{"id":101352,"date":"2017-05-30T16:01:49","date_gmt":"2017-05-30T16:01:49","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&#038;p=101352"},"modified":"2017-10-04T09:08:47","modified_gmt":"2017-10-04T09:08:47","slug":"kocsis-krisztian-es-hamar-zsolt","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/kocsis-krisztian-es-hamar-zsolt\/","title":{"rendered":"Kriszti\u00e1n Kocsis and Zsolt Hamar"},"content":{"rendered":"<p>Dedicated to the memory of Zolt\u00e1n Kocsis, the first work in the programme is one of the maestro\u2019s many transcriptions. Vall\u00e9e d&#8217;Obermann is a philosophical work in Liszt\u2019s Swiss chapter of Ann\u00e9es de p\u00e8lerinage. The original score contains numerous notes concerning orchestral effects, based on which Kocsis created a transcription that could easily have been written by Liszt himself. Kocsis was always active as a composer and wrote a piece of funeral music in memory of the victims of the Chernobyl nuclear catastrophe, which also features in tonight\u2019s programme. The maestro\u2019s son, the highly gifted Kriszti\u00e1n Kocsis performs a Mozart piano concerto. The programme rounds off with Richard Strauss\u2019s <em>Metamorphoses, <\/em>a study for 23 solo strings, which was composed in the last months of World War II, with an atmosphere redolent of mourning over millennial European culture. The title alludes to the theme of the funeral march of Beethoven\u2019s Eroica, which is cited in Strauss\u2019s half-hour, one-movement work.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"template":"","class_list":["post-101352","concerts","type-concerts","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.5","language":"en","enabled_languages":["hu","en"],"languages":{"hu":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":{"alcim":"Kocsis Zolt\u00e1n b\u00e9rlet 1.","kiemelt_kep":{"ID":98887,"id":98887,"title":"nfzfoto_nfogy","filename":"NFZ@foto_NFOGY.jpg","filesize":1004246,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/koncert-lengyelorszagban-krakko\/nfzfoto_nfogy\/","alt":"","author":"1","description":"","caption":"","name":"nfzfoto_nfogy","status":"inherit","uploaded_to":98214,"date":"2016-10-27 13:10:24","modified":"2017-07-31 08:39:58","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1920,"height":560,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-300x88.jpg","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-768x224.jpg","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-1024x299.jpg","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY.jpg","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY.jpg","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY.jpg","person-size-2-width":165,"person-size-2-height":48,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/NFZ@foto_NFOGY-1600x560.jpg","slider-size-width":1600,"slider-size-height":560}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20171004","esemeny_idopontja":"19.30","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87546,"post_author":"1","post_date":"2016-09-08 08:02:37","post_date_gmt":"2016-09-08 08:02:37","post_content":"","post_title":"{:hu}Olasz Kult\u00farint\u00e9zet{:}{:en}Italian Cultural Institute{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"olasz-kulturintezet","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:37","post_modified_gmt":"2016-09-08 08:02:37","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/olasz-kulturintezet\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Budapest{:}{:en}Budapest{:}","orszag":"{:hu}Magyarorsz\u00e1g{:}{:en}Hungary{:}","cim":"1088. Br\u00f3dy S. u. 8.","megjegyzes":"Olasz Kultur\u00e1lis Int\u00e9zet <br>Tel.: +(36 1) 483-2040, 317-6653","weboldal":"http:\/\/www.iicbudapest.esteri.it\/IIC_Budapest\/"},"helyszin_kategoria":"budapest","karmester":{"ID":101545,"post_author":"1","post_date":"2017-05-30 19:58:57","post_date_gmt":"2017-05-30 19:58:57","post_content":"{:hu}Fels\u0151fok\u00fa tanulm\u00e1nyait a Liszt Ferenc Zenem\u0171v\u00e9szeti F\u0151iskol\u00e1n folytatta, zeneszerz\u00e9s tan\u00e1ra Petrovics Emil, karmester tan\u00e1rai Luk\u00e1cs Ervin \u00e9s G\u00e1l Tam\u00e1s voltak. 1995-ben kit\u00fcntet\u00e9ssel diplom\u00e1zott.\r\n\r\nP\u00e1ly\u00e1ja a Magyar Telev\u00edzi\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n nyert 2. d\u00edjjal \u00e9s k\u00f6z\u00f6ns\u00e9gd\u00edjjal indult. 1996-ban a spanyolorsz\u00e1gi Cadaques-ben rendezett karmesterversenyen ugyancsak 2. d\u00edjat nyert, 1997-ben a Portug\u00e1l R\u00e1di\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n 1. helyezett lett, majd a Trent\u00f3i Antonio Pedrotti Versenyen szint\u00e9n az 1. helyen v\u00e9gzett.\r\n\r\n1997 \u0151sz\u00e9n Kocsis Zolt\u00e1n zeneigazgat\u00f3 javaslat\u00e1ra a Nemzeti Filharmonikusok els\u0151 \u00e1lland\u00f3 karmester\u00e9v\u00e9 nevezt\u00e9k ki. 1998-ben Lorin Maazel asszisztense a Salzburgi \u00dcnnepi J\u00e1t\u00e9kokon. 2000-t\u0151l 2009-ig a Pannon Filharmonikusok zeneigazgat\u00f3ja \u00e9s vezet\u0151 karmestere, ezzel p\u00e1rhuzamosan az Orchestra di Padova e del Veneto els\u0151 vend\u00e9gkarmestere.\r\n\r\nRendszeres vend\u00e9g Eur\u00f3pa, Jap\u00e1n \u00e9s az Egyes\u00fclt \u00c1llamok zenekarain\u00e1l \u00e9s koncerttermeiben. Fell\u00e9pett szinte minden magyar szimfonikus egy\u00fcttessel. 