It felt like a challenge when I was asked to write a few lines about myself.
Although, during the course of my preparation, I read a great many websites and the CVs they contained, somehow I was always repelled by that kind of self-management, by the pathetic words, by the non plus ultra phrases, by the reviews and by the press responses.
At the same time, I was forced to recognise that nowadays the organisation of marketing has become an integral part of the arts—that is, advertisements and self-profiling are unavoidable.
I thought a lot about what I should write in order to introduce myself, how people could get a closer view of me as an artist, and my conclusion was that I would write a different kind of introduction. I would not serve up any precise biographical data in it, that is what my CV is for.
I was born into a family of musicians, and in my childhood I imbibed a love of music alongside my mother’s milk, and indeed any other consumable delicacy, at least that is what they tell me. Frankly, only much later did I come to understand what true love of (music), respect, dedication, determination, humility are.
My big-hearted Kossuth Prize-winning grandfather, dubbed “Uncle Viola” by his students, a driven, obsessive benefactor, soloist and teacher was my idol when I was young, and I grew up on his recordings and videos, although sadly I never knew him personally.
I do not have very many memories of my childhood, just that I started playing the violin aged three, and then, following the family tradition, at the age of 14, I also began to play viola.
However, my love for the instrument and my respect for the profession really began to mature around my twenties and especially in my thirties. Until that point, it was perhaps just vocation that we could talk about.
I was not really an easy student, even in my university years I found myself on many occasions looking for a new master, a mentor, always bearing renewal, development and humanity in mind.
Although I am grateful to everyone (particularly looking back, as now), from among my teachers I would like to highlight in chronological order: Volker Sprenger, to whom I owe my basic technical and instrumental knowledge; then Felix Schwartz. Among the old giants, I owe a deep debt of gratitude to Siegfried Führlinger, who has honed and deepened my knowledge, helped to find my feet again and also the “Lukács-sound”, and who has helped me become a better and clearer person.
It felt like a challenge when I was asked to write a few lines about myself.
Although, during the course of my preparation, I read a great many websites and the CVs they contained, somehow I was always repelled by that kind of self-management, by the pathetic words, by the non plus ultra phrases, by the reviews and by the press responses.
At the same time, I was forced to recognise that nowadays the organisation of marketing has become an integral part of the arts—that is, advertisements and self-profiling are unavoidable.
I thought a lot about what I should write in order to introduce myself, how people could get a closer view of me as an artist, and my conclusion was that I would write a different kind of introduction. I would not serve up any precise biographical data in it, that is what my CV is for.
I was born into a family of musicians, and in my childhood I imbibed a love of music alongside my mother’s milk, and indeed any other consumable delicacy, at least that is what they tell me. Frankly, only much later did I come to understand what true love of (music), respect, dedication, determination, humility are.
My big-hearted Kossuth Prize-winning grandfather, dubbed “Uncle Viola” by his students, a driven, obsessive benefactor, soloist and teacher was my idol when I was young, and I grew up on his recordings and videos, although sadly I never knew him personally.
I do not have very many memories of my childhood, just that I started playing the violin aged three, and then, following the family tradition, at the age of 14, I also began to play viola.
However, my love for the instrument and my respect for the profession really began to mature around my twenties and especially in my thirties. Until that point, it was perhaps just vocation that we could talk about.
I was not really an easy student, even in my university years I found myself on many occasions looking for a new master, a mentor, always bearing renewal, development and humanity in mind.
Although I am grateful to everyone (particularly looking back, as now), from among my teachers I would like to highlight in chronological order: Volker Sprenger, to whom I owe my basic technical and instrumental knowledge; then Felix Schwartz. Among the old giants, I owe a deep debt of gratitude to Siegfried Führlinger, who has honed and deepened my knowledge, helped to find my feet again and also the “Lukács-sound”, and who has helped me become a better and clearer person.