius of inventing revolutionary concepts, did not only divide his audience into two distinctive groups, but also invited a new group of interest, while proving and finalizing the position of instrumental jazz-rock fusion in the music history with Bitches Brew. Ferocity, curiosity, love, playfulness, pain and beauty fuel the mesmerizing grooves of Bitches Brew. It was awarded a Grammy for Best Large Jazz Ensemble Album in 1971. It is a remarkable challenge to learn and perform this album’s material. Modern Art Orchestra’s creative workshop is preparing this wonderful album for the upcoming concert of the Legendary Albums series. Don’t miss it!

Dalinda is one of those performers who create a fresh sound with a contemporary approach starting from folk music foundations. The a cappella trio's singers – Fanni Nádasdy, Julianna Paár and Sára Tímár – are all committed to Hungarian folk music, yet their musicianship strives to bring the authentic, instinctive singing style of folk songs to the stage in a modern form, sensitively reworked in several voices. Their songs are about shared human experience, as folk songs are the carriers of collective feelings and thoughts that affect us all, and are the purest source of our self-expression. The idea of the formation was born in 2015, and Dalinda was crystallized from the experience of many folk and world music projects, after years of working together. In the past years, the band has performed in the biggest concert halls in Hungary, at festivals abroad and released two highly successful albums. This concert will also feature a selection of songs specially chosen for the occasion, linked to Christmas.  

In a fragile balance between song, improvisation and contemporary music, singer Leïla Martial and cellist Valentin Ceccaldi offer funambulists' music whose specificity and irresistible charm lie in the fact that it is constantly played like on a wire... Projecting themselves without a net into the unknown of this high-risk minimalist formula where no wrong step is allowed, the duo unrolls its references (a standard by Mal Waldron, an air by Purcell, a lied by Fauré, a Berio's song…), to better venture, through improbable formal diversions and delicate sound metamorphoses, to the far ends of bruitist theater. Both radically experimental and intensely lyrical, this music of the instant fascinates by its audacity and poetry. The duo will record their new album at BMC in the days following the concert, so we can expect yet another forward-thinking French jazz album in the rich catalogue of BMC Records.

Painting silence with sound is like painting water with fire, dancing the stillness of stones. And yet this is what trumpeter and composer Kornél Fekete-Kovács is attempting now, in a production entitled Different Aspects of Silence, with the Czech Robert Balzar Trio and vocalists Veronika Harcsa and Dan Bárta. Kornél Fekete-Kovács met the Robert Balzar Trio two years ago and has been collaborating with them regularly ever since. Their musical reflection was rounded out with the popular Czech jazz singer Dan Bárta. The majority of the programme, exploring the theme of silence, is composed by Kornél Fekete-Kovács, who feels a sense of responsibility: behind every note he plays, he says, are all the sounds that were present in the silence but were deprived of the opportunity to be heard. The music thus determines but also liberates, and this is reflected in the musical concept: the composed themes alternate with collective, controlled improvisations, maintaining a balance between liberating constraints and unbound expression. Lyrical, elegant and intimate in tone, Kornél has chosen texts from authors such as William Blake and the Sufi philosopher and poet Rumi. This time the songs are sung by Veronika Harcsa, also renowned for her rich vocal timbre, and Dan Bárta, winner of several major Czech awards. This occasion will also serve as a record release concert for BMC Records' upcoming album Different Aspects of Silence, to be released early next year, which offers 21st-century listeners, alienated from the experience of silence, a nuanced musical insight into its different aspects.

Perselí is a trio of four voices: Fuensanta sings and plays the double bass, José plays the saxophone, and Alistair plays the trumpet. they found each other in their respect for vulnerability, sensitivity towards sound, and pursuit for a constant path of discovery. They produce narratives that develop unhurriedly, as an imitation of flowers, leaves and life without anxiety. Formed in 2018, the band essentially consists of three voices and double bass. This orchestration offers various possibilities for sound and texture. Through the set, you can expect to hear improvised passages that resemble that of a modern chamber group, original songs that pull from a mixture of folk music & soundscapes that imitate nature and our surroundings. Perselí are a collective who compose together, and bounce off each other's ideas and influences to form an entirely unique sound. These influences span multiple musical corners. Arvo Pärt, Morton Feldman, Björk, Radiohead, Chico Buarque, Fausto, Maurice Ravel would be the tip of the iceberg. The trio is based in Amsterdam and their debut album was released in August 2022 with Minaret Records.  

