The master of string quartet playing
During his studies it soon became clear that Károly Botvay’s true field was chamber music, especially the string quartet. As a student at the Academy of Music, he and his brother formed the Feld-Botvay String Quartet, with which they won a national competition in 1950. Between 1957 and 1960 he often appeared as an invited cellist of the Komlós String Quartet (with Péter Komlós, Sándor Devich, Géza Németh), and from 1960 he became a permanent member. For the next 17 years they were close musical partners.
All four were students of the Academy of Music, shared the same teachers, and inherited the same string quartet tradition. Their collaboration was successful from the beginning: in 1960 they won second prize at the International Schumann Competition in Berlin. After a few years of building their repertoire, they entered the Liège Competition – and won. This was particularly remarkable because no first prize had been awarded for nine years, so they immediately found themselves at the centre of international attention. Critics praised all four musicians for their consistently high standard. Botvay’s playing was described as clear and precise, with a distinctive musical voice, flawless technique, naturalness, richness of tone, yet also simplicity and ease. Later reviews often highlighted the quartet’s remarkable unity – the four different instruments sounding almost as one. Their concert tours took them to almost every country in Europe, as well as Australia, Canada, Japan, New Zealand, the United States and Singapore. They also took part in many international festivals, including the Sibelius Festival in Helsinki, the Spoleto Festival, Montreal Expo ’67, Adelaide (Australia), Ascona, Aix-en-Provence, Bregenz, Edinburgh, Lucerne, Menton, Dubrovnik, Prague, Schwetzingen and the Wiener Festwochen.
After the Liège Competition, their repertoire grew rapidly, partly in response to special requests from impresarios (such as quartets by Mendelssohn, Verdi and Hugo Wolf), and partly by learning classical works (by Haydn, Mozart, Beethoven and Brahms). Alongside Bartók’s string quartets they played many Hungarian works (Kodály, Weiner, Dohnányi, Lajtha, etc.). Two contemporary composers dedicated quartets to them – József Soproni (String Quartet No. 2 Musica verna, 1960) and Attila Bozay (Quartetto d'archi Op. 9, 1964) – and they premiered Zsolt Durkó’s String Quartet No. 1 in Montreal in 1967. Alongside their tours, Botvay made around 50 recordings with the ensemble. With Hungaroton they recorded all the string quartets by Mozart, Beethoven and Brahms, as well as many works by Haydn and Schubert. Their recordings of Bartók’s string quartets for ERATO (EMI) won both (West-)German and Italian critics’ awards. In 1970 they were honoured to be invited to the gala concert on World Human Rights Day at the United Nations in New York, where they represented the European cultural tradition with works by Bartók and Haydn. Another highlight was the invitation to perform three concerts at the opening festival of the Sydney Opera House in October 1973.
For Botvay, those 20 years with the Bartók String Quartet meant more than tours, records and broadcasts: they were years of learning and deepening the repertoire, of finding and shaping both a collective and an individual voice. Hallmarks of his playing included a warm, velvety, mature and resonant tone, technical perfection, accuracy, inner harmony and an ideal sense of partnership in chamber music.
A few years after leaving the Bartók Quartet in 1977, Botvay was invited to join the New Budapest String Quartet. Formed in 1971, this ensemble was one of the last to study with the renowned Hungarian String Quartet, and at major international competitions they were often regarded as that group’s successors. Their concerts at Interforum ’83 won them recognition from critics and impresarios alike, leading to a flood of invitations from abroad. From 1985 the quartet consisted of András Kiss, Ferenc Balogh, László Bársony and Károly Botvay, all of them also professors at the Academy of Music. In this new line-up they carried forward the tradition they had inherited. Their sound – like Botvay’s own – was full and mature, their intonation flawless, their musicality refined yet natural. The major tours and special invitations came once Botvay had joined the group. New destinations included the Philippines, and in 1992 South Africa. Critics frequently noted their faithfulness to tradition and their distinctive Central European tone, which radiated balance and harmony, avoiding unnecessary extremes. A Canadian reviewer wrote that their concert recalled the Gemütlichkeit feeling of the 1920s and 1930s recordings by Bruno Walter and the Léner String Quartet, a spirit long forgotten after the Second World War. In Johannesburg, on the 90th anniversary of the local Music Society, they performed Bartók’s String Quartet No. 1 alongside works by Mozart and Schubert. Critics called their playing exceptionally brilliant, assured and stylish. Bartók’s quartet was singled out as the highlight of the evening: no superfluous notes, no wasted ideas – only pure music, described as nothing short of miraculous.
