Lőrinc Szabó left us, his readers, a large, unsettling body of poetry, while as a translator he was able to bring the words of some of the most significant figures in European literature to the Hungarian language. more
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Last event date: Thursday, February 29 2024 8:00PM
The poems and prose excerpts read at this event will provide a glimpse of both less familiar and better known details of his inimitable life's work, and will also engage in a dialogue with the same.
Lőrinc Szabó (1900-1957) was one of the most significant poets of 20th century Hungarian literature. His artistic career lasted the best part of three decades. His first volume of poetry, Föld, Erdő, Isten (Earth, Forest, God), was published in 1922. The poetic language he set forth was rooted in concepts he inherited from the Hungarian writers Ady, Babits, Kosztolányi and Füst. Lőrinc Szabó reshaped the conceptual framework of the relationship between self and body, and the methods of self-reflection, bodily existence and love, in much the same way as he reformed the peculiarities of poetic form. He freed himself from the adornment of the lyrical language of Romantic origin, and through the use of broken rhymes he created poetry that spoke about fundamental life events with the directness of prose. His later volumes, Fény, fény, fény (Light, Light, Light, 1925) and A Sátán műremekei (Satan's Masterpieces, 1926), called into doubt the ethical premises of the humanist attitude that Hungarian poetic tradition had self-reflexively made its own, and that been passed from one generation to the next, and reinforced by the poetry of Babits, who for a long time stood by Lőrinc Szabó as a paternal friend, and remained Szabó's most important reference point until the end. In Hungary, Szabó's ironic denial of humanist ethics made for an unusual poetic approach. For Szabó, poetic discourse did not serve to awaken sympathy, or affinity within the reader, like his contemporary and generational peer Attila József, but rather to communicate a voice of arrogant self-assertion that was at the time more widespread in French culture. This tone was later less prominent in his poetic novel Tücsökzene (The Music of Crickets, 1947) and the sonnets of A huszonhatodik év (The Twenty-Sixth Year, 1957). Both volumes focus on remembrance, an empathetic reliving of the past, and, in the latter, the emotional landscapes of mourning.
Back thanks to popular demand, Pál Mácsai's unrivalled performance promises to be a night to remember for all lovers of poetry.
Cooperating partner: Örkény Theatre
Presented by: Müpa Budapest
Joseph Haydn: Symphony No. 72 in D major, Hob. I:72 Wolfgang Amadeus Mozart: Horn Concerto No. 2 in E-flat major, K. 417 Joseph Haydn: Horn Concerto No.1 in D major, Hob. VIId:3 Wolfgang Amadeus Mozart: Divertimento No. 2 in D major, K. 131
Iván Fischer was requested by the Berlin Konzerthaus to compose an opera for children based on Julia Donaldson and Axel Scheffler’s world-famous picture book, The Gruffalo. The humorous opera now premieres in Hungary in translation by Ádám Nádasdy. The production is recommended for children between the ages of 3 and 10.
Jean Sibelius: Six Songs – Sydämeni laulu (Song of My Heart), Op. 18, No. 6 Joseph Haydn: Symphony No. 103 in E-flat major (“Drumroll”) Hob. I:103 Jean Sibelius: Symphony No. 2 in D major, Op. 43
Minor Shades
Songs from the World (traditional songs and song arrangements by Zoltán Kodály Max Knigge, Naomi Shemer, Françoise Leleu, Michael Neaum…
In the BFO’s early music concert, ethereal dance movements alternate with arias about burning passion.
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