This time, József Balázs, one of the most talented orchestrators and jazz pianists of his generation, took Bartók's series For Children in his hands. Recorded by a number of Hungarian and foreign performers, including András Schiff and Zoltán Kocsis, the cycle's melodies, written in the language of children but with crystallized wisdom, open a window onto a complex and multifaceted musical space. On his album Csillagkép távolság (Far Beyond Constellation), József Balázs and his quintet invite listeners on a harmonic adventure that sheds a unique and new light on some of Bartók's movements. The album's songs range from lively compositions to more contemplative, sometimes melancholic ones, always starting from Bartók's melodies, which seem to enter a different harmonic world and transition into free improvisational games with such ease and naturalness that the listener may forget that the musical process started from a melody for children. At the same time, the compositions give the melodies a different mood from the arrangements usually heard. Anna Lukács  

Modern Art Orchestra’s Legendary Albums series presents the most important and unique albums of jazz literature, performed by MAO. By learning and playing these compositions and arrangements, the musicians are paying tribute to the jazz legends and are undergoing an intense process of musical improvement. The band absorbs the material of the original recordings, sticking to the arrangements, forms and compositional features. As improvisation is the blood of jazz, solos are invented by the players at the moment. Due to the respect shown towards the original conceptions of the legendary composers and the level of craftsmanship known from Modern Art Orchestra, the Legendary Albums series both brings you the essence of jazz tradition and guarantees a fresh musical experience. Legendary Albums – Count Basie: Basie Straight Ahead Count Basie has been a bandleader standing above trends and fashions, but jazz fans in Hungary haven’t always been well-informed about their favourites. It might surprise some people to read that the recording of Basie Straight Ahead was the first time that Sammy Nestico worked with the band, but from then on his arrangements have largely shaped the way the Basie band sounded. Interestingly, their collaboration only started in 1968, though Count Basie’s orchestra rose to world fame from the second half of the twenties. Arrangements of Nestico have since become a basic part of jazz schools nurturing a big band everywhere. But the special feature of this very album is that all the compositions have been penned by Nestico, not just the arrangements. This way he indeed contributed to streamlining the shape of the orchestra, without taking anything away from the overwhelming blues feeling of it.Although the Modern Art Orchestra has defined itself as an ensemble which respects and cultivates the jazz tradition while playing contemporary music, it has not built up its own repertoire from the pieces by Basie and Ellington. They have produced a vast collection of their own original compositions. However they have always been aware of the fact, and have showcased it by keeping a couple of standards on their programme, that the works of these classic composers constitute the basis of the big band culture and that those pieces have not become evergreens by chance. This is the rational behind the complete big band line-up taking the stage this time, not just a combo launching the new series of the Legendary Albums season.

Saxophonist Hugues Mayot, who ventures with ease in the most varied contexts (Radiation 10, André Minvielle, Marc Ducret, Magma...), designed for his new group, L’Arbre Rouge, an instrumentation close to chamber music, reminiscent of the intimacy of a classical quintet, and surrounded by rare instrumentalists who all share formidable technique and a constant concern for aesthetic openness, from scholarly music to popular music, through the most daring experiments. Through minimalist and repetitive writing as a research on timbres and textures, Mayot gives a singular rhythmic dimension to his miniature orchestra, and creates a playground for improvisation which he joyously shares with his four companions in adventure. The quintet's debut album was released by BMC Records in 2019, and now the band returns to Opus not only for the concert, but also to record their second album for the label.

Kéknyúl plays urban dance music that draws from 70s soul and funk. Their sound is defined by two members, Mátyás Premecz and Andy Hefler. Mátyás Premecz is a well­-known organ player on the Hungarian pop scene, playing with such bands as The Qualitons or Barabás Lőrinc Eklektric, but his name is always tied to his trademark Hammond organ and that’s exactly why Kéknyúl was founded – to be able to fully exploit the possibilities of the instrument. Andrew Hefler was born in Los Angeles and moved to Hungary in 1993. He’s an outstanding figure in the Hungarian cultural scene, being a renowned actor, director and singer. Of course the band and its sound wouldn’t be complete without the brilliant playing and interaction of the other six members.

István Gyárfás founded his first guitar-bass-drums trio more than 30 years ago, which has been active ever since. The band's playing is characterized by the pulse of swinging, rich in colors and tempo changes, with virtuosic solos with bebop elements. The combo is happy to perform songs by the legendary big bands of the swing era, but their repertoire also includes many jazz standards that are rarely heard today, as well as several of their own compositions. On their latest album, Cartoon Jazz, they play well-known Hungarian cartoon music. The timeless melodies of Tamás Deák, Ferenc Lovas, Zsolt Pethő, György Ránki and Péter Wolf were presented in the summer of 2017, supplemented with guest soloists, with explosive success at Müpa Budapest. The trio has recently performed at a number of jazz festivals featuring soloists such as Joe Murányi, Carol Cass, Sidney Ellis, Agostino DiGiorgio, Tommy Vig, Bosko Petrovic, Eldad Tarmu, Kim Hutchcroft or Herbie Mann.