The ensemble has made around 60 recordings. Among these, the Hyperion series of Beethoven’s complete string quartets stands out and was highly praised when compared with other benchmark recordings. Gramophone wrote that their account of the Razumovsky Quartets (Op. 59 Nos. 1–3) stood comparison with the Lindsay and Végh String Quartets. They later recorded the string quartets of Brahms and Bartók, so he recorded what could be called the 'backbone' of the string quartet repertoire with both ensembles. They also worked regularly with the Marco Polo label, recording many rare and lesser-known pieces, such as Spohr’s complete string quartets, Borodin’s piano and string quintets, Lutosławski’s String Quartet (1964) and Emil Petrovics’s String Quartet No. 1 (Op. 10).
A particularly prestigious invitation came in May 2000 from the Spanish royal family. At this private event the quartet performed on the royal Stradivarius instruments – an honour rarely granted to any ensemble. The programme was equally remarkable: Boccherini’s works for string quartet and guitar, with Spanish guitarist Pepe Romero. They also received a similarly distinguished invitation from the Swedish royal family.
String quartet playing has always been a foundation of Botvay’s artistry. He believes it to be an extremely vulnerable and intimate form of music-making, one that becomes a very difficult task if it fails to win over the audience. But during his two twenty-year periods with two quartets, ‘this victory’ came often. Both periods were highly significant in his artistic and personal life. In the first, the members grew together almost from the start, experiencing the stages of maturation and development into full-fledged artists, with ensemble playing as their primary activity. In the second, Botvay joined an already established and mature group with strong traditions, bringing with him his own wealth of experience while also pursuing teaching and other chamber music activities. In both he successfully found his place – preserving and expressing his distinctive voice, while also contributing to the collective shaping and growth of each ensemble.
Soloist, chamber musician, artistic director: the versatility of the mature artist
The break-up with the Bartók Quartet marked the end of an era for Botvay. It was a crisis both artistically and personally, and a major test of his resilience. The situation was made even harder by the fact that he had to return the state-loaned master instrument he had long played – a Domenicus Montagnana cello from 1730. Yet his earlier successes, his accumulated experience, and not least his artistic and personal connections helped him overcome these obstacles. Paradoxically, this very challenge allowed the full versatility of his talent to emerge: in the Bartók Quartet years, apart from his earliest period after graduating from the Academy, there had been no real possibility of playing in other ensembles or giving solo recitals.
Between 1978 and 1985 he worked with various chamber partners and ensembles for shorter and longer periods, most often in England and Austria, but also in the Netherlands and Germany. In the second half of the 1980s, the New Budapest String Quartet once again made quartet playing his main focus, and after its dissolution Botvay performed with the Budapest Strings and their members. He gave numerous sonata recitals, including Beethoven evenings, with pianist Clifford Benson, with whom he also played Kodály, Schubert, Brahms and Dohnányi sonatas – always with great success. Reviewing a Purcell Room concert in March 1979, Dominic Gill of the Financial Times wrote that Botvay’s absence from the Bartók String Quartet was sorely felt. He added that although Botvay had had to return the Montagnana and was now forced to play a harsh-sounding loan instrument whose colours could not change as subtly as he wished – and could have reached with another instrument –, his playing still retained a smooth, warm ‘hazel-brown’ tone across all registers. Another review of the same concert highlighted the finely attuned and creative partnership with Benson, reaching its peak in Brahms’s Sonata in F major (Op. 99). Other critics – while often recalling his earlier successes with the Bartók String Quartet – praised Botvay’s warm and powerful tone, his discreet yet assured expressiveness. Many singled out his interpretation of Kodály’s Sonata, emphasising how vividly he captured its character, rhythm and colours. The darker shades of Beethoven and Brahms, and the rich, full tone of their Adagio movements, were also admired. Reviewers repeatedly noted the palpable joy of music-making and the unity between partners on stage. One critic described Botvay as a ‘top cellist’ of impeccable style, praising in particular the passionate intensity of his Kodály playing. Another, writing on his performances of Dohnányi’s Sonata in B major (Op. 8) and Beethoven’s Sonata in A major (Op. 69), called him one of the most outstanding performers of his generation, with interpretations that went beyond the notes. During this period Botvay also gave solo recitals of Bach’s cello suites. In 1982, at London’s Purcell Room, he presented a three-concert cycle of all six suites, interwoven with solo pieces by twentieth-century Hungarian composers Attila Bozay, Zoltán Kodály, Sándor Balassa, István Láng and István Sárközy. One critic wrote that his ‘magnificent technical solutions’ provided the foundation on which Bach’s complex artistic language became completely clear in performance.
From 1978 onwards Botvay gave a number of concerts as a member of the Aldeburgh String Trio, with Mark Lubotsky (violin) and Nobuko Imai / Atar Arad / Thomas Riebl (viola). After their final concert as teachers at the Aldeburgh Festival and masterclass, they continued to perform together for several years in response to various invitations, most often playing works such as Dohnányi’s Serenade Op. 10, Beethoven’s Trio Op. 9 No. 2, and Mozart’s Divertimento in E-flat major K. 563. Reviews confirm that these concerts were always a great success, with each musician excelling individually while also achieving a superb ensemble balance.
