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Recordings:

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Curriculum:

Zoltán Lengyel is a pianist and organist. He graduated with Volume I of Bach's Well Tempered Clavier at the Liszt Music Academy, Budapest, in 1995.

As a soloist he has given successful concerts in the UK, Germany, Spain, the USA, Venezuela, Syria, Iraq, Moldavia and Hungary.  He played the piano solo in Stravinsky's Petrouschka with the Budapest Festival Orchestra in Carnegie Hall and other concert halls.  During one recital series in the Budapest Nádor Hall he played the entire Partitas and French Suites by Bach, and Debussy's piano works. He has given organ recitals in Barcelona, Girona and Hungarian churches, with his own (transportable) organ.

He has participated in many orchestral, ensemble, chamber and contemporary music projects. In Venezuela he has given a piano master class. Occasionally he has written music for theatre and film, and has been involved with design of cultural web pages and concert organization.

More details:

Musician colleagues still spoke about his diploma, even 10 years afterwards (the entire first book of Well Tempered Piano by J.S. Bach, often reffered to as "the bible of pianists".)

Piano recital highlights:

- Recital series of 6 concerts, Debussy piano works and Bach French Suites and Partitas (Nádor Hall, 1996)

- Al-Assad Library (Damascus, Syria, 1999) - review attached

- Rasheed Theatre (Iraq, 1999)

- RPI Cultural Center (New York, 2000)

- Frankfurter Künstlerklub (2001)

- Chisinau, Organ Hall (2004)             

- videos on Facebook , interview in Welcome Magazine attached

- Rachmaninov 2nd piano concert at the Music Academy of Budapest (2008)

- Chopin piano concerto in e minor  at the Music Academy of Budapest (2009)

- Concerts in the USA ("popular classics" - 2010)

He has played piano on the 70th birthday concert of the american composer Steve Reich (Palace of Music, Budapest). In past years has played in other Steve Reich compositions, with members of the world-famous Amadinda percussion group.

Worked with Hungary's "top" orchestra, the Budapest Festival Orchestra. With this group he played piano in compositions like Stravinsky's Petrouschka, Bartók's Music for Strings, Percussion and Celesta, Respighi's symphonic poems - and many more.

Has played Ravel's Gaspard de la Nuit, which is one of the most demanding piano compositions ever written. Has played Bach piano concertos with the Erkel Chamber Orchestra, the Caracas Chamber orchestra and the Moldavian Chamber Orchestra. (video available on Facebook.)

Zoltan Lengyel is not "only" a good pianist, he is a musician in his blood. He also plays the church organ (mostly Bach, Liszt and Duruflé compositions). With musician friends they played a serie consisting of 4 concerts, entitled "The Four Seasons". (This programme is presently available for touring.)

He writes his own music, too. The world-famous jazz musician, Chick Corea, while doing his extensive touring, heard one of Zoltan's compositions, and wrote back to Zoltan that he liked it. Also he acclaimed Zoltan's contemporary solo piano CD that has been released in 2008, and wrote an email about it, personally to Zoltan. This CD has received very good critiques from all around the world - these can be found at the publisher's website (www.bmc.hu)

Zoltan worked with singers, he especially likes performing classical songs of Brahms, Schubert, Schumann, Richard Strauss and Debussy, with the legendary Melinda Kistétényi, also with Lucia Megyesi-Schwartz, and other fine singers.

Often plays the (not-so-well-known but incredibly intimate and beautiful) works of the catalan composer Mompou. (Zoltan is fascinated by some artists of the catalan culture, for instance Gaudí and Dalí. He also speaks this language.)

"On February 24th, 2012 he's played a Debussy recital  www.bartokmuseum.hu/koncertek.html "   (piano compositions and songs, with the fine soprano Agnes Anna Kun). 

 

Interview in the Welcome magazin (Chisinau, Moldova) - 2004 

Pianist Zoltán Lengyel:

"Music is a language to connect us all."

Mr. Zoltán Lengyel is one of the most colorful personalities of today's generation of Hungarian pianists. Besides the regular activities of a concert pianist, he participates in the work of different ensembles, performs together with singers and plays chamber music. He has written some music for theatre and film. 

As a soloist Mr. Zoltán Lengyel played concerts in Hungary, Germany, England, Spain, USA, Venezuela, Syria and Iraq. With different groups and ensembles he has been touring in almost every country of Europe  as well as in overseas countries. 

In October 2003 Mr. Zoltán Lengyel played his first concert in Chisinau on the invitation of the Hungarian Embassy in the Republic of Moldova. What follows is our interview with Mr. Zoltán Lengyel.          

Question: Mr. Zoltán Lengyel, could you please say just a few words about yourself? 

Answer: Well, it is not easy to say just a few words.  I feel I have so many things to say that it is difficult to choose from them.  Maybe I could say that, as every kid, I started to hit the piano keys because it seemed very interesting to me.  The only difference between me and the average kid is that I haven't stopped playing... 

Please don't ask me about "serious" things in curriculum-style. I went to the Conservatory, then on to the Academy. I learned piano and composition, and the organ always has been a great love. I feel that the world that "normally" often seems to be upside down, suddenly gets back to its feet when I play music... gets back to its original state of order and harmony (certainly dissonances give horizon to this, as nothing would exist without its opposite).  I do think that we - literally - could not live without music. 