2001 \u00f3ta rendszeresen vez\u00e9nyel a Magyar \u00c1llami Operah\u00e1zban, sz\u00edvesen l\u00e1tott vend\u00e9g a k\u00fclf\u00f6ldi dalsz\u00ednh\u00e1zakban is. 2005 \u00e9s 2011 k\u00f6z\u00f6tt a Z\u00fcrichi Operah\u00e1zban dolgozott a vil\u00e1gh\u00edr\u0171 dalsz\u00ednh\u00e1z \u00e1lland\u00f3 karmesterek\u00e9nt. 2012-t\u0151l 2016-ig a Wiesbadeni Operah\u00e1z (Hessisches Staatstheater) f\u0151zeneigazgat\u00f3ja volt.\r\n\r\n<em>\u00a0<\/em>A Nemzeti Filharmonikus Zenekarral Liszt m\u0171veket, a Pannon Filharmonikusokkal Mahler I. szimf\u00f3ni\u00e1j\u00e1nak 1893-as weimari v\u00e1ltozat\u00e1t r\u00f6gz\u00edtette CD-re a Hungaroton kiad\u00e1s\u00e1ban.\r\n\r\n2011 j\u00fanius\u00e1ban sikeresen fejezte be habilit\u00e1ci\u00f3j\u00e1t a Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetemen. 2016 \u00f3ta a szombathelyi Nemzetk\u00f6zi Bart\u00f3k Szemin\u00e1rium \u00e9s Fesztiv\u00e1l karmesterkurzus\u00e1nak professzora.\r\n\r\n2017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig vezette a Nemzeti Filharmonikusok Zenekar\u00e1t.\r\n\r\nMunk\u00e1ss\u00e1ga elismer\u00e9sek\u00e9nt 2001-ben Liszt-d\u00edjat, 2006-ban a Magyar K\u00f6zt\u00e1rsas\u00e1gi \u00c9rdemrend Lovagkeresztj\u00e9t vehette \u00e1t, 2017-ben pedig \u00c9rdemes M\u0171v\u00e9sz d\u00edjban r\u00e9szes\u00fclt.{:}{:en}Hamar pursued his advanced studies at Budapest\u2019s Franz Liszt Academy of Music, graduating with honours in 1995 after studying music composition under Emil Petrovics and conducting under Ervin Luk\u00e1cs and Tam\u00e1s G\u00e1l. He launched his career by taking second place and the audience prize at the Hungarian Television International Conducting Competition. He has also won prizes at several other international competitions (taking second place at the Cadaqu\u00e9s Orchestra International Conducting Competition in Spain and first place at both the Portuguese Radio Conducting Competition and the Antonio Pedrotti International Conducting Competition in Trento, Italy). In 1997, he was invited by Zolt\u00e1n Kocsis to serve as first permanent conductor of the Hungarian National Philharmonic Orchestra. After working as Lorin Maazel\u2019s assistant at the Salzburg Festival in 1998, he spent the years from 2000 to 2009 as the music director of the Pannon Philharmonic while simultaneously serving as first guest conductor of the Orchestra di Padova e del Veneto.\r\n\r\nA regular guest with orchestras and at concert halls around Europe, Japan and the USA, he has also appeared with nearly every symphonic ensemble in Hungary. Hamar has regularly conducted at the Hungarian State Opera since 2001 and is a welcome guest at opera houses in other countries as well. Between 2005 and 2011, he worked as a permanent conductor at the world-famous Opernhaus Z\u00fcrich. He has recorded works by Liszt together with the Hungarian National Philharmonic and Mahler\u2019s <em>First Symphony<\/em> with the Pannon Philharmonic. From 2012 to 2016, he served as the chief music director of Wiesbaden\u2019s opera house.\r\n\r\nHe headed the Hungarian National Philharmonic as Musical Director from March 2017 to August 2020.{:}","post_title":"{:hu}Hamar Zsolt{:}{:en}Zsolt Hamar{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hamar-zsolt-3","to_ping":"","pinged":"","post_modified":"2020-08-10 08:31:17","post_modified_gmt":"2020-08-10 08:31:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=101545","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91476,"post_author":"1","post_date":"2016-09-08 08:57:52","post_date_gmt":"2016-09-08 08:57:52","post_content":"{:hu}Kocsis Zolt\u00e1n val\u00f3s\u00e1gos zenekari szvitet \u00e1ll\u00edtott \u00f6ssze Liszt-zongoram\u0171vekb\u0151l, Liszt szellem\u00e9ben j\u00e1rva el, aki maga is nagysz\u00e1m\u00fa \u00e1tdolgoz\u00e1st k\u00e9sz\u00edtett m\u00e1s szerz\u0151k kompoz\u00edci\u00f3ib\u00f3l.\u00a0 Liszthez hasonl\u00f3an, aki gyakran kev\u00e9ss\u00e9 ismert m\u0171vekre h\u00edvta fel a figyelmet \u00e1tirataival, Kocsis is t\u00f6bbnyire a Liszt-\u00e9letm\u0171 rejtettebb zugait kutatta, gondosan \u00fcgyelve a t\u00e9ma- \u00e9s hangulatbeli kontrasztokra, az \u00fcnnep\u00e9lyes bevezet\u0151 indul\u00f3t\u00f3l a gyors t\u00e1ncfin\u00e1l\u00e9ig.\r\n\r\nAz <em>Obermann v\u00f6lgye<\/em> k\u00e9ts\u00e9gtelen\u00fcl a legismertebb a jelen \u201eszvit\u201d t\u00e9telei k\u00f6z\u00fcl.\u00a0 Itt nem indul\u00f3r\u00f3l vagy t\u00e1ncr\u00f3l van sz\u00f3, hanem nagyszab\u00e1s\u00fa, dr\u00e1mai tabl\u00f3r\u00f3l, a liszti programzene egyik legkor\u00e1bbi \u00e9s k\u00fcl\u00f6n\u00f6sen sz\u00edvbemarkol\u00f3 p\u00e9ld\u00e1j\u00e1r\u00f3l. \u00c9tienne Pivert de Senancour (1770-1843) 1804-ben jelentette meg <em>Oberman<\/em> (a k\u00e9s\u0151bbi kiad\u00e1sokban <em>Obermann<\/em>) c. reg\u00e9ny\u00e9t.\u00a0 A c\u00edmszerepl\u0151 igazi byroni h\u0151s, aki \u00e9vekkel megel\u0151zve Manfr\u00e9det \u00e9s Childe Haroldot, hozz\u00e1juk hasonl\u00f3an az isten\u00edtett term\u00e9szettel azonosulva keres gy\u00f3gy\u00edrt lelki sebeire.\u00a0 Senancour \u00e9veket t\u00f6lt\u00f6tt Sv\u00e1jcban, \u00e9s az Alpok \u00e9lm\u00e9nye er\u0151sen hatott a lev\u00e9lform\u00e1ban \u00edrt reg\u00e9nyre.\u00a0 Liszt a kott\u00e1ban k\u00e9t Senancour- \u00e9s egy Byron-id\u00e9zetettel jelezte a m\u0171 programj\u00e1t:\r\n\r\n<em>Mit akarok \u00e9n? ki vagyok? mit k\u00e9rjek a term\u00e9szett\u0151l?...Az okok mind rejtelmesek, a c\u00e9lok mind csal\u00f3k\u00e1k; minden forma v\u00e1ltozik, minden pillanat elm\u00falik...Csak az\u00e9rt \u00e9rzek, csak az\u00e9rt l\u00e9tezem, hogy elem\u00e9sszem magam v\u00e1gyaimban, melyeken \u00farr\u00e1 lenni nem tudok...a k\u00e1pr\u00e1zatos vil\u00e1g k\u00eds\u00e9rt\u00e9seinek kelyh\u00e9t fen\u00e9kig \u00fcr\u00edtem, de v\u00e9g\u00fcl letagl\u00f3znak az \u00e9rz\u00e9ki csal\u00f3d\u00e1sok.