Edition: II
Bio/Studies
Dargay (1980) was a composition student of István Fekete Győr in the Béla Bartók Conservatory. He graduated in 2004 from the Liszt University of Music in composition under László Vidovszky, and in music theory as a student of Katalin Komlós. Amongst his teachers were Gyula Fekete, Zoltán Jeney, Zsolt Serei and András Wilheim. Between 2003 and 2005 he was répétiteur at the Hungarian State Opera House, and since 2004 has taught music theory at the Béla Bartók Conservatory. In 2003 he took part in a three-week composition course led by Tristan Murail, Christian Wolff, Alvin Lucier and Frederic Rzewski, in Ostrava, Czech Republic. Since 2005 he has been a beneficiary of a composer’s grant from Artisjus.
Career
Several of his works were written for famous festivals – the Budapest Autumn Festival, the Spring Festival, Music of Our Time, Making New Waves. He has written incidental music for several pieces at the József Katona Theatre, the Miklós Radnóti Theatre, the University of Theatre and Film and the Ódry Theatre. As a performer of contemporary works he often features as a pianist, and there have been several radio and TV broadcasts of him both as a soloist and chamber musician.As a soloist his premieres include that of Attila Bozay’s Improvisations No. 3 with the Budapest Chamber Symphony, Gyula Bánkövi’s piece Sodrás with the Hungarian Symphony Orchestra, and László Vidovszky’s 405, accompanied by Componensemble. Since 2000 he has played in a two-piano duo with Dániel Dinyés, and several Hungarian composers (Gyula Fekete, Ádám Kondor, Balázs Horváth, Balázs Futó) have written pieces for them. In 2007 Editio Musica Budapest published his pieces First Words After The Last and Városligeti fasor 33. [No. 33 City Park Avenue].
Notes on the Musma Composition
“Légendes No. III » Le pianiste prêche pour soi-même
The title refers to the two Legends of Ferenc Liszt. Both of pieces ( No.1. St. Francis of Assisi preching to the birds, No. 2. St. Francis of Paola walking on the waves) are show very strong visual association, connection between the man and landscape, with some spiritual effects. My piece is a kind of inner journey into a pianist’s mind, into a pianist’s conciousness. The tempo is incredibly slow, therefore the piece’s virtuosity doesn’t appear in the technical difficulty of the musical material. The key point is the aschetic behaviour of the pianist, who tries to avoid the empty, glamorous virtuosity, thats why he/she shows some more intelligent, hidden essential of the piano playing.
