REWOD

ABOUT ME

REWOD is the result of years of dedicated work — rooted in classical violin training, but expanded into something much broader. My goal was never to leave classical music behind, but to create a space where its beauty and discipline could meet the sound and spirit of the present.

To do this, I had to go far beyond performance. I built a system where every part of the process — from arranging and orchestration to recording, mixing, mastering, and visual design — is in my hands. I taught myself not only how to transform musical ideas into complete productions, but also how to shape every aspect of their presentation. I compose and arrange for full ensembles, sculpt sonic textures, and create modern interpretations of both contemporary and classical pieces.

That meant learning how to record, produce, mix and master — how to edit videos, design visuals, and even how to prepare sheet music from scratch. Every track, every sound, every visual you encounter through REWOD is the result of this process: created, shaped and refined entirely by me. This also includes the website you’re reading this on — its layout, design, and underlying code were all built as part of the same vision.

Not because I had to, but because I believe in preserving the intimacy of the artistic process. I want the audience to feel something direct, unfiltered, and personal. With REWOD, there is no gap between the original spark of an idea and the final experience.

This is not a band, not a production company, not a label.
REWOD is one person’s complete musical world — designed to reconnect classical music with today’s listeners through emotion, craftsmanship, and absolute artistic commitment.

In Depth Biography

Early Student Times

I was 6 years old when my grandfather made a very small violin for me, and that's when I started playing. Later, my parents and I decided that I would enroll in a music school. Here, I ended up in the hands of a blessed woman named Éva Papp Sándorné. The kindness with which she treated the children was unparalleled, and she made me fall in love with the violin. At the age of 7, I entered an international violin competition, where I achieved first place, even though I didn't take music learning very seriously at that time. But that was the moment that highlighted the importance of dedicating myself more seriously to music.

From then on, during my studies, I participated in numerous violin competitions. When I turned 10, I was admitted to the special talents class at the Liszt Ferenc Academy of Music in Hungary. This meant that a professor taught my main subject, the violin, but I also had to attend regular education, including primary school and later, high school.

This is when my work with Professor Lajos Földesi began, who was my second teacher after Éva. I owe a lot to Professor Földesi Lajos, including the fact that he was like going through intense training. Through various exercises, we made my violin technique more virtuosic, and we perfected the sound of the violin. Thanks to this, to this day, whenever I touch a violin, I can bring out the best in the instrument.

At the age of 14, I was taught by Miklós Szenthelyi, a Hungarian violinist who has received the Kossuth Prize and the Liszt Ferenc Prize. While Éva introduced me to the love of the instrument, Professor Földesi developed my technique to perfection, and Professor Szenthelyi, with his active concert stage experience, taught me things that made me see the works entirely differently. His experience also taught me things that proved incredibly valuable on stage. Besides all of this, he is an incredibly kind person with whom I still maintain contact to this day.

Encounter with Rock Music

I was around 15 years old when I first encountered bands like Guns n' Roses and Nirvana. Before that, I had only listened to classical music, so it was quite strange to see Axl running around on stage in his underwear or watching Kurt Cobain's MTV Unplugged performances where the coldness of the audience was palpable due to the intimate connection.

I immediately fell in love with this genre, and individuals like Chris Cornell, Axl, Slash, Kurt Cobain, Oliver Sykes had such a profound impact on me that looking back, I can see how I shaped my personality and style based on them.

I wanted to be like them, to feel what they exuded in those YouTube videos.

I had my violin with me at my high school at the time because I had played at a school event. Someone in the classroom was listening to a popular song of that era, and as a joke, I started mimicking the song that my classmates were listening to, and everyone loved it.

This was perhaps the first step in the direction I am in now.

In 2015, I had the opportunity to perform at the Cologne Gamescom event on the Video Games Live stage with Tommy Tallarico, the composer of many famous video game soundtracks and the face of VGL. Here, we played video game music within a rock music framework, accompanied by a classical orchestra, in front of a massive audience. I had accompanied them as a solo performer in several shows after this.

This also had a significant impact on me because I finally felt that the world of classical music was meeting the music I had grown to love.

These were the initial pushes, and gradually, it became clear in my mind what I truly wanted to do. And this is the creative and exciting process where you can not only play classical music on the violin but also, by stepping into the shoes of my idols, be the person on stage with an instrument like the violin, forming a direct connection with the audience in a way that's far more thrilling to me.

Of course, this is something you decide, and it doesn't happen overnight.

I made attempts, and I even had a band with two guitarists and a drummer when I was 17, but somehow, it didn't feel right. I always had a very specific vision in my head of what I wanted to hear in my own music.

And this vision could only come to life when I learned to produce music, arrange it, and do everything necessary to turn an idea into a listenable, high-quality product that both the generation with no connection to today's hits, thanks to its classical orchestration, and the current generation can enjoy, as they get to hear familiar music from a completely new perspective.

Consequently, it's not impossible that someone who stumbled upon one of my covers of their favorite song will also discover one of my Kreisler or Tchaikovsky adaptations. If just one person does, it's already worth it because I've always regarded classical music as a precious home that I owe a lot to, and I want to bring it to as many people as possible. I believe that music is one of the best solutions to bridge generational gaps because there is so much modern music that uplifted me and gave me strength, and it would be a mistake for anyone to completely ignore these.