<\/em>\r\n\r\n<em>\u00a0<\/em><em>Hi\u00fa \u00e9veink kimondhatatlan \u00e9rz\u00e9kenys\u00e9ge, b\u00e1ja \u00e9s k\u00ednszenved\u00e9se; egy \u00f6r\u00f6kk\u00e9 k\u00e9ts\u00e9gbeejt\u0151 \u00e9s \u00f6r\u00f6kk\u00e9 megk\u00f6zel\u00edthetetlen term\u00e9szet \u00e1that\u00f3 tudata\u2014mindent bet\u00f6lt\u0151 szenved\u00e9ly, mindenre kiterjed\u0151 b\u00f6lcsess\u00e9g, \u00f6nmegad\u00e1s az \u00e9rz\u00e9kis\u00e9gnek\u2014mindazt a hi\u00e1nyt, mindazt a m\u00e9ly csal\u00f3d\u00e1st, amit haland\u00f3 sz\u00edv mag\u00e1ba fogadhat, \u00e9n \u00e1t\u00e9ltem, \u00e1t\u00e9reztem ezen az eml\u00e9kezetes \u00e9jszak\u00e1n.\u00a0 Egy komor l\u00e9p\u00e9ssel k\u00f6zelebb ker\u00fcltem az elgyeng\u00fcl\u00e9s kor\u00e1hoz; egyetlen \u00e9jszak\u00e1n t\u00edz \u00e9vet \u00f6regedtem.<\/em>\r\n\r\n<em>\u00a0<\/em><em>Senancour<\/em>\r\n\r\n<em>\u00a0<\/em><em>Ha mindazt form\u00e1ba \u00f6nthetn\u00e9m \u00e9s elmondhatn\u00e1m, ami l\u00e9nyemben rejlik\u2014ha ki tudn\u00e1m fejezni gondolataimat \u00e9s mindazt a lelket, sz\u00edvet, szellemet, szenved\u00e9lyt, \u00e9rz\u00e9st, er\u0151set \u00e9s gyeng\u00e9t, amelyet valaha kerestem \u00e9s most is keresek, hordozok magamban, tudok, \u00e9rzek \u00e9s \u00e1t\u00e9lek\u2014ha mindezt egyetlen sz\u00f3ban \u00f6sszefoglalhatn\u00e1m, az a sz\u00f3 nem lehetne m\u00e1s, mint: Vill\u00e1m.\u00a0 De nem lehet; s \u00edgy n\u00e9m\u00e1n \u00e9lek \u00e9s halok, hangtalan gondolataim mint kard a h\u00fcvelyben.<\/em>\r\n\r\n<em>\u00a0<\/em><em>Byron:\u00a0 Childe Harold<\/em>\r\n\r\n<em>\u00a0<\/em>Az <em>Obermann v\u00f6lgye<\/em> els\u0151 v\u00e1ltozata az 1830-as \u00e9vekre megy vissza, \u00e9s 1842-ben jelent meg nyomtat\u00e1sban az <em>Album d\u2019un voyageur<\/em> (\u201eEgy utaz\u00f3 napl\u00f3ja\u201d) r\u00e9szek\u00e9nt.\u00a0 K\u00e9s\u0151bb, Weimarban val\u00f3 leteleped\u00e9se ut\u00e1n Liszt teljesen \u00e1t\u00edrta a darabot; b\u00e1r a technikai ig\u00e9nyek nem cs\u00f6kkentek, a hangs\u00faly a virtuozit\u00e1sr\u00f3l a dr\u00e1mai kifejez\u00e9sre tev\u0151d\u00f6tt \u00e1t, \u00e9s az ugyanezid\u0151t\u00e1jt keletkezett szimfonikus k\u00f6ltem\u00e9nyekhez hasonl\u00f3an a mot\u00edvumok karakter\u00e9nek \u00e1talak\u00edt\u00e1sa ker\u00fclt az el\u0151t\u00e9rbe.\u00a0 \u00cdgy a basszusregiszterben megsz\u00f3lal\u00f3 <em>espressivo<\/em> nyit\u00f3dallam a recitativo-szakaszban\u00a0 \u00e1tforr\u00f3sodik, majd egyre \u00e9l\u00e9nkebb \u00e9s er\u0151teljesebb form\u00e1ban siet a megd\u00f6bbent\u0151 v\u00e9gkifejlet fel\u00e9.\r\n\r\nEbben a form\u00e1ban jelent meg az <em>Obermann v\u00f6lgye<\/em> a <em>V\u00e1ndor\u00e9vek<\/em> els\u0151 (sv\u00e1jci) k\u00f6tet\u00e9ben 1855-ben.\u00a0 Liszt k\u00fcl\u00f6n\u00f6sen fontosnak \u00e9rezte ezt a darabot, ami abb\u00f3l is l\u00e1tszik, hogy amikor Eduard Lassen 1880 k\u00f6r\u00fcl \u00e1tirta zongoratri\u00f3ra, Liszt \u00faj bevezet\u00e9st \u00edrt hozz\u00e1, s\u0151t maga is k\u00e9sz\u00edtett nem is egy, hanem mindj\u00e1rt k\u00e9t tri\u00f3v\u00e1ltozatot, Lassen munk\u00e1ja \u00e1ltal inspir\u00e1lva.{:}{:en}<em>Vall\u00e9e d\u2019Obermann<\/em> is certainly the best-known among the movements of the present suite.\u00a0 No dance or march, it is a grandiose dramatic tableau and one of the earliest, and most powerful, examples of Lisztian program music.\r\n\r\n\u00c9tienne Pivert de Senancour (1770-1843) published his novel <em>Oberman<\/em> (<em>Obermann <\/em>in later editions) in 1804.\u00a0 The protagonist is a real Byronic hero years before Byron\u2019s Manfred and Childe Harold; like them, he is estranged from society and seeks relief for his intense emotional suffering by communing with a nature he worships.\u00a0 Senancour spent many years in Switzerland, and the memory of the Alps was a major source of inspiration for the novel, which was written in epistolary form.\u00a0 The program of Liszt\u2019s piece is expressed in the three quotes\u2014two from Senancour and one from Byron\u2014printed in the score.\r\n\r\n&nbsp;\r\n\r\n<em>What would I?\u00a0 What am I?\u00a0 What must I ask of Nature?....Every cause is invisible, every aim deceptive; every form changes, all continuance comes to an end\u2026.I feel, I exist simply to be the prey of untamable desires, to be besotted by the spell of a fantastic world, and to stand aghast at its dazzling falsity.<\/em>\r\n\r\n<em>\u00a0<\/em><em>Inexpressible responsiveness, alike the charm and torment of our idle years, profound sense of a Nature everywhere overwhelming and everywhere inscrutable; infinite passion, ripened wisdom, ecstatic self-surrender, everything a human heart can hold of need and utter weariness, I felt them all, sounded the depths of all, during that memorable night.\u00a0 I took an ominous stride towards the age of decline; I swallowed up ten years of my life.<\/em>\r\n\r\n<em>\u00a0<\/em>Senancour, transl. J. Anthony Barnes\r\n\r\n&nbsp;\r\n\r\n<em>Could I embody and unbosom now<\/em>\r\n\r\n<em>That which is most within me,--could I wreak<\/em>\r\n\r\n<em>My thoughts upon expression, and thus throw<\/em>\r\n\r\n<em>Soul, heart, mind, passions, feelings, strong or weak,<\/em>\r\n\r\n<em>All that I would have sought, and all I seek,<\/em>\r\n\r\n<em>Bear, know, feel, and yet breathe\u2014into <\/em>one <em>word,<\/em>\r\n\r\n<em>And that one word were Lightning, I would speak;<\/em>\r\n\r\n<em>But as it is, I live and die unheard,<\/em>\r\n\r\n<em>With a most voiceless thought, sheathing it as a sword.