He also collaborated with several renowned chamber groups, performing Schubert’s String Quintet in C major (D. 956) and Brahms’s String Sextet in G major (Op. 36) – often with the Lindsay String Quartet, but also with the Voces Intimae Quartet and the expanded Alberni Quartet. Writing of his work with the Lindsay Quartet, critics emphasised his sensitive and subtle integration into the ensemble’s sound, which laid the foundation for their rich and resonant sonority. In an interview, Botvay himself noted that playing with another quartet is not easy: one must sense what the others are doing, and if a colleague has a stronger vision of the music, then that is the vision to follow.
On several occasions he appeared in unusual chamber combinations, for instance with clarinettist Thea King and pianist Clifford Benson, or in a string trio with Erich Gruenberg (violin) and Bruno Giuranna (viola). Hungarian audiences also heard him in these years with the Éder Quartet in Schubert’s String Quintet in C major, and with Ferenc Rados and Dénes Kovács in chamber collaborations.
A major milestone in his career came with his invitation to join the Végh Quartet alongside Sándor Végh, Erich Höbart (second violin) and Rainer Moog (viola). During the 1980/81 and 1981/82 seasons they gave numerous concerts in Switzerland and England. Their programmes featured the most outstanding works of the classical repertoire such as Haydn’s String Quartet in F major (Hob. III:82), Beethoven’s String Quartet in F minor (Op. 95), and Schubert’s String Quartet in A minor (D. 804). On their Bartók evenings they also performed Quartets Nos. 1, 4 and 6. Critics particularly praised the sonority of Botvay’s cello in the Schubert quartet, and highlighted the solid foundation he provided in Bartók’s String Quartet No. 1.
Botvay’s artistry extended beyond chamber music: he also appeared frequently as a soloist for orchestral works. Already as a student of the Academy he performed Saint-Saëns’s Concerto in A minor (Op. 33), followed in 1960 by Schumann’s Concerto in A minor (Op. 129) and Boccherini’s Concerto in B-flat major. From 1977 onwards, he regularly played additional works with various orchestras, including Tartini’s Concerto in D major, Vivaldi’s Concerto in D minor (RV 401), Haydn’s Concerto in D major (Hob. VIIb:2), and Donizetti’s Double Concerto in D minor for violin and cello with Winifred Roberts. He performed several times Haydn’s concerto with the Joseph Haydn Orchestra under Ervin Lukács, where critics highlighted not only his expressive power, intimate lyricism and dazzling virtuosity in the cadenzas – proof of his mastery of the instrument – but also his outstanding ensemble playing with the orchestra. Many critics noted that one of Botvay’s chief virtues was his restraint, which avoided false drama and allowed him to speak directly to the listener’s heart.
Since the 1980s he has been a frequent soloist with the Budapest Strings as well. In addition to the works already mentioned, his repertoire has included Vivaldi’s Concerto in G minor for two cellos (RV 531), C. P. E. Bach’s Concerto in A major, and Kodály–Farkas’s Hungarian Rondo.
In 1977 Botvay was invited by a group of music academy graduates to become the teacher and artistic director of their newly formed chamber orchestra. This work, which began then, has remained a significant part of his artistic and pedagogical career ever since. The ensemble initially performed under the name Vivaldi Chamber Orchestra, appearing in Vienna in 1979 and 1980 and in Belgrade in 1982 at the International Chamber Music Competition, where they won second prize. This marked a turning point in the ensemble’s life: from that moment they embarked on a professional career. As artistic director, Botvay also became a permanent member and soloist of the ensemble.
For a long time, however, the orchestra had no secure financial basis and essentially lived ‘from concert to concert’. In the second half of the 1980s, subscription series in Budapest and a tour of England in 1990 significantly increased their recognition both at home and abroad, leading to further invitations, recording projects and steady artistic growth. Critics responded with high praise to their tours and concerts. Today the orchestra boasts regular concert series in Hungary, international tours in Spain, England, Switzerland, Sweden and Denmark, and more than 60 recordings. Their discography includes releases by Laserlight, Hungaroton, Nuova Era, Naxos and, since 1993, Capriccio. On their American tour in 2001 they performed in the prestigious ‘World Famous Chamber Orchestras’ subscription series.
