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Cello
I grew up in a small village of two hundred and fifty residents in Vas County, Kissomlyó. My mother teaches Hungarian language, music classes, and piano, so it came naturally to my brother and me to learn to play an instrument.
He played the recorder, and I started playing the piano. Why did this turn into a cello? I'm not sure anymore. I just remember that when I first saw a cello at a concert, I really liked that one could embrace it while playing it. For a long time, I studied both instruments simultaneously, and then, when I had to choose, I opted for the cello.
In the end, everything guided me towards music. My mother was very good at sensing what we needed and when – she studied and practised with us. She also knew when to be strict and when to be lenient. We could always talk to each other about everything. I realized only later what a valuable thing she had given us.
After secondary school, I went on to study cello at the Liszt Ferenc Academy of Music in István Varga's class. I loved his lessons; I often felt that he gave me wings. When I studied in Johannes Moser's class in Germany for a year, I experienced a different system. It was based primarily on a partnership, which gave me a sense of confidence and equality.
In the past years, I worked at the St. Stephen Philharmonic as a principal cellist. Out of the blue, I was invited to play in the cello section of the Liszt Ferenc Chamber Orchestra this season. There was no question that I would do it. Playing in a Chamber Orchestra of such a high standard is a beautiful challenge and a great opportunity. The repertoire is completely different from those of symphonic orchestras, so I am very attentive and trying to adapt.
Recently, we played Tchaikovsky's Souvenir de Florence at the Liszt Academy; I felt that everything came together: the momentum of the orchestra was so captivating that I was able to let go of everything and surrendered myself freely to the joy of making music.