<\/em>\r\n\r\n<em>\u00a0<\/em>\r\n\r\n<em>Byron: Childe Harold\u2019s Pilgrimage<\/em>\r\n\r\nThe first version of <em>Vall\u00e9e d\u2019Obermann<\/em> goes back to the 1830s and was published in 1842 as part of <em>Album d\u2019un voyageur<\/em>.\u00a0 After settling in Weimar, Liszt completely revised the work.\u00a0 Although the technical demands remained undiminished, the emphasis shifted from virtuoso display to dramatic expression.\u00a0 Similarly to the symphonic poems on which he was working at the same time, the idea of \u201ccharacter variation\u201d comes strongly to the fore.\u00a0 Thus, the expressive opening melody, first heard in the bass register, becomes intensely passionate in the \u201crecitative\u201d section before pressing on, ever livelier and more powerful, towards the stunning final<em> d\u00e9nouement<\/em>.\r\n\r\nIt was in this form that <em>Vall\u00e9e d\u2019Obermann<\/em> was published in 1855 as part of Book I (\u201cSwitzerland\u201d) of the <em>Ann\u00e9es de p\u00e8lerinage<\/em>.\u00a0 Liszt attached great significance to this piece.\u00a0 When, around 1880, Eduard Lassen arranged it for piano trio, Liszt composed a new introduction, and then proceeded to write not one but two piano-trio versions of his own.\r\n\r\n&nbsp;{:}","post_title":"{:hu}Obermann v\u00f6lgye{:}{:en}Vall\u00e9e d'Obermann{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"obermann-volgye","to_ping":"","pinged":"","post_modified":"2017-09-11 14:32:41","post_modified_gmt":"2017-09-11 14:32:41","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/obermann-volgye\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Liszt-Kocsis"]},{"ID":101409,"post_author":"3","post_date":"2017-05-29 18:25:15","post_date_gmt":"2017-05-29 18:25:15","post_content":"{:hu}Szomor\u00fa alkalom Kocsis Zolt\u00e1n hal\u00e1l\u00e1nak egy\u00e9ves \u00e9vfordul\u00f3ja arra, hogy felcsend\u00fclj\u00f6n egy fiatalkori alkot\u00e1sa, a Memento. Ez a m\u0171 most m\u00e1r saj\u00e1t mement\u00f3ja is, \u00e9s miut\u00e1n sajn\u00e1latosan kev\u00e9s az \u00f6n\u00e1ll\u00f3 m\u0171alkot\u00e1s Kocsis zeneszerz\u0151i \u00e9letm\u0171v\u00e9ben, nem sok darab k\u00edn\u00e1lkozik el\u0151ad\u00e1sra. Kro\u00f3 Gy\u00f6rgy, a jeles zenekritikus egykor \"p\u00e1nzenei tehets\u00e9gnek\" nevezte a szinte m\u00e9g gyermek Kocsist. A sokoldal\u00fa m\u0171v\u00e9sz zongoram\u0171v\u00e9szi, karmesteri munk\u00e1ja k\u00f6zismert. A szakmabeliek tudj\u00e1k, hogy milyen hatalmas a zongora- vagy egy\u00e9b \u00e1tiratainak, illetve zenekari hangszerel\u00e9seinek sz\u00e1ma, \u00e9s szerencs\u00e9re haszn\u00e1lj\u00e1k is ezeket a kott\u00e1kat. De saj\u00e1t kompoz\u00edci\u00f3val nem k\u00e9nyeztette el a k\u00f6z\u00f6ns\u00e9get, \u00e9s azok is f\u0151k\u00e9nt fiatalabb \u00e9veib\u0151l val\u00f3k. Igaz k\u00e9s\u0151bb is jelentkezett egy-egy szerzem\u00e9nnyel, pl. Sch\u00f6nberg M\u00f3zes \u00e9s \u00c1ronj\u00e1nak kieg\u00e9sz\u00edt\u00e9s\u00e9vel, amelyb\u0151l kider\u00fclhetett, hogy ha t\u00f6bbet foglalkozik kompon\u00e1l\u00e1ssal, zeneszerz\u0151k\u00e9nt is ugyanolyan s\u00fallyal vehetett volna r\u00e9sz a zenei \u00e9letben, mint egy\u00e9b tev\u00e9kenys\u00e9geivel. De nem az \u00f6r\u00f6kk\u00e9val\u00f3s\u00e1g \u00e9rdekelte, hanem a t\u00f6k\u00e9letess\u00e9g, amit el\u0151ad\u00f3i praxis\u00e1ban igyekezett megval\u00f3s\u00edtani.\r\n\r\nAz 1986-os a csernobili atomkatasztr\u00f3fa ut\u00e1n nem sokkal sz\u00f3besz\u00e9d lett, hogy Kocsis gy\u00e1szzen\u00e9t, vagy ink\u00e1bb eml\u00e9kzen\u00e9t kompon\u00e1lt az \u00e1ldozatok tisztelet\u00e9re. Az akkori viszonyok k\u00f6z\u00f6tt nem hangozhatott el a m\u0171, hiszen ez bizonyos fokig politikai \u00e1ll\u00e1sfoglal\u00e1snak is tetszhetett. Csak j\u00f3val k\u00e9s\u0151bb adt\u00e1k el\u0151, E\u00f6tv\u00f6s P\u00e9ter vez\u00e9nylet\u00e9vel. Kocsis Zolt\u00e1nra jellemz\u0151 volt - tal\u00e1n ez sem k\u00f6zismert -, hogy rendk\u00edv\u00fcl \u00e9rz\u00e9kenyen reag\u00e1lt a vil\u00e1g esem\u00e9nyeire, egy\u00e1ltal\u00e1n nem volt elef\u00e1ntcsonttoronyba z\u00e1rk\u00f3z\u00f3 m\u0171v\u00e9sz-t\u00edpus. \u00c9s nemcsak \u00e9rz\u00e9kenyen reag\u00e1lt, hanem val\u00f3s\u00e1ggal \u00e1t\u00e9lte a katasztr\u00f3f\u00e1kat, legyenek azok term\u00e9szetiek, vagy emberi okb\u00f3l bek\u00f6vetkez\u0151k. M\u00e9g az aut\u00f3balesetb\u0151l sz\u00e1rmaz\u00f3 trag\u00e9di\u00e1kat is gyilkoss\u00e1gnak nevezte, \u00e9s hangoztatta, ha nem hib\u00e1zik valaki, nem kellet volna embereknek meghalnia.\r\n\r\nA Memento k\u00f6zel 20 perces \u00f3ri\u00e1s-zenekarra kompon\u00e1lt m\u0171. A megszokottak mellett sz\u00e1mos, \u00a0\u00a0zenekarban ritka hangszert is alkalmaz: p\u00e9ld\u00e1ul teker\u0151lantot, git\u00e1rt, harmonik\u00e1t, zongor\u00e1t, ped\u00e1los elektromos orgon\u00e1t, harangokat, cseng\u0151t, vibrafont.