Tamás Schóber

(born June 5, 1963, Pécs, Hungary)

Born as the second child of Teréz Füredi (mother) and János Schóber (father). His brother, János Schóber, is eight years older. He married Márta Kozma in 1990. They have two children: Soma Schóber (1995) and Sára Schóber(1996).

He attended the Mátyás Király Street Elementary School in Pécs, then graduated from the Széchenyi István Secondary School in 1981. Completing studies at Janus Pannonius University (today the University of Pécs) in music–voice–trumpet–cultural education (1986), he began his teaching and conducting career—on the recommendation of the department—at the University’s No. 1 Practice Elementary School. After one year he was appointed lead supervising teacher, a role he has held continuously since. While self-educating, he pursued conducting and composition studies in Budapest (1987–1993). In 2005 he completed studies at the Budapest University of Technology and Economics.

His teachers included: Mrs. László Péczely (elementary school), Tamás Varga (secondary school), István Várdai(JPTE), István Párkai, Tibor Stark, Imre Földes (Budapest). A personal meeting with Leonard Bernstein (Budapest, Erkel Theatre, 1983) made a deep impression on him; at that time the concept was conceived of a listening-based music-education framework on new foundations. Nurtured for years, the idea was realized in 1996, when—serving as subject consultant for music in Baranya County—he drew the attention of a nationally significant textbook publisher who immediately adopted the new concept.

The project materialized as a 12-CD series, which—with ongoing revisions—stood the test of time for more than two decades. He was also invited to review school textbooks, a task he carried out jointly with colleague József Tihanyi. The work proved a breakthrough in Hungarian music education: it was the first material released in CD format, offering excellent audio quality, produced at the do-lá Studio in Pécs by László Dobos. After creating the audio materials, he held accredited lecture series across the country for teachers and conductors on practical classroom use.

Meanwhile he remained an active participant in Hungarian musical life, comfortable in multiple genres. From 1979, due to the sudden illness and passing of György Nesz, he led his secondary school’s wind band. In 1981–1982 he served as a trumpeter in the Regiment Band of the Hungarian People’s Army, with which they won the army’s nationwide “Ki Mit Tud?” talent competition. From 1980 to 1984 he was leader and bassist of the Pécs Spiritual Ensemble (not to be confused with the Komló Spiritual Ensemble, which adopted the same name upon moving to Pécs; for about three years two ensembles of the same name operated in the city, after which the original group yielded the name to the Komló ensemble). With this group they reached the first televised selection round of MTV’s Ki Mit Tud?

In 1982–1983 he was trumpeter for the Spektrum Jazz Ensemble of Pécs. Between 1982 and 1988 he served as rehearsal conductor and singer for the musical productions of the Pécs Summer Theatre. In 1985 he founded the music school in Bóly and the Bóly Youth Wind Orchestra; until 1987 he taught brass and solfège/music theory and conducted the ensemble. From 1986 he led school choirs; from 1986 to 1998 he was assistant conductor of the Pannon Volán Bartók Béla Men’s Choir, and from 1994 to 1998 he conducted the Tinódi Mixed Choir in Szigetvár. From 1982he performed as trumpeter with the Baranya Big Band Jazz Orchestra, and between 1987 and 1990 served as its conductor, arranger, and artistic director.

In 1996 he founded a music publishing company and made recordings nationwide with renowned ensembles. In 1988his orchestra accompanied thousands of singers at Europa Cantat; he collaborated with many artists (among others: Imre Antal, Sándor Szakácsi, Piroska Molnár, László Helyei, Györgyi Lang, János Kulka, Éva Vári, Menyhért Szegvári, András Lovasi, András Berecz, István Csukás, Géza Pécsi, Andrea Szulák, Boldizsár László, Gabi Tóth, Jennifer Mága, Attila Kökény, Kati Wolf, Nikolas Takács, László Kovács, Andrea Rost, Zoltán Mága, the Ghymes Ensemble, etc.). He maintained a warm correspondence and later long telephone conversations with Mária Szepes.

