The Night [Pure DSD]

I began my musical studies privately in my hometown, Hatvan, at the age of four. At first, my teachers’s only goal was to develop a love for music. Later came the music school, where I also had to practice – and that’s when the difficulties began. I didn’t like practicing. Even though I did well in competitions and concerts, I still found it hard to practice the piano every day.

In sixth grade of elementary school, however, I was given a relatively difficult piece. Naturally, I liked it immediately. I had no idea how I would learn it, but for the first time I felt the kind of enthusiasm that this profession truly requires. From that point on, practicing no longer felt like such a burden, and I decided to apply to the Szent István Király Secondary School of Music in Budapest. I passed the entrance exam – without having to do the piano audition, because of the “Tiéd a Steinway” (“The Steinway Is Yours”) concert. That was the moment I became certain that this was my path.

In 2019, I began my secondary studies under the guidance of Vera Várhalmi. Morning practice, evening practice, sleep – that was my daily routine. I really enjoyed that lifestyle. I became really motivated, and the positive feedback I received confirmed that I was on the right track.

After graduating from the conservatory, I was accepted to the Liszt Academy of Music, into the class of Fülöp Ránki and István Gulyás. Gradually, I began to discover the kind of music I truly felt at home in. This has changed a lot over time, but one composer has always remained my favorite: Claude Debussy. And why isn’t there a single Debussy piece on the album? I’ll return to that later.

I also took part in competitions (in Italy and the Czech Republic), but for me, the experience of traveling often left a deeper impression than the competition itself. Of course, these were very important experiences, especially in terms of preparation – since getting ready for a competition involves a lot of work. Even today, I incorporate those experiences into my practice.

In 2024, I graduated with honors. My program included Debussy’s Clair de lune and Beethoven’s Sonata in F minor, Op. 57 “Appassionata.” That was when I began to realize that a concert program itself can have an impact – not only the performance. A program can be contrasting, even extreme – just like mine was.

In 2024, I was admitted to the master’s program at the Liszt Academy, in the class of László Borbély and Fülöp Ránki. This is where I have to mention contemporary music, which I studied under Professor Borbély, and which had a profound influence on me. These works opened a lot of doors for me – not only in terms of sound, but also in a deeper understanding of musical meaning and content. I began experimenting with constructing concert programs: how pieces relate to each other, or how contrasting and diverse moods can be presented. This has since become one of my main artistic goals – to show as many emotions and impressions in the audience as possible.

And why isn’t there a single piece by my favorite composer, Debussy, on this album? People constantly change. Ten years from now, the pieces recorded on this album may no longer be the ones that feel closest to me. Still, I want to remember this period of my life, because I received so much from the musical world represented on this recording. If you like, you may think of this album as an imprint of my life and artistic journey so far.

Olivér Joakim Pajor – piano