\r\n\r\nA zenei anyag j\u00f3l \u00e9szlelhet\u0151en k\u00e9t f\u0151 r\u00e9szre oszlik. Ha a m\u0171 zenei gondolkod\u00e1s\u00e1t hasonl\u00edtani akarjuk valamilyen st\u00edlushoz, els\u0151re a Kocsis \u00e1ltal nagyra becs\u00fclt Arnold Sch\u00f6nberg \u00e9rett korszaka juthat esz\u00fcnkbe. De k\u00f6lcs\u00f6n\u00f6s hat\u00e1srendszerben \u00e1ll m\u00e1s, kort\u00e1rs szerz\u0151k, pl. Kurt\u00e1g m\u0171v\u00e9szet\u00e9vel is. Az \u00f3ri\u00e1si appar\u00e1tus ellen\u00e9re igen \u00e1ttetsz\u0151 a zenei sz\u00f6vet, szinte minden hangszer j\u00f3l megk\u00fcl\u00f6nb\u00f6ztethet\u0151 benne, r\u00f6vid dallamt\u00f6red\u00e9kek s\u0171r\u0171 \u00e9s \u00e1lland\u00f3an v\u00e1ltoz\u00f3 hull\u00e1mai \u00e1radnak a hallgat\u00f3kra. A darab k\u00f6zep\u00e9n 15 \u00fctemnyi gener\u00e1lpauza ut\u00e1n indul a \"lass\u00fat\u00e9tel\". Nincs \u00edgy megnevezve, s\u0151t a szok\u00e1sos (egyben karaktert is sugall\u00f3) temp\u00f3feliratok sem tal\u00e1lhat\u00f3k meg a darabban. A temp\u00f3kat a purit\u00e1n metron\u00f3msz\u00e1mok hat\u00e1rozz\u00e1k meg.\r\n\r\nA Memento t\u00e1volr\u00f3l sem program-zene, de tal\u00e1n m\u00e9gsem k\u00f6vet el a hallgat\u00f3 szents\u00e9gt\u00f6r\u00e9st, ha asszoci\u00e1ci\u00f3ja t\u00e1mad a zenei anyagr\u00f3l. Az els\u0151 r\u00e9sz s\u0171r\u0171, izgatott, sz\u00e1nd\u00e9koltan kaotikus benyom\u00e1st kelt\u0151 szakasza ut\u00e1n dr\u00e1mai csend k\u00f6vetkezik. A k\u00f6vetkez\u0151 - egyben z\u00e1r\u00f3 r\u00e9sz (vagy \"lass\u00fa t\u00e9tel\") legfontosabb elemei egy v\u00e9gig, orgonapontszer\u0171en kitartott E hang, valamint az ef\u00f6l\u00f6tt egyre csak felfel\u00e9 emelked\u0151 \u00e1lland\u00f3an v\u00e1ltoz\u00f3 sk\u00e1la-k\u00e9pletek. Kocsis Zolt\u00e1n folyv\u00e1st asszoci\u00e1ci\u00f3kban gondolkod\u00f3 zen\u00e9sz volt, tal\u00e1n nek\u00fcnk is esz\u00fcnkbe juthat err\u0151l Bach M\u00e1t\u00e9-passi\u00f3j\u00e1nak nyit\u00f3k\u00f3rusa, ahol ez a zenei megold\u00e1s emblematikus szerepet kap, \u00e9s a szenved\u00e9st\u00f6rt\u00e9net akusztikai alapj\u00e1t k\u00e9pezi. A felfel\u00e9 emelked\u0151, egym\u00e1sb\u00f3l kiboml\u00f3 sk\u00e1l\u00e1k pedig az \u00e9g fel\u00e9 t\u00f6rekszenek, ak\u00e1r a trag\u00e9dia nyom\u00e1n test\u00fcket veszt\u0151 lelkek.{:}{:en}The anniversary of the death of Zolt\u00e1n Kocsis is a fittingly solemn occasion for performing one of his early works, <em>Memento<\/em>, a 20-minute piece for large orchestra. In addition to the usual groups of instruments, Kocsis included some rare instruments, such as a hurdy-gurdy, a guitar, an accordion, a piano, a pedalled electric organ, a carillon, bells and a vibraphone. The music can be divided into two main parts. In terms of style it resembles Arnold Schoenberg, with references to contemporary composers, such as Kurt\u00e1g. In spite of the large apparatus, the musical fabric is extremely light and every instrument can be distinguished. Memento is by no means programme music. The first, dense, chaotic section is followed by dramatic silence. The main elements of the \u201cslow\u201d movement is an E pedal note, with upward rising scales, reminiscent of the opening movement of Bach\u2019s Matthew Passion.{:}","post_title":"{:hu}Memento{:}{:en}Memento (Chernobyl \u201886){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"memento","to_ping":"","pinged":"","post_modified":"2017-09-19 14:10:38","post_modified_gmt":"2017-09-19 14:10:38","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=101409","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Kocsis Zolt\u00e1n"]},{"ID":91748,"post_author":"1","post_date":"2016-09-08 08:57:56","post_date_gmt":"2016-09-08 08:57:56","post_content":"{:hu}<!-- [if gte mso 9]><xml>\r\n\r\nNormal\r\n0\r\n\r\n21\r\n\r\nfalse\r\nfalse\r\nfalse\r\n\r\nHU\r\nX-NONE\r\nX-NONE\r\n\r\nMicrosoftInternetExplorer4\r\n\r\n<\/xml><![endif]--><!-- [if gte mso 9]><![endif]-->\r\n\r\n<style type=\"text\/css\">\r\n<!-- \/* Font Definitions *\/ @font-face {font-family:\"Cambria Math\"; panose-1:2 4 5 3 5 4 6 3 2 4;} @font-face {font-family:Garamond; panose-1:2 2 4 4 3 3 1 1 8 3;} \/* Style Definitions *\/ p.MsoNormal, li.MsoNormal, div.MsoNormal { mso-style-parent:\"\"; margin:0cm; margin-bottom:.0001pt; font-size:14.0pt; font-family:\"Garamond\",\"serif\"; mso-fareast-font-family:\"Times New Roman\"; mso-bidi-font-family:\"Times New Roman\";} .MsoChpDefault { font-size:10.0pt;} @page Section1 {size:595.3pt 841.9pt; margin:70.85pt 70.85pt 70.85pt 70.85pt;} div.Section1 {page:Section1;} --><br \/><\/style>\r\n\r\n<!-- [if gte mso 10]>\r\n\r\n<style>\r\n \/* Style Definitions *\/<br \/> table.MsoNormalTable<br \/>\t{mso-style-name:\"Norm\u00e1l t\u00e1bl\u00e1zat\";<br \/>\tmso-style-parent:\"\";<br \/>\tfont-size:11.0pt;<br \/>\tfont-family:\"Calibri\",\"sans-serif\";<br \/>\tmso-fareast-font-family:\"Times New Roman\";<br \/>\tmso-bidi-font-family:\"Times New Roman\";}<br \/><\/style><![endif]-->\r\n<p style=\"text-align: justify;\">Wolfgang Amadeus Mozart \u00f6sszesen 24 zongoraversenyt kompon\u00e1lt, ebb\u0151l 12, vagyis a darabok fele mind\u00f6ssze h\u00e1rom \u00e9v alatt, 1784 \u00e9s 86 k\u00f6z\u00f6tt keletkezett. Ez a r\u00f6vid alkot\u00f3peri\u00f3dus a zeneszerz\u0151 \u00e9letp\u00e1ly\u00e1j\u00e1nak legsikeresebb id\u0151szaka volt, hiszen zongorakoncertjeivel egyszerre l\u00e9phetett a k\u00f6z\u00f6ns\u00e9g el\u00e9, mint komponista \u00e9s mint \u00fcnnepelt zongoravirtu\u00f3z. Akkoriban a nagyb\u00f6jt alatt tilos volt sz\u00ednh\u00e1zi el\u0151ad\u00e1sokat tartani, \u00edgy ez a k\u00f6r\u00fclbel\u00fcl m\u00e1sf\u00e9l h\u00f3napos id\u0151szak lett a hangverseny\u00e9let legf\u0151bb szezonja. \u201eMeg kell bocs\u00e1tania, hogy keveset \u00edrok, de hihetetlen\u00fcl kev\u00e9s id\u0151m van, a b\u00f6jti id\u0151 utols\u00f3 3 szerd\u00e1j\u00e1n 3 el\u0151fizet\u00e9ses koncertet adok\u2026 \u2013 k\u00f6nnyen elk\u00e9pzelheti, hogy \u00faj dolgokat kell j\u00e1tszanom \u2013 ezeket teh\u00e1t meg is kell \u00edrni \u2013 az eg\u00e9sz d\u00e9lel\u0151tt\u00f6t a tan\u00edtv\u00e1nyoknak \u00e1ldozom \u2013 \u00e9s est\u00e9nk\u00e9nt majdnem minden nap j\u00e1tszom\u201d. 1784 m\u00e1rcius\u00e1ban \u00edrja ezeket a sorokat apj\u00e1nak Mozart, a patin\u00e1s cs\u00e1sz\u00e1rv\u00e1ros, B\u00e9cs arisztokrata k\u00f6z\u00f6ns\u00e9g\u00e9nek els\u0151 sz\u00e1m\u00fa kedvence.