The Hungarian piano school “produced” some of the most interesting pianists of the 20th century: on the borderline between East and West, at the crossroads of folk and art music, completely imbued into the musicality of the Hungarian language, an unique island among European languages, and yet, through Austro-Hungarian history, so close to Vienna, the long-time capital of music. Few cultures can boast such significant, yet diverse, modern pianists as Zoltán Kocsis or András Schiff. Alongside them are a host of other outstanding pianists distinguished by a vast musical culture and an understanding of the musical score like few other national musical traditions. Unlike other schools, these pianists did not refer only to their piano professors, but most of all to their chamber music professors: Pál Kadosh, Ferenc Rados, and/or György Kurtág. Kurtag, and especially Rados, left one of the most significant imprints on contemporary European music pedagogy and, fortunately, shared it beyond Hungary. This deep understanding of the internal structure of a musical work, as well as of piano technique, also characterizes a guest of whom SOMUS is particularly proud: Zoltan Fejérvári (1986) is certainly one of the most significant pianists of the younger generation in Europe, making his debut in Serbia, and is already a regular guest at the world's greatest halls and with the greatest orchestras, a laureate of the 2017 Montreal piano competition. in 2017, but also a professor of piano at the prestigious Academy in Basel.