Érdi proposes a program that revolves around his fellow countryman Béla Bartók. At the center of the musical proposal four pieces including the classics as Allegro Barbaro, known for their obstinacy to young pianists, but also the flashes of genius that seem cold and distant until the improvisation finds its inner balance as in Rögtönzések Magyar parasztdalora – 8 Improvisations on Hungarian peasant songs – op. 20. To complete the homage to Bartók, a pulsating soul that moves Érdi’s affective memory, together with the muscular memory of the studio, both chained by a passion for music and its intimate history linked to peoples and tradition, the traditional Romanian music of the Romanian Folk Dances and finally 5. Este a székelyeknél (One evening with those of Székely) from Tìz könynyű zongoradarab (10 Easy pieces).
With peculiar sensitivity, Érdi extends the rest of the program by placing at the extremes of this gravitational center on one hand Mozart, the author who weaned him as a pianist marking his entry into the world of classical music, and on the other Kodály, Bartók’s master, one of the most aware composers of the first Nocevento, tireless researcher of the traditions of the East and their dark timbres, their poignant melodies.
Winner of the Gundel, Junior Prima and Prima Primissima awards, Tamás Érdi was defined by the musicologist Antoni Grudzinški, president of the Warsaw Chopin Association, as “among the best pianists in the world” for his style of performance. He has performed successfully with the Toronto and Iceland Symphony, the Vienna Mozart Orchestra, the Sverdlovsk and the Enescu Symphony, the latter at the closing event of the year dedicated to Liszt in Romania. In Hungary he is a soloist of the National Philharmonic and the Hungarian Radio Symphony Orchestra.