Q: Could you tell our readers about your first concert in Chisinau? 

A: The Hungarian Embassy and the Organ Hall invited me to play a concert with both the organ and the piano. In the first half of the concert I played Bach, Mompou and Liszt compositions, in the second half we played Bach's piano concerto in d minor with the National Chamber Orchestra of Moldova. I enjoyed the concert a lot.  There are so many beauties to play. The work with the Orchestra was also very enjoyable, I felt quite at home working with them. The gentleman who tuned the piano and maintained the organ, also did a good job, and in general, everybody made his part to make my stay pleasant. 

Q: How could you characterize the Moldovan audience? Is there any difference between Moldovan spectators and those from other countries you had a chance to perform in?   

A: The fantastic thing about music is that it is not divided into continents, countries or nations. I can play the very same concert programme in Venezuela, USA, Europe or Iraq - and people understand this language in every part of the world.  Certainly, there are differences between audience and audience, but this does not depend on geographical locations. There are "colder" audiences that are more difficult to touch, there are "open" ones that reward my efforts after the very first piece. And of course, the "temperature" of the audience also depends on me, too.  In every case, audience is a very sensitive "instrument" and you cannot lie to them.  Should the audience consist of musicians or regular music-listeners, or people who just popped  in from the street, I always realize that -

independently of nations and culture - we are all humans, and music is a language to connect us all.  I mean, I have the very same experience about the audiences around the world - anywhere on the map. 

Q: What were your first impressions when you just arrived in Moldova and Chisinau? 

A: The plane landed in the evening and a car came to the airport to pick me up.  From inside the car, on the streets I had the feeling as if I traveled back in time, seeing some Russian cars that used to run on the streets in my country about twenty years ago. I sadly noticed that the people in general are often poor (certainly only in a financial meaning), which is similar to Hungary, but Hungary is somewhat better off.  Otherwise, as a touring artist I always lack time to really have a look. You know, I arrive, sleep in the hotel, have breakfast, then to the concert room, rehearsals, concert, back to the hotel, and home. Sometimes (believe it or not) a few months later I don't remember which city I was in. This is a job where you have to go to a different office on every occasion.  As a result, I feel at home anywhere in the world.  (Well, I haven't yet traveled to Russia or China, neither to Australia). I wish I had more time to have more impressions about Moldova.

Q: What is the way you reach inspiration? 

A: Khm... this might be the most difficult question from all.  It comes from somewhere beyond, from a source that is not known (in an objective sense), on the other hand, it feels so deep and sure that you don't need to question it.  It just comes. You all know this feeling, when you look at the sunset, or the growth of a tree, or  anything that lives and reminds you that we're here on a temporary basis. 

Q: Are there any people who have mostly influenced your style of playing? Why? 

A: Interestingly enough, not all of them are classic musicians. For instance, I was deeply touched by Keith Jarrett, Mike Oldfield, Pat Metheny, Dave Weckl, and many more.  I had some great professors who taught me something very important with their very existence. (I doubt that the names would sound familiar, in Hungary they're legends... Kistétényi, Dobszay, Kurtág). And, of couse, the great classical pianists, among them, Argerich, Pogorelich, Bergman, Kocsis... I wouldn't say that they're my images, rather, people who achieved something great, and had a great impact on me  at the right place and right time, with their radiation and of course a couple of performances of certain pieces.  

I believe that these people reflect us something that we are destined to become.  I mean, it is not a coincidence who calls your attention and who not.  A person can be a great artist, but maybe, for some reason, doesn't touch you. This is a secret that is impossible to explain with words.  But it works.

Q: What do you know about the Moldovan musical education system and what is your own opinion about it compared with the Hungarian one? 

A: Unfortunately not much. I just had a reasonably short visit. I had the chance to get acquainted with the Association of Composers, and of course the Orchestra, but that's all about all. You probably know that Hungarian musicians grow up with the Kodály method, and I know that there are similarities in our folk tradition.  I hope that there will be a next time so that I can learn more about Moldova. 

Q: Do you plan to perform in Moldova in the near future? 

A: This never depends on me. If I receive an invitation, I will do my best to be able to accept it.  This is also a financial question, finding the right people who consider music important. I had the chance to meet fine musicians in Moldova.  Of course, exchange of cultures is very important. It would be nice if they could come to Hungary, too. Certainly, I'd be happy to come again. 

Q: What are some of the things that you love most about Hungary? What makes it different from all other places in the world? 

A: Well, you must come here to see the country in order to know the answer to this question.  What makes it special?  Well... the air, the odors... the colors... the eye of the people... the poems that are impossible to translate...  lost loves, smiles and everything that connects me to this place.  (And of course, there are some dishes that are impossible to tell in words, too!) 

Q: Do you have anything to wish Welcome magazine and its readers?

A: Feel the pureness of life at every moment, or at least as many moments as possible.  Be an artist in at least some aspects of your life. Be wise, don't act without thinking but don't forget to act. And of course, I wish you safe landings! 

Interviewed by Vlada Popushoi

Archív (concerts 1998-2005)

http://www.koncertek.hu/koncertek/archive.htm

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