Pászti season ticket 1
There is a European capital that international express trains merely race by, without gracing it with a stop. It is a tiny city, this is true, but one in a picturesque setting, surrounded by great mountains. It was here in Vaduz, in the middle of Liechtenstein, where Josef Rheinberger was born in 1839. In time he would become an enormously respected German master, mentioned in the same breath as Brahms. Then, at the height of the 20th century, his work fell into oblivion. However, it is worth rediscovering – anyone who has ever heard his Mass in E-flat major can be certain of that. The second piece will be a Hungarian composition to be sung by the choir. Around 15 years ago, five composers with more-or-less similar principles – Miklós Csemiczky, Levente Gyöngyösi, György Selmeczi, György Orbán and János Vajda – decided to jointly compose music to the unchanging parts of the Roman Catholic mass. Being played from their Missa Quinque Auctorum at this concert will be Gyöngyösi’s contribution, the Gloria. The interval will be followed by Schubert’s Mass in E-flat major, the last such work that the composer wrote in his life. He did not live to see it premièred. It is a sombre composition, with few bright colours. Especially heart-wrenching is the final movement, the Agnus Dei, in which Schubert also evokes the so-called cross motif. This is a four-note motif (that can be expressed as la-si-do-ti in solfège), which also appears in Bach’s passions when the cross cries out to Pilate “Lass ihn kreuzigen!”: “Crucify him!”
The Liszt Award-winning artist Csaba Somos has served as the choir director of the Hungarian National Choir since 1 April 2016. Throughout his career, he has focused simultaneously on vocal and instrumental music. With an artistic credo centred on passionate interpretation, he puts his energy into achieving a penetrative musical power that is goes beyond the level of mere professionalism.
A három szopránszólista egyaránt kiváló teljesítményt nyújtott; ám hangulatteremtő készségével Hamvasi Szilvia a többieknél is jobban magával ragadta a közönséget...
In 1998 she won the Simándy József Singing Competition, 2000 she got III. Prize in the Singing Competition of the Hungarian Broadcasting.
Szappanos Tibor Nagyváradon született 1977-ben. 2000 és 2005 között a budapesti Zeneakadémián tanult Andor Éva növendékeként. Oratóriumok és koncertek gyakran foglalkoztatott szólistája.
Brickner Szabolcs a budapesti Zeneakadémián végzett előbb klarinét-, majd énekművészként. Később az augsburgi Zeneművészeti Főiskolán szerzett mesterdiplomát.
The Hungarian National Choir (originally called State Choir) was founded in 1985. Between 1990 and 2016 it was headed by Mátyás Antal, who was succeeded by Csaba Somos on 1 January 2016.
The Hungarian National Philharmonic Orchestra has been one of Hungary’s leading symphony orchestras for over ninety years. The era marked by the name of János Ferencsik and Kobayashi Ken-Ichiro was followed by a new chapter in the history of the orchestra when in 1997 Zoltán Kocsis became general music director until his death.
Josef Rheinberger (1839–1901) was a German Romantic composer. Born in Liechtenstein, he spent much of his life in Munich working as a court conductor and as a teacher at the city’s music conservatory, where his more notable students included Ermanno Wolf-Ferrari, Engelbert Humperdinck, Richard Strauss and Wilhelm Furtwängler. As a composer, he left behind a diverse oeuvre and is best remembered for his organ and church music, as well as for his operas, symphonies, numerous chamber works and choral pieces. His sacred works bear witness to a composer who resisted the strict, conservative and puritanical aesthetic of German Cecilian church music in order to pursue his own path. In 1878, he composed his Mass in E-flat major, his third in the genre, for double choir and no instrumental accompaniment. He dedicated the work to Pope Leo XIII, who showed his gratitude by bestowing a papal decoration on the composer the following year. The mass is given a remarkably intimate atmosphere by the fact that its opening and closing movements are relatively quiet compared to the more rapid movements that make up the middle of the work.
2006-ban a Magyar Rádió Énekkara fennállásának 50. évfordulójára öt zeneszerzőt kért fel egy új mű komponálására. Ez lett a Missa Quinque Auctorum, azaz az Öt szerző miséje. A mű tételeinek zeneszerzői: Csemiczky Miklós (Kyrie), Gyöngyösi Levente (Gloria), Selmeczi György (Credo), Vajda János (Sanctus) és Orbán György (Agnus Dei).
A Gloria energiával teli, három részből (gyors, lassú, gyors) álló tétel, enyhe könnyűzenei hatással, valamint virtuóz záró fúgával. 2010-ben, meghangszerelve, teljes egészében átkerült a szólistákra, kórusra és zenekarra írott Missa Vanitas vanitatumba.
The Mass in E-flat major is Schubert’s final composition in the genre; the 31-year-old composer wrote it in 1828, the year of his death. A contemporary critic said that its sombre atmosphere was befitting of a requiem. Indeed, it is as if a sinner’s fear of judgement gives it a particular emphasis on Christ’s redemptive death on the cross and pleading with God for mercy.
As early on as the Kyrie, the movement’s nearly otherworldly beauty indicates that this will be no ordinary work. And then the listener becomes part of a world drama as the hair-raising Domine Deus segment of the Gloria is followed by the constantly recurring timpani tremolos of the Credo, and then by the Sanctus, shocking with its key changes of related thirds and the tragic-sounding Agnus Dei, which was constructed around a cross motif inherited from the Baroque period. It is only in the pastoral Et incarnatus est, swaying in 12/8 time, and in the Benedictus that the vocal soloists play a significant role. These two sections represent Schubert’s flowing melodiousness, a refreshing contrast and counterbalance to the work’s “sombre” prevailing tone.