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The Franz Liszt Chamber Orchestra, performing with pianist Elisabeth Leonskaja on December 14, 2025, at the Franz Liszt Music Academy in Budapest, presented a concert that sparked reflection on the ensemble’s enduring legacy and its evolving identity. The program, featuring works by Mozart and Schubert, highlighted both the orchestra’s celebrated history and the questions surrounding its current artistic direction.
A Legacy Forged in Excellence
Founded in 1963 by graduates of the Franz Liszt Music Academy, the orchestra quickly established itself under the guidance of Professor Frigyes Sándor and later, the distinguished violinist János Rolla. A seasoned observer noted a deep connection to the orchestra’s origins, recalling that “seeking musical perfection was taken for granted” during those formative years. Over the decades, the ensemble collaborated with a pantheon of musical giants, including Isaac Stern, Rostropovich, Sviatoslav Richter, Martha Argerich, and András Schiff. The loss of both Sándor (1905-1979) and Rolla (1944-2023) casts a long shadow, prompting questions about whether the current iteration maintains the standards of the past.
Evolving Instrumentation and Leadership
The orchestra has undergone changes in its composition. While historically comprised of 6, 4, 4, 4, 2 players (violins, violas, cellos, double basses), the ensemble now features four cellos and two basses, with the addition of wind players as needed. This expansion, while maintaining its status as a chamber orchestra, reflects a shift in sonic possibilities.
A significant change has been the appointment of cellist István Várdai as artistic director in 2020. The division of musical leadership between Várdai and current leader Péter Tfirst remains somewhat unclear, a departure from the era when János Rolla firmly held the reins. Tfirst, however, represents a strong link to the past, having been personally mentored by Rolla, and his father, Zoltán Tfirst, was a member of the orchestra for fifty years.
A Concert of Contrasts and Questions
The December 14th concert showcased this interplay of tradition and change. The performance of Mozart’s Adagio and Fugue in C minor, K. 546 was led by Tfirst without a conductor, though one observer found the initial chords “a bit rough.” The Piano Concerto in A major, K. 488 featured the remarkable Elisabeth Leonskaja, who, at age 80, demonstrated “full command of her technique, her memory and the music she plays.” Notably, the report suggests a dynamic where Leonskaja subtly guided the ensemble, rather than the other way around. As a special encore, Leonskaja delivered a rendition of the Andante movement from Mozart’s Piano Sonata K545.
Várdai’s role as conductor was described as “problematic” not due to a lack of skill, but because the orchestra flourished for four decades without one. However, the concert concluded with a beautifully rendered orchestral version of Schubert’s String Quintet in C major, D 956, with Várdai leading the cellos. Despite moments of uncertainty, the performance ultimately “brought out the best from Schubert’s heavenly music.” The identity of the arranger for the orchestral version remains unknown.
Ultimately, the concert left one attendee “happy,” despite a personal preference for Schubert’s original quintet. The performance served as a testament to the orchestra’s continued ability to deliver compelling interpretations, even as it navigates the complexities of maintaining a storied legacy in a changing musical landscape.