\u00a0A k\u00f6vetkez\u0151 \u00e9v febru\u00e1rj\u00e1ban viszont apja tud\u00f3s\u00edtja az egyik hangversenyr\u0151l a zeneszerz\u0151 n\u0151v\u00e9r\u00e9t: \u201e\u2026vas\u00e1rnap este a sz\u00ednh\u00e1zban az olasz \u00e9nekesn\u0151nek, Laschinak volt akad\u00e9mi\u00e1ja\u2026 \u00f6cs\u00e9d egy pomp\u00e1s koncertet j\u00e1tszott\u2026 \u00c9n csak k\u00e9t sorral \u00fcltem h\u00e1tr\u00e1bb, mint a nagyon sz\u00e9p w\u00fcrttembergi hercegn\u0151\u2026 Mikor \u00f6cs\u00e9d kiment, a cs\u00e1sz\u00e1r meglengette a kalapj\u00e1t, \u00e9s azt ki\u00e1ltotta: bravo Mozart.\u201d<\/p>\r\n<p style=\"text-align: justify;\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ennek a ragyog\u00f3 korszaknak egyik kiemelked\u0151 remekm\u0171ve a 467-es sz\u00e1m\u00fa C-d\u00far koncert, amely 1785 m\u00e1rcius\u00e1ban, egy h\u00f3nappal a h\u00edres d-moll versenym\u0171 ut\u00e1n, mintegy annak ellent\u00e9tp\u00e1rjak\u00e9nt keletkezett. A K 466-os d-moll koncert s\u00f6t\u00e9t sz\u00edneivel szemben a 467-es m\u0171 a trombit\u00e1kkal ragyog\u00f3v\u00e1 tett C-d\u00far karakterrel sz\u00f3lal meg, s ezt a felh\u0151tlen boldogs\u00e1got \u00e9s \u00e9let\u00f6r\u00f6met sug\u00e1rz\u00f3 zen\u00e9t csak id\u0151nk\u00e9nt \u00e1rny\u00e9kolj\u00e1k be moll-foltok. \u00a0Nyit\u00f3t\u00e9tel\u00e9t a t\u00e9m\u00e1k, karakterek b\u0151s\u00e9ge jellemzi: m\u00e1r a t\u00e9tel kezdet\u00e9n megsz\u00f3lal\u00f3 f\u0151t\u00e9ma is h\u00e1rom k\u00fcl\u00f6nb\u00f6z\u0151 mot\u00edvumb\u00f3l \u00e9p\u00fcl fel, s az els\u0151 nagy zenekari t\u00f6mb, a zenekari expoz\u00edci\u00f3 zenei anyag\u00e1t a m\u00e1sodik, sz\u00f3l\u00f3-expoz\u00edci\u00f3ban a zongora \u00faj t\u00e9m\u00e1kkal, illetve terjedelmes figurat\u00edv r\u00e9szekkel b\u0151v\u00edti ki. A rendhagy\u00f3 megform\u00e1l\u00e1s\u00fa, sok meglepet\u00e9st tartogat\u00f3 t\u00e9telben \u2013 csak\u00fagy, mint majd a fin\u00e1l\u00e9ban is \u2013 k\u00fcl\u00f6n\u00f6sen fontos szerepet j\u00e1tszanak a f\u00fav\u00f3sok: az operaszerz\u0151 Mozart a k\u00fcl\u00f6nf\u00e9le karakter\u0171 t\u00e9m\u00e1k, a von\u00f3s-, illetve a f\u00fav\u00f3skar, valamint a zongora egym\u00e1st kieg\u00e9sz\u00edt\u0151, egym\u00e1snak felelget\u0151, t\u00e1rsalg\u00f3 j\u00e1t\u00e9k\u00e1ban mintha egy sokszerepl\u0151s sz\u00edndarabot kompon\u00e1lt volna meg, sz\u00ednpad n\u00e9lk\u00fcl.<\/p>\r\n<p style=\"text-align: justify;\">Az F-d\u00far Andante a zeneszerz\u0151 egyik legihletettebb zongoraverseny-lass\u00fat\u00e9tele. A szordin\u00e1lt von\u00f3sok, a pengetett basszus \u00e9s a gyakran okt\u00e1vp\u00e1rhuzamban j\u00e1tsz\u00f3 f\u00fav\u00f3sok Mozart jellegzetes szeren\u00e1d-hangj\u00e1nak kell\u00e9kei; a zenekari bevezet\u0151 ut\u00e1n tulajdonk\u00e9ppen az eg\u00e9sz t\u00e9tel egy szab\u00e1lytalanul form\u00e1lt, eg\u00e9szen Asz-d\u00farig kalandoz\u00f3, nagy\u00edv\u0171 zongora-kantil\u00e9na. De az \u00e9jszaka \u00e1rnyai hamarosan elt\u0171nnek: a finale kezdet\u00e9n ragyog\u00f3 napf\u00e9ny \u00f6nti el a k\u00e9pzeletbeli sz\u00ednpadot, a 29 \u00e9ves Mozart remekm\u0171ve pezsg\u0151en eleven, szellemes szon\u00e1ta-rond\u00f3 t\u00e9tellel z\u00e1rul.<\/p>{:}{:en}Mozart composed his K 467 C-major piano concerto in March 1785, as a counterpart to his famous D-major concerto, composed a month earlier. It was intended to offset the gloomier K 466 concerto, with a brilliant C-major character enhanced by trumpets. The opening movement is characterised by an abundance of characters, and even the main theme consists of three different motifs. The winds play a crucial role in the unusual movement, as in the finale, with a dialogue of the different groups of instruments, lending it an operatic character. The F-major Andante is one of Mozart\u2019s most inspired slow movements. The orchestral introduction is reminiscent of Mozart\u2019s serenade music, which is followed by an irregular piano cantilena. The shadows of the night pass soon, however, and the 29-year-old composer\u2019s masterpiece ends with a witty sonata-rondo movement.\r\n\r\n&nbsp;{:}","post_title":"{:hu}Zongoraverseny C-d\u00far, K. 467{:}{:en}Piano Concerto in C major, K. 467{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"c-dur-zongoraverseny-k-467","to_ping":"","pinged":"","post_modified":"2017-09-19 14:09:49","post_modified_gmt":"2017-09-19 14:09:49","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/c-dur-zongoraverseny-k-467\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Mozart"]},{"ID":91416,"post_author":"1","post_date":"2016-09-08 08:57:51","post_date_gmt":"2016-09-08 08:57:51","post_content":"{:hu}\"Megemelem a kalapom a zeneszerz\u0151 Strauss el\u0151tt, de ism\u00e9t a fejemre teszem, ha Strauss, az ember \u00e1ll el\u0151ttem\" - mondta egy alkalommal Arturo Toscanini, aki soha nem felejtette el, hogy amikor a tiltakoz\u00e1sa ellen\u00e9re \"zsid\u00f3tlan\u00edtott\" 1933-as