He performed with Oscar Peterson’s successor, the pianist of The Manhattan Transfer, and the ensemble’s tenor (Alen Paul) also sang with them on that occasion. As a conductor he toured Europe extensively; as guest artist and competitor he and his choirs were warmly received in Canada (British Columbia, Vancouver Island) and the United States (Calgary, Vancouver, Missoula, Los Angeles, Tucson, Las Vegas, Portland, San Francisco, Seattle, Cleveland, New York, etc.). He also paid a brief visit to Mexico. Chinese audiences came to know his works and arrangements: with the Campanella Children’s Choir he participated in the 6th World Choir Games in Shaoxing, earning a Silver X rating—they were the sole representatives of Hungary at this world event. They sang at the Shanghai Expo in the Hungarian Pavilion, were received by the Hungarian Consul, performed in Beijing, and even gave a concert on the Great Wall of China. They promoted Hungary and presented Hungarian composers’ works with authenticity and remarkable popularity.

He has served as a bridge between earlier and contemporary generations of composers. As a fruit of this role he adapted for piano János Decsényi’s song cycle “Kati’s Songs”, premiered at the Kodály Centre in Pécs on December 15, 2013, in the presence of the composer. At the same venue on March 22, 2014, Carl Orff’s Carmina Burana was performed, for which he served as chorus director. Performers: MR Choir, MR Orchestra, and the Campanella Children’s Choir; conductor: Ken-Ichiro Kobayashi.

As a composer, he has written over 500 works and released several composer CDs (Baranya Big Band (1998 – composition, arrangement); Pécs, City of Mediterranean Moods (2001); Emil (2003); Kölyököröm (2006); November Mass, Missa mosso (2009 – composition); European Capital of Culture 2010 – Moods and Memories; Traditions, Values; and Pécs, Cultural World City (2010 – composition, arrangement). Four stage works have been produced (The Double Lottie (1993); Mattie the Goose-boy (1998); Emil (2003); The Bench (2010)). His choral and instrumental publications include November Mass (2007); Missa mosso (feat. Szekszárd Big Band, artistic director: István Pecze; arrangements: Ádám Gráf, 2008); Rhapsody for Strings I. for string quartet (2008).

With his ensembles he has won numerous 1st, 2nd, and 3rd prizes, certificates of merit, special prizes at national and international choral competitions, and he was winner of the TV5 (France) composition competition (1995). In 2007, the Association of Hungarian Record Producers awarded him four Gold Records and one Platinum Record in recognition of his work. He regularly wins composition calls; his id jingles are heard at European and global events alike. His works are broadcast regularly not only by Hungarian TV and radio but also by foreign radio stations.

His most comprehensive project to date (with László Dobos) is a 10-CD “Anthology of Music Listening,” distilling his teaching, compositional, conducting, and pedagogical experience into a wide-ranging educational resource (ALEXANDRA Publishing).

“His compositional style is characterized by professional perfection, clear melodic writing, a striving for simplicity and accessibility, and a love of life.”
(Attila Kovács: Pécsi Concerto, p. 628)

On September 29, 2011, at the request of PLUS TV NEWS Hungary, an independent documentary film was made about Tamás Schóber (https://www.youtube.com/watch?v=mzOnYHb6ExI), placing him among Hungary’s prominent personalities. The film appears in the portrait gallery of Hungary’s significant figures and was produced under the direction of János Szilágyi, reporter and editor-in-chief. In 2014 he earned the Master Teacher qualification.

In 2015 he conducted one of the ambassador choirs of Europa Cantat. As a composer he was invited to the EC 2015 Composer Showcase, where, out of 56 participating countries, Hungary was among five granted a live presentation—a great success for him. Following the showcase, music professionals, conductors, and managers took his scores, publications, sheet music, and CDs to 14 countries, with above-average interest and growing dissemination of his works.

In 2015 he received an invitation to Carnegie Hall, New York, for the presentation of his Missa mosso and for his choir’s debut. Although the performance could not take place that year, the American invitation remained in effect. That year was significant for another reason as well: he launched a civil initiative to establish a music association to preserve the traditions of Hungarian choral art. Thus, in autumn 2015, the Pannon Music Association was founded; its first project was the creation of a children’s choir, with the aim of later forming additional vocal communities. The children’s choir took the name Pannon Children’s Choir. Among the patrons and supporters of the association and choir, Mrs. Zoltán Kodály played a distinguished role with her support and assistance.

In 2016 a further invitation arrived from New York, this time addressed to both Tamás Schóber and the Pannon Children’s Choir. Numerous concerts and recordings followed, bringing a fresh hue to the cultural life of Pécs. The concrete planning and execution of the American tour began, and succeeded: in June 2017 Tamás Schóber and the Pannon Children’s Choir performed at Carnegie Hall in New York. During the tour they held multiple Kodály presentations and concerts in New York, and took their program to New Jersey and New Brunswick as well.