Since 2009, the ensemble has enjoyed first-category chamber orchestra status, alongside the Liszt Ferenc Chamber Orchestra. This designation comes with state support but also requires meeting strict annual artistic criteria. In the course of their activity, they have commissioned new works from a number of contemporary composers, among them Sándor Szokolay (Eszterházi Impressions, Op. 329), László Tihanyi (In the Woods of the Night, Op. 67), and Péter Tóth (Found Waltzes, 2005). They also frequently perform other 20th-century repertoire. In 1995 the ensemble organised its first Haydn Festival in Fertőd. Thanks to the organisational energy of Kálmán Strém, this initiative soon became a catalyst for the revival of Haydn’s legacy in Fertőd, as well as for the cultural and touristic development of the town. The festival has now grown into an international event, featuring renowned Hungarian and international artists such as Andrea Rost, Jenő Jandó, Reinhold Friedrich, Miklós Perényi, András Ágoston, Irena Grafenauer, Lajos Lencsés, Béla Drahos and Nicolas Daniel.
Botvay and the orchestra’s artistic credo is to find the path between chamber music intimacy and orchestral sonority that gives their sound its unique character. Their playing approaches the resonance of a symphony orchestra while remaining refined, polished and luminous. While their repertoire largely centres on familiar baroque and classical works, they also seek out neglected pieces. A fine example is their recording of concertos by Johann Christian Bach. Critics praised the series warmly, noting that although these works lack the stature of Haydn or Mozart, they are far more deserving of revival than many of the forgettable compositions of the same period. The ensemble’s delicate sonority and well-judged tempos provide ideal support for the diverse soloists and soloist groups featured in these concertos.
Even closer to the works: the art of teaching
Since 1977, alongside his performing career, he has been regularly invited to lead masterclasses in cello, chamber music and string quartet. One of the most significant invitations came in Aldeburgh in 1978, when he was asked to step in for Jacqueline du Pré, who had suddenly fallen ill. He achieved great success with his distinctive method: instead of demonstrating solutions on his own instrument, as was the usual practice, he played on the student’s instrument. This allowed the student to hear and experience that their own instrument could also produce the desired sound. The idea was born of necessity: his exclusion from the Bartók String Quartet had also meant returning the master instrument he had received from the state. At the time he was playing on a borrowed instrument, far inferior to the fine instruments of his students. Jacqueline du Pré’s words of praise have since accompanied his teaching career almost as a motto: ‘You have an excellent feel for the cello and for your students. Do not only explain and instruct them – inspire them with your playing as well.’
In 1979 he was invited as professor of string quartet at the International Bartók Seminar, and once again to Aldeburgh. From then on, for almost 25 years, he taught numerous students at masterclasses and seminars in many countries, and also served on the juries of several international competitions. Worth noting too is his invitation from the Vox Artis Chamber Orchestra in Helsinki (1986), where he not only performed Tartini’s Concerto in D major but also rehearsed an entire programme of works by Corelli, Händel and Shostakovich.
Since 1983 he has been teaching chamber music regularly at the Liszt Academy, becoming a full professor in 1997. After his retirement in 2002, the University Senate appointed him Professor Emeritus in 2013.
‘I have always been fascinated by the art of transmission. […]I have a deep conviction that the art of passing on musical knowledge must be something alive and inspiring, a process of communicating and clarifying the essential skills and understanding,’ he says. At the Liszt Academy, every instrumental student participates in chamber music, which means all have the opportunity to experience ensemble playing. They learn to balance the different colours of instrument families and how these can be blended in performance. In chamber music – and especially in string quartet playing – a crucial rule is that the sound must be unified, since the players all belong to the same instrumental family (with no piano or winds). Even while aiming for a single, collective sound, they must also be able to create colour and variety, as the music demands.
For Botvay, teaching means a multifaceted relationship – both with the music and with the student. In his artistic credo, he states that learning and performing a series of similar works by a composer ‘brings immense artistic benefits’. He had already experienced this while playing the string quartets of Bartók, Beethoven and Brahms, and he has been able to pass these lessons on to his students with great success.
In another reflection, he compares the performer’s and the teacher’s relationship with music: ‘When a musician prepares for performance, he enters into a different kind of relationship with the piece than when, as a teacher, he observes his students with deliberate detachment.’ Beyond deepening musical understanding, his guiding principle from the very beginning has been to help bring forth the student’s own interpretation. What matters to him is the student’s personality and vision of the music. The teacher may direct the technical and musical discussion but should not take a superior stance. Botvay prefers that a student play according to their own conception, not simply imitate the teacher. ‘I want to follow my student on the path of his own playing, so that I can truly help him,’ he has said in an interview. As both artist and teacher, he believes the most important task in learning a new piece is ‘to have a vision of the entire work, including – if there is one – the piano part or others. The best thing is to sit down in an armchair and shape the performance in your mind; from that moment your idea is free of technical problems. Only when you have a clear conception of how the piece should go should you begin to play.’
Károly Botvay, the artist, colleague and teacher, is characterised by responsibility, good humour, balance and discipline. One of the most important principles in his life, to which he has always remained true, is that if one wishes to bring joy to others, one must also be happy oneself. And this, he believes, can only be achieved if he is firmly grounded in his own inner convictions
[2016]