One of the most famous jazz guitarists in Hungary, Bálint Gyémánt, renewed his trio with young musicians. The main guiding principles of the team’s work together are freedom, experimentation and the search for new opportunities that have always been part of the basic concept of jazz. “The trio is my personal creative workshop, where I can work with my exceptional, inspiring artist friends. Although we play my own compositions, my partners always play a major role in creating the sound. I feel like each formation is my own, but the trio reflects my own musical language the most. Pushing the boundaries and looking for new musical directions has always been important to me, which is why I wanted to create this fresh concept together with a new rhythm section", says Bálint Gyémánt, who works with Vince Bartók and Dániel Ferenc Szabó in his renewed trio. These young musicians are prominent members of their generation who not only speak the traditional language of jazz fluently, but even the most modern trends have a serious impact on their instrumental playing. The special feature of the trio's sound is that in addition to the acoustic drum, electric tones are also heard. Thus, although the orchestral line-up remained the classical jazz trio, the world of sound has become much more modern thanks to the technical equipment and effects, which also leaves more room for the creativity of the musicians. On his album entitled True Listener, Bálint Gyémánt hosted the Israeli pianist Shai Maestro. The album was published by Budapest Music Center and has received excellent reviews from all over the world. This evening, listeners will get an insight into rethinking the compositions from the previous album, and can also catch a glimpse of the latest songs from the trio's new album, to be released in 2023.

Tamara Mózes and Zsolt Kaltenecker worked together for the first time on an electronic music project in 2017, where they co-wrote a few songs. Three years later, they made their debut as a duo on the stage of Opus Jazz Club – with great success. In their songs, jazz, pop and improvisation meet electronic sounds and progressive musical elements, resulting in a unique genre, best described as chamber music artpop. Their debut album Futurized was released in the autumn of 2022 on BMC Records, featuring a wide variety of moods: Waterbird Waves exudes a timeless ambience, Blade dreamily mixes childhood memories with the modern world of the present, Choose a Color invokes a light commotion of color, It Is Open refers to a scene from a Tarkovsky film, and in the text of Futurized the present and past dimensions criss-cross one another. There is also an arrangement of the Greek folk song Misirlou and Elton John’s I’m Still Standing.

It would be difficult to list the number of instruments played by Béla Ágoston, the incredibly versatile and inexhaustibly creative figure of the Hungarian etno jazz and free jazz scene – as he says: a “music-approacher”. The number of his instruments is rivalled only by the number of ensembles he has founded, including the Ágoston Béla Küntett, the East Side Jazz Company, the Knutdut Men and Zuboly. This time, he comes to Opus as the leader of an orchestra made up of musicians who are finely tuned to each other, experienced and extremely open to the pleasures of spontaneous music-making. Jazz from the springheads – musicians with a knowledge of many styles have embarked on this collaboration. Their personal experiences are reflected in the dance-like roots and African-Asian atmospheres of their music. The bass ukulele and synthesizer add a suitably magical theme park atmosphere to the pimeval rumbles and shouts of the drums and saxophone.

Gábor Horváth Tojás, a jazz pianist, composer and teacher, is the founder of the Transform Quintet and a member of the quartet of Zita Gereben. He has written several soundtracks, and also co-recorded with world-renowned jazz pianist Joey Calderazzo. With his own trio, he recently released his fourth album, Tricks. While their previous album, Soundtrack - which was nominated for a Gramophone Award and won the Composer of the Year category in the Jazzma.hu readers' poll - was inspired by soundtracks, their new album was inspired by the magic tricks and card tricks.The compositions on the album - which will be performed at the Opus Jazz Club too - are characterized by playfulness, musical humor and emotional-mood diversity. In addition to fast-paced, hilarious, rhythm-changing compositions, the album also features large-arched solos and hymn ballads. Gábor's works are characterized by the painting of images, the effective expression of moods and emotions. The members of his trio also play an essential role in interpreting this: in addition to the high-quality technical workmanship, the extraordinary attunement to each other makes their liberated music unforgettable.

The Szabó Dániel Quintet is a true "middle generation" supergroup, its members are musicians who are renowned both in Hungary and abroad. The quintet mostly performs the bandleader's own compositions: progressive, but also accessible and stimulating music. The intense and joyful interaction between the members, complex rhythmic world, exuberant melodies and modern harmonies characterize the band and the repertoire. Some of the music was developed in Los Angeles, where bandleader Dániel Szabó has lived and worked for the past 8 years. The performance in his home country is made particularly exciting by the participation of Hungarian colleagues, who contribute new colours to the music, drawing on their own cultural backgrounds and strong personalities. Dániel Szabó is active both in Hungary and in the United States, and regularly works with artists such as Peter Erskine, Chris Potter and Joe LaBarbera, but he also plays with the leading musicians of the younger generation in the US. His most recent album Visionary was a chart-topper in the prestigious American magazine JAZZIZ, alongside Brad Mehldau and Esperanza Spaulding. Chick Corea's management has asked Szabó to perform the final movement of Corea's Bartók-inspired Jazz Piano Concerto, dedicated to MÜPA, with John Patitucci and Dave Weckl, in the spring of 2022.

