Hungarian violinist Kristóf Baráti is recognised increasingly across the globe as a musician of extraordinary quality with a vast expressive range and impeccable technique. In 2014, at the age of 35, Baráti was awarded Hungary’s highest cultural award, the Kossuth Prize, following in the footsteps of revered Hungarian artists such as András Schiff, György Ligeti and Iván Fischer. In recent seasons he has made several significant debuts outside of Hungary, including at the Verbier Festival where he performed the complete Sonatas and Partitas of Bach, and with orchestras such as the London Philharmonic and the Zurich Tonhalle, after which Bachtrack described him as “a true tonal aesthete of the highest order”.
Highlights of Baráti’s 2017/18 season include his debut with the Los Angeles Philharmonic at Hollywood Bowl, his return to the London Philharmonic Orchestra with Vladimir Jurowski and a return to London’s Cadogan Hall with Gergiev and the Mariinsky Orchestra. Elsewhere he makes debuts with the ORF Vienna Radio Symphony both at home and on tour, the Verbier Festival Orchestra at Schloss Elmau, the Orchestre Philharmonique de Luxembourg, BBC Scottish Symphony, Lahti Symphony and Hague Philharmonic orchestras. He performs throughout Hungary in recital, chamber music and with orchestra, and with the Prague Philharmonia play/directs the complete concertos by Mozart at the Liszt Academy. In recital he undertakes a 17-concert recital tour of Germany, performs at Cologne’s Philharmonie with Trio Catch, and makes his debut at the Stresa and Merano Festivals (Italy) and in Hong Kong at Hong Kong Cultural Centre.
In previous seasons Baráti has played with many major orchestras world-wide with conductors including Masur, Janowski, Dutoit, Saraste, Manze, Orozco-Estrada, Pletnev, Hrůša, Temirkanov and he performs regularly with Gergiev and the Mariinsky Orchestra. A regular recital and chamber music player, Baráti has performed with partners such as Bavouzet, Mischa Maisky, Bashmet, Perényi, Kocsis and Kashkashian, amongst others. Recent highlights have included recitals in Paris, Chicago, New York and in 2017 he returned to the White Nights Festival in a televised recital with Nikolai Lugansky.
Baráti has an extensive discography which includes the five Mozart concerti, the complete Beethoven and Brahms sonatas with Klára Würtz, and Ysaÿe solo sonatas for Brilliant Classics, and Bach's Sonatas and Partitas for Solo violin on the Berlin Classics label. Of a recent disc of encores, Gramophone magazine said “for those who like to hear the violin played at its sweet and acrobatic best, then Baráti is out of the top drawer.”
Having spent much of his childhood in Venezuela, where he played as soloist with many of the country’s leading orchestras, Baráti returned to Budapest to study at the Franz Liszt Academy of Music and was later mentored by Eduard Wulfson, himself a student of Milstein and Menuhin. Still resident in Budapest, Barati performs in Hungary regularly and together with István Vardái, Baráti is Artistic Director of the Kaposvár International Chamber Music Festival.
Baráti plays the 1703 "Lady Harmsworth" made by Antonio Stradivarius, kindly offered by the Stradivarius Society of Chicago.
Leo Hussain (Nov '17)
Cornelius Meister (Apr '18)
Carlos Miguel Prieto
Joshua Weilerstein (May '18)
Violin Concerto, Op.14
Violin Concerto No.2, Sz.112, BB.117
Violin Concerto in D major, Op.61
Violin Concerto in D major, Op.77
Violin Concerto in A minor, Op.82
Violin Concerto in D minor
Violin Concerto in D major, Op.35
Symphonie espagnole, Op.21
Violin Concerto in E minor, Op.64
Violin Concerto No. 1 in B flat major, K.207
Violin Concerto No.2 in D major, K.211
Violin Concerto No.3 in G major, K.216 'Strassburg'
Violin Concerto No.4 in D major, K.218
Violin Concerto No.5 in A major, K.219 'Turkish'
Violin Concerto No.1, Op.6
Violin Concerto No.1 in D major, Op.19
Violin Concerto No.2 in G minor, Op.63
Violin Concerto No.1 in A minor, Op.99
Violin Concerto in D major
Violin Concerto in D major, Op.35
Baráti started at the other extreme of audibility, his honeyed tone and intense intimacy willing the orchestra into submission. With his delicate sculpting of phrases and welcome injections of expressive breathing space, Baráti brought a degree of care and fragility
Baráti’s performance was, in a word, masterful. Probing, austere, meditative, it rang with a rare sense of authenticity and almost majestic scope.
Baráti has the build and physicality of a sportsman, which translated into a performance of immaculate discipline and razor sharp rhythmic precision. It was there in the crackling fireworks of the finale, but equally, it informed the shapeliness and rich poetic expressiveness of the scene-setting opening, and of the enchanting slow movement.