Bayreuthi \u00dcnnepi J\u00e1t\u00e9kokt\u00f3l megv\u00e1lt, milyen k\u00f6nnyed\u00e9n l\u00e9pett a hely\u00e9be Richard Strauss. M\u00e1ig heves vit\u00e1k t\u00e1rgya, vajon felel\u0151ss\u00e9 tehet\u0151-e a h\u00edresen apolitikus Strauss abban, hogy nem emelt akad\u00e1lyt a n\u00e1ci propagandag\u00e9pezet el\u00e9, s hagyta, hogy tehets\u00e9g\u00e9t saj\u00e1t c\u00e9ljaiknak megfelel\u0151en kihaszn\u00e1lja a zenerajong\u00f3 Hitler \u00e9s Goebbels. Csak nagy szellemek t\u00e9vednek nagyot - tartja a mond\u00e1s, s ahogyan p\u00e9ld\u00e1ul a 20. sz\u00e1zadi filoz\u00f3fia tal\u00e1n legnagyobb alakja, Martin Heidegger is m\u00e9lyen hitt Hitlerben \u00e9s a n\u00e9met kult\u00fara meg\u00fajul\u00e1s\u00e1ban, az \u00f6sszn\u00e9met nacionalizmus meleg\u00e1gy\u00e1nak sz\u00e1m\u00edt\u00f3 M\u00fcnchenben sz\u00fcletett Strauss sem csak az er\u0151szaknak engedve v\u00e1llalta, hogy 1933-ban a Birodalmi Zenei Kamara eln\u00f6k\u00e9v\u00e9 kinevezz\u00e9k, vagy hogy h\u00e1rom \u00e9vvel k\u00e9s\u0151bb a berlini olimpia himnusz\u00e1t meg\u00edrja. A vil\u00e1gn\u00e9zeti k\u00e9rd\u00e9sekben kev\u00e9ss\u00e9 otthonosan mozg\u00f3 Strauss tal\u00e1n \u00e9szre sem vette, hogy hossz\u00fa \u00e9let\u00e9nek v\u00e9g\u00e9n nemcsak hogy olyan korban \u00e9lt, amely alkot\u00f3 szellem\u00e9t szembe\u00e1ll\u00edtotta a vil\u00e1gt\u00f6rt\u00e9nelem f\u0151sodr\u00e1val, de egy olyan orsz\u00e1gban alkotott, melyben zene \u00e9s politika elv\u00e1laszthatatlan volt egym\u00e1st\u00f3l.\r\n\r\nA <em>Metamorf\u00f3zisok<\/em> zenei anyag\u00e1nak els\u0151 v\u00e1zlatai <em>\"Gy\u00e1sz M\u00fcnchen\u00e9rt\"<\/em> c\u00edmmel 1943-ban sz\u00fclettek, amikor Strauss szeretett v\u00e1ros\u00e1t bombat\u00e1mad\u00e1s \u00e9rte. \u00cdgy \u00edr err\u0151l egyik level\u00e9ben: \"Hogy a m\u00fcncheni udvari sz\u00ednh\u00e1z le\u00e9gett, a sz\u00ednh\u00e1z, ahol a <em>Triszt\u00e1n<\/em>t \u00e9s a <em>Mesterdalnokok<\/em>at bemutatt\u00e1k, ahol hetvenh\u00e1rom \u00e9vvel ezel\u0151tt el\u0151sz\u00f6r hallottam a <em>B\u0171v\u00f6s Vad\u00e1szt<\/em>, ahol ap\u00e1m negyvenkilenc \u00e9vet t\u00f6lt\u00f6tt els\u0151 k\u00fcrt\u00f6sk\u00e9nt - ez \u00e9letem legnagyobb katasztr\u00f3f\u00e1ja. Nincs, ami megvigasztalna, sz\u00e1momra, az \u00e9n koromban, m\u00e1r nincs t\u00f6bb rem\u00e9ny.\" A m\u0171 maga is sz\u00e1mos \"metamorf\u00f3zison\" ment kereszt\u00fcl, mire a v\u00e9gleges form\u00e1j\u00e1t elnyerte, s sz\u00e1mos zenei \u00f6tlet egy Goethe-vershez (<em>Niemand wird sich selber kennen - Senki nem eszm\u00e9l mag\u00e1ra<\/em>) tervezett k\u00f3rusm\u0171b\u0151l sz\u00e1rmazik. A m\u0171 elk\u00e9sz\u00fclt\u00e9hez a v\u00e9gs\u0151 l\u00f6k\u00e9st Paul Sacher adta, aki z\u00fcrichi kamarazenekara, a Collegium Musicum sz\u00e1m\u00e1ra von\u00f3szenekari darabot rendelt a Sv\u00e1jcban \u00e9l\u0151 Strausst\u00f3l 1944 augusztus\u00e1ban. A 23 von\u00f3sra \u00edrt \"tanulm\u00e1ny\" kompon\u00e1l\u00e1sa m\u00e1r ekkor megkezd\u0151d\u00f6tt, de Strauss egy\u00e9b teend\u0151i h\u00e1tr\u00e1ltatt\u00e1k a munk\u00e1t, m\u00edg v\u00e9g\u00fcl 1945 janu\u00e1rj\u00e1ban \u00fajra el\u0151vette a darabot, \u00e9s m\u00e1rcius elej\u00e9re be is fejezte. Ek\u00f6zben, 1945. febru\u00e1r 13-\u00e1r\u00f3l 14-\u00e9re virrad\u00f3 \u00e9jszaka a semmif\u00e9le strat\u00e9giai jelent\u0151s\u00e9ggel nem b\u00edr\u00f3 Drezd\u00e1t 750 000 halottal \u00e9s sebes\u00fclttel j\u00e1r\u00f3, apokaliptikus l\u00e9git\u00e1mad\u00e1s \u00e9rte. \"K\u00e9ts\u00e9gbeesett hangulatban vagyok! A Goethe-h\u00e1z, a vil\u00e1g legnagyszer\u0171bb szent\u00e9lye, romokban! A dr\u00e1ga Drezda, Weimar, M\u00fcnchen, mind elpusztult!\" - \u00edrja Richard Strauss.\r\n\r\nAz egyesek \u00e1ltal a zeneirodalom legszomor\u00fabb m\u0171v\u00e9nek tartott <em>Metamorf\u00f3zisok <\/em>Strauss gy\u00e1szzen\u00e9je, melyben N\u00e9metorsz\u00e1g sors\u00e1t siratja el. A m\u0171 id\u00e9zi Marke kir\u00e1ly sirat\u00f3j\u00e1t a <em>Triszt\u00e1n \u00e9s Izolda <\/em>m\u00e1sodik felvon\u00e1s\u00e1b\u00f3l, \u00e9s az elej\u00e9t\u0151l a v\u00e9g\u00e9ig \u00e1tsz\u00f6vi egy mot\u00edvum, mely Beethoven <em>Eroica szimf\u00f3ni\u00e1j\u00e1nak <\/em>gy\u00e1szindul\u00f3j\u00e1ra eml\u00e9keztet. E k\u00fcl\u00f6n\u00f6s hasonl\u00f3s\u00e1got maga Strauss is csak a kompon\u00e1l\u00e1s folyam\u00e1n vette \u00e9szre, s a m\u0171 v\u00e9g\u00e9n, amikor a beethoveni t\u00e9m\u00e1t sz\u00f3 szerint id\u00e9zik a csell\u00f3k \u00e9s a b\u0151g\u0151k, a k\u00e9ziratra fel\u00edrta: \"In memoriam\". Zenet\u00f6rt\u00e9n\u00e9szek m\u00e1ig vitatkoznak azon, vajon mire vonatkozik Strauss megjegyz\u00e9se. M\u00e1r 1947-ben megjelent egy \u00fajs\u00e1gcikk, melynek szerz\u0151je azzal v\u00e1dolja Strausst, hogy mik\u00e9nt Beethoven az <em>Eroica<\/em> lass\u00fa t\u00e9tel\u00e9ben Nap\u00f3leont temeti, \u00fagy \u0151 a <em>Metamorf\u00f3zisok<\/em>kal Hitlernek, s nem a h\u00e1bor\u00fa \u00e1ldozatainak \u00e1ll\u00edt eml\u00e9ket. Val\u00f3 igaz, hogy Strauss soha nem k\u00e9rt bocs\u00e1natot a n\u00e1cikkal val\u00f3 egy\u00fcttm\u0171k\u00f6d\u00e9s\u00e9\u00e9rt, \u00e9s a n\u00e1citlan\u00edt\u00e1s sor\u00e1n sem ismerte be, hogy t\u00e9vedett volna kor\u00e1bban. H\u00edvei term\u00e9szetesen azonnal v\u00e9delm\u00fckbe vett\u00e9k Strausst, a szerz\u0151 apolitikus vil\u00e1gk\u00e9p\u00e9vel \u00e9s a m\u0171 abszol\u00fat zenei jelleg\u00e9vel \u00e9rvelve a t\u00e1mad\u00e1sok ellen.