Inspired by a mixture of early music, folk and plainsong as well as the painting of Jackie Berridge, Shadowlands offers chamber and contemporary music. The three vibrant voices of the European creative music scenes, followers of crossroads between genres, agree to jump together into the unknown, with no other preconceived agenda than their thirst for adventure and their desire to share. The compositions of Kit Downes, a key pianist on the new British scene mingle with those of Anglophile saxophonist and clarinetist Robin Fincker and Irish singer Lauren Kinsella in a common desire to question slowness and the right gesture. The stretched and singing melodies are thus surrounded by a halo of shimmering and moving sound material. Slowly the shadows stretch and blend…

Modern Art Orchestra’s Legendary Albums series presents the most important and unique albums of jazz literature, performed by MAO. By learning and playing these compositions and arrangements, the musicians are paying tribute to the jazz legends and are undergoing an intense process of musical improvement. The band absorbs the material of the original recordings, sticking to the arrangements, forms and compositional features. As improvisation is the blood of jazz, solos are invented by the players at the moment. Due to the respect shown towards the original conceptions of the legendary composers and the level of craftsmanship known from Modern Art Orchestra, the Legendary Albums series both brings you the essence of jazz tradition and guarantees a fresh musical experience. Legendary Albums – Miles Davis: My Funny Valentine & Four and More These two records are actually one. They have been recorded at a single concert. Neglecting Davis’s artistic intentions is not the only sin that the recording industry committed against an otherwise very assertive artist and bandleader. The two records have not been issued representing the original order, as first only the slow and mid-tempo numbers were picked and released, becoming an  immediate hit nevertheless. Only two years after the concert, in 1966 were the fast tunes issued on a separate record, entitled ’Four’ and More. This period can be considered an intermediate time in the career of Davis’s as a bandleader. The sax player of the band, George Coleman was about to depart from the legendary band. On the other hand the rhythm section consisting of pianist Herbie Hancock, bass player Ron Carter and drummer Tony Williams has already joined the Davis quintet. The concert was scheduled in the newly inaugurated Philharmonic Hall of the Lincoln Center in New York City. Expectations, which proved well-founded in the  meantime, were that the new concert venue would rise in prestige to the level of the Carnegie Hall. This was the first major concert for the young rhythm section with Davis, and they were quite nervous. In addition, the concert was given political significance, as it was a charity event for black civil rights organisations, a cause Davis and his associates wholeheartedly supported. Less motivating was the fact that the musicians did not get paid at all. No one really regretted anything in hindsight, Davis’s My Funny Valentine became one of the best selling records, sold in the thousands even in the cheap CD editions, while its counterpart, featuring breath-taking tempi and fresh instrumental interactions has become the favourite of collectors.

In the season of 2022/23, Modern Art Orchestra presents excellent Hungarian composers to the audience of Opus Jazz Club. In their series of six concerts, they invite composers who experiment with orchestral sound and look for new ways of expression. They will also be the soloists of the concerts, presenting their new works. The artistic director, Kornél Fekete-Kovács and all the musicians in the outstanding MAO treat music with an attitude that transcends borders of genres. Musical creativity and free expression of musical thought takes the centre in their playing and compositions. During this season, they work with autonomous creative minds of modern Hungarian music, whose way of thinking falls close to theirs.

In the season of 2022/23, Modern Art Orchestra presents excellent Hungarian composers to the audience of Opus Jazz Club. In their series of six concerts, they invite composers who experiment with orchestral sound and look for new ways of expression. They will also be the soloists of the concerts, presenting their new works. The artistic director, Kornél Fekete-Kovács and all the musicians in the outstanding MAO treat music with an attitude that transcends borders of genres. Musical creativity and free expression of musical thought takes the centre in their playing and compositions. During this season, they work with autonomous creative minds of modern Hungarian music, whose way of thinking falls close to theirs.

In the season of 2022/23, Modern Art Orchestra presents excellent Hungarian composers to the audience of Opus Jazz Club. In their series of six concerts, they invite composers who experiment with orchestral sound and look for new ways of expression. They will also be the soloists of the concerts, presenting their new works. The artistic director, Kornél Fekete-Kovács and all the musicians in the outstanding MAO treat music with an attitude that transcends borders of genres. Musical creativity and free expression of musical thought takes the centre in their playing and compositions. During this season, they work with autonomous creative minds of modern Hungarian music, whose way of thinking falls close to theirs.