You have graced numerous renowned concert halls worldwide, performing with distinguished ensembles, yet it is particularly exciting that in November, you played as a dulcimer soloist with the New York Philharmonic. Could you tell us how this prestigious invitation came about?
Two years ago, I had the privilege of performing with the Budapest Festival Orchestra at the Lucerne Festival. This was during the Covid period, so every other seat in the audience had to be left vacant. However, the entire concert was streamed online. Finnish conductor Susanna Mälkki heard this performance on the internet and was so impressed that she invited me to join her for a concert with the New York Philharmonic.Last year, in honour of the centenary of György Ligeti’s birth, concert halls across the United States held commemorative performances. Susanna conceived a programme that traced a timeline from Liszt through Bartók to Ligeti. I typically perform the Second Hungarian Rhapsody with an orchestra, but she requested that I arrange it for a solo performance to serve as the concert's opening piece. We had three concerts together, and additionally, I was afforded the opportunity to present a full solo recital in the chamber hall at Lincoln Center.
The concert has received effusive praise. One review noted that the cadenza—a virtuosic and improvisational solo performed at the end—brought remarkable depth to the Liszt composition.
Pianists frequently create their own cadenzas for the concluding sections of a work, and in gypsy orchestral performances, a cadenza is essential. The melody of the Second Hungarian Rhapsody is widely known, not least because of its inclusion in the Tom and Jerry piano episode. The freedom of the cadenza provides a valuable opportunity for me to convey my personal vision of the piece and to highlight the virtuosity of the dulcimer.
I imagine that this instrument is rather unusual for a concert stage in New York.
Indeed, the dulcimer is a rare instrument in that region, predominantly featured in contemporary works as part of the orchestral sections. Classical repertoire is not typically performed on the dulcimer, and it is rarely used as a solo instrument. There are a few dulcimer players, often percussionists, who take up the instrument later in life, typically in their 30s or 40s, for specific pieces. Consequently, in my solo recital, I included works by Bach, Sarasate, a selection of jazz standards, and other less conventional pieces.
Your father began teaching you to play the dulcimer when you were just four years old. Later, you experimented with the accordion for a while. Was there ever any doubt that you were destined to become a musician?
No. My father is an enthusiastic musician with a deep love for music and instruments. He simply couldn’t envision a future where my sibling and I were not musicians. By the age of four, I was already practicing for several hours each day. My younger brother began with the violin, but he didn’t take to it, so he eventually became a double bassist. I ventured into the accordion because I was captivated by Balkan music, which often featured both the dulcimer and the accordion. After studying the accordion for five or six years, I ultimately returned to the dulcimer.
How do the instruments vary from one another? When performing abroad on a different dulcimer, do you need to get accustomed to it?
I have played on a diverse range of dulcimers, from the very worst to the finest. When I know that an instrument is in poor condition, I make sure to arrive several hours before the soundcheck to prepare it. There have been occasions where the instrument was out of tune by two notes, the strings were rusted, or the pedals were squeaking. In such cases, I bring my tools and do everything I can to rectify the issues. I can often anticipate these problems from the photos of the instrument that I receive in advance. The Schunda dulcimers, being a hundred to a hundred and twenty years old, have significantly aged.
Do you have many instruments at home?
Yes, I do. I received my first instrument from my grandfather when I was seven. Over time, I acquired more, and now I have four instruments. Having multiple instruments is sometimes essential because if one is sent on tour, it may not return in time for my recordings or performances.
Do you take your own instrument whenever possible?
Yes, bringing my instrument provides a sense of security. Dulcimers can vary greatly, and an unfamiliar instrument might produce surprising results.
Do you prefer performing in a group or solo?
Performing solo presents a greater challenge. Traditionally, the dulcimer has often been regarded as an orchestral instrument. Since the time of Aladár Rácz, this perception has certainly evolved significantly. As the years go by, I find myself enjoying performances with my trio or solo increasingly more. I'm always intrigued by how a one-hour solo dulcimer concert impacts the audience and how they respond. Now that I have a truly high-quality instrument, it offers a genuinely exceptional experience.
Is this a newly built instrument?
Yes, it was completed two years ago by the master dulcimer maker Ákos Nagy. I don’t believe there is anything quite like it in Hungary. Although I have played it extensively, I handle it with care and try to avoid traveling with it too often.
It’s intriguing that, while a nearly three-hundred-year-old Stradivari violin is considered immensely valuable, a century-old dulcimer is barely usable.
The instrument endures tremendous tension, with the strings exerting a pulling force of 12 tons. It’s a delicate structure that doesn’t last long. Schunda-type dulcimers are now rarely seen even in restaurants.
In 2011, you recorded music for a Sherlock Holmes film in London for Hans Zimmer. Has there been any follow-up?
There have been some requests, but opportunities in film music are scarce. Today, the quality of music libraries for the dulcimer has reached such a high standard that there is almost no need for live musicians or orchestras. Zimmer showed me his sound samples in the studio, and they are truly remarkable—clearly much more cost-effective.