From 2018, he received invitations from Manhattan Concert Productions to serve as chorus master for Broadwayproductions in New York and London. The commission extended to his choirs as well: in addition to the children’s choir, organizers now counted on a mixed choir.

In the summer of 2019, the Pannon Children’s Choir and Pannon Mixed Choir embarked on a Canada–USA tour. The 24-day program was of special importance, as they undertook to popularize compositions written for Hungarian children’s choirs across North America. Patrons of the tour: Mrs. Zoltán Kodály, Péter Hoppál, PhD (ministerial commissioner), and Attila Miseta, MD, Rector of the University of Pécs. This extraordinary concert tour included performances in Calgary, Vancouver, Missoula, San Francisco, Los Angeles, Cleveland, New York, and New Jersey—a superb test for both choir and conductor. The children’s choir sang exclusively Hungarian choral compositions. There were opportunities to present their conductor’s own works worldwide, bringing Tamás Schóber’s music before American audiences—to great success for both choir and composer.

Subsequently, the children’s choir received an invitation from Japan. Thus in January 2020, the PTE Pannon Children’s Choir sang to explosive acclaim in Tokyo, Kyoto, Kobe, and Osaka. The occasion was the Sing’n Pray Kobe International Choral Competition, where Schóber’s own work appeared in the competition program: the Credomovement of the November Mass became part of the official competition set, meeting artistic criteria and winning the jury’s favor. Success followed once again: the children’s choir stepped down from the stage as a prizewinner. The Japan tour also concluded successfully.

Parallel to these, domestic performances continued. The choir became regular guests at Zoltán Mága’s Budapest New Year’s Concerts, and their national recognition grew steadily. Bartók Radio frequently provided opportunities for the choir and its conductor to appear, allowing them to present their travels and achievements multiple times. A mark of professional recognition: Bartók Radio repeatedly recorded their arrangement of Béla Bartók’s “Do Not Leave!”Another major recognition came from audiences: from 2018, his records were sold in many millions of copies—a feat rivaling that of a world-famous pop star.

During the pandemic, continuous work had to be interrupted five times, yet it was always able to resume. Children and adults alike continued enthusiastically. As a result, the newly completed Pannon Mass attracted the attention of foreign impresarios, leading to opportunities for its American world premieres in June 2022 (New York, New Jersey).

In June 2022, audiences in New York and New Brunswick heard Pannon Mass composed by Tamás Schóber and performed by the PTE Pannon Children’s Choir. The public greeted the choir’s interpretation with great ovations, showing that the premiered work won their hearts. On June 21 in Manhattan, excerpts of the work were presented at the Consulate General of Hungary in New York to resident diplomats; on June 24, also in Manhattan (87th Street), the premiere at St. Joseph’s Church, organized by the St. Stephen’s Catholic Community, was again jubilantly received. On June 26, the audience in New Brunswick also experienced the premiere of the Pannon Mass following the St. Ladislaus Day festive Mass. At year’s end, smaller works—series for cello and bassoon—were released, which, despite their specificity, attracted significant international interest.

From early 2023, large-scale symphonic works were completed—Vancouver Memory, New York Memory, Tokyo Memory, Kyoto Memory, Los Angeles Memory, Cleveland Memory, Shanghai Memory, Beijing Memory, San Francisco Memory, Calgary Memory, Lisbon Memory, Bogotá Memory, Lima Memory, Buenos Aires Memory, Tenerife Memory—summarizing the composer’s travel experiences through the unique medium of music.

Shifting his music-teaching from the online sphere back to in-person settings, he has taught in South America as well. In Bogotá, Cartagena, Lima, and Buenos Aires, members of the Hungarian diaspora could personally experience Zoltán Kodály’s music-education system through Tamás Schóber’s work.

In June 2024, he received a commission from the Rákóczi Association to compose a march. The piece—fully orchestrated within a record one week—won the commissioners’ approval and was formally accepted.

In October-November 2025, music education in real space attracted great interest in other regions of the world. He popularized Zoltán Kodály's educational system at sessions for diaspora communities in Singapore, Auckland and Christchurch in New Zealand, and then in Melbourne and Sydney in Australia. Thanks to the success he achieved with his choirs, he helped found a children's choir in Singapore, providing ongoing assistance to their operation. His work as a composer is also becoming more and more fulfilling, and his works are also recognized in this region.

Support his work here!