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A lyrical, introspective movement that highlights the "reflective" nature of the viola.

Unlike his later 12-tone and atonal works, this 1950 concerto is tonal and rooted in the mid-20th-century Hungarian tradition, following the path of Bartók and Kodály.

It draws heavily on the verbunkos (Hungarian recruiting dance) style, alternating between slow, improvisatory sections ( lassú ) and fast, virtuosic sections ( friss ).