\r\n\r\n\u00c1m az \u00e9rtelmez\u00e9sek nem mondanak semmit a megrend\u00edt\u0151 zen\u00e9r\u0151l, a zenet\u00f6rt\u00e9net tal\u00e1n utols\u00f3 wagneri szellemben megkompon\u00e1lt m\u0171v\u00e9r\u0151l, melynek majd 30 percnyi, meg\u00e1ll\u00e1s n\u00e9lk\u00fcl h\u00f6mp\u00f6lyg\u0151 polif\u00f3ni\u00e1ja apr\u00f3 mot\u00edvumok, hosszabb-r\u00f6videbb dallamt\u00f6red\u00e9kek \u00f6sszekapcsol\u00f3d\u00e1s\u00e1b\u00f3l, elsorvad\u00e1s\u00e1b\u00f3l \u00e9s \u00fajj\u00e1sz\u00fclet\u00e9s\u00e9b\u0151l \u00e1ll \u00f6ssze. A von\u00f3sok v\u00e9get nem \u00e9r\u0151 panasza mintha Mahlerre, a 40 \u00e9vvel kor\u00e1bban elhunyt p\u00e1lyat\u00e1rsra is eml\u00e9kezne, a <em>Metamorf\u00f3zisok<\/em> transzcendenci\u00e1ja mintha Mahler <em>Kilencedik szimf\u00f3ni\u00e1j\u00e1nak <\/em>z\u00e1r\u00f3 lass\u00fa t\u00e9tel\u00e9t \u00e9s a befejezetlen Tizedik adagi\u00f3j\u00e1t is felid\u00e9zn\u00e9. A mindennapi vil\u00e1gban sokkal ink\u00e1bb otthonos Strauss csak j\u00f3val k\u00e9s\u0151bb szembes\u00fclt a vil\u00e1g pokl\u00e1val, mint a n\u00e1la sokkal \u00e9rz\u00e9kenyebb \u00e9s kifinomultabb Mahler.\r\n\r\nS b\u00e1r a n\u00e1ci rezsimet kiszolg\u00e1l\u00f3 Richard Strauss \u00e9s az emigr\u00e1ci\u00f3ban \u00e9l\u0151 Thomas Mann vil\u00e1gl\u00e1t\u00e1sa f\u00e9ny\u00e9vekre volt egym\u00e1st\u00f3l, t\u00f6bb mint f\u00e9l \u00e9vsz\u00e1zaddal a nagy vil\u00e1g\u00e9g\u00e9s ut\u00e1n Strauss zen\u00e9j\u00e9t hallgatva \u00f3hatatlanul Mann <em>Doktor Faustus\u00e1nak <\/em>z\u00e1r\u00f3 sorai jutnak az ember esz\u00e9be: \"N\u00e9metorsz\u00e1g egykor l\u00e1zasan kipirult arccal gaz diadala tet\u0151fok\u00e1n t\u00e1molygott, s a vil\u00e1g megh\u00f3d\u00edt\u00e1s\u00e1ra t\u00f6rt annak az egyetlen szerz\u0151d\u00e9snek az erej\u00e9n\u00e9l fogva, melyet megtartani hajland\u00f3 volt, s amelyet v\u00e9r\u00e9vel pecs\u00e9telt meg. Ma d\u00e9monok r\u00e1ntj\u00e1k a m\u00e9lybe, f\u00e9l szem\u00e9t kez\u00e9vel eltakarja, a m\u00e1sikkal iszonyodva k\u00e9mleli a sz\u00f6rny\u0171 val\u00f3s\u00e1got, \u00fagy zuhan k\u00e9ts\u00e9gbees\u00e9sb\u0151l k\u00e9ts\u00e9gbees\u00e9sbe. Vajon mikor \u00e9ri el a mered\u00e9ly legm\u00e9ly\u00e9t? Mikor dereng f\u00f6l a v\u00e9gs\u0151 rem\u00e9nyvesztetts\u00e9gb\u0151l a hitet is t\u00falsz\u00e1rnyal\u00f3 csoda, a rem\u00e9nys\u00e9g sug\u00e1ra? Egy mag\u00e1nyos \u00f6regember im\u00e1ra kulcsolja kez\u00e9t, \u00e9s \u00edgy sz\u00f3l: Isten legyen irgalmas \u00e1rva lelketeknek, bar\u00e1tom, haz\u00e1m.\"{:}{:en}\"I take my hat off to Strauss the composer, but I'd put it straight back on my head if I was standing before Strauss the man,\" said Arturo Toscanini on one occasion. Toscanini could never forget that after he quit the 1933 Bayreuth Festival in protest at its banning of Jewish musicians and composers, Richard Strauss had no qualms in assuming his place. To this day, bitter arguments are waged whether the famously apolitical Strauss can be criticised for his culpability in doing nothing to obstruct the Nazi propaganda machine and for allowing the music loving Hitler and Goebbels to exploit his talent to their own ends. \"Great minds make great mistakes\" goes the saying, and there is also the example of one of the greatest figures of 20th century philosophy, Martin Heidegger, who deeply believed in Hitler and the renewal of German culture. Strauss, who was born Munich, a hot bed of pan-Germanic nationalism, didn't exactly need his arm twisting to accept his appointment as President of the Reich's Chamber of Music or to write the <em>Olympic hymn <\/em>for the 1936 Olympics. Strauss, who was less at home with questions of ideology, perhaps did not even notice that at the end of his long life, he was living in an era which confronted his creative spirit with the main flow of world history, but was working in a country in which music and politics were inseparable from each other.\r\n\r\nThe first sketches of musical material for <em>Metamorphosen<\/em> were produced in 1943 with the title \"<em>Grief for Munich<\/em>\" after Strauss's beloved city was carpet bombed. He wrote about his feeling in a letter: \"The Munich court theatre burned down, the theatre, where <em>Tristan<\/em>\u00a0and <em>Die Meistersingers <\/em>were premiered, where seventy three years ago, I heard <em>Der Freischutz <\/em>for the first time and where my father was principal horn for forty nine years - it is the greatest tragedy of my life. There is nothing that can console me and at my age, there is no further hope.\" The work itself underwent numerous \"metamorphoses\" before achieving its final form, and many musical ideas derive from a planned choral work setting a Goethe poem (<em>Niemand wird sich selber kennen<\/em>). The final impetus for composing the work was given by Paul Sacher whose chamber orchestra, Collegium Musicum commissioned a string work from Strauss, who by then was living in neutral Switzerland, in August 1944. The composition of his \"study\" for 23 string instruments began but Strauss had other outstanding commitments that slowed his work on the score. He only resumed composition in January 1945, and completed it in late March. Meanwhile, the infamous Allied air raid on Dresden on February 13th and 14th had left vast numbers of people dead or injured and totally destroyed what was arguably a strategically irrelevant city. \"I'm in a mood of despair\" he wrote. \"The Goethe House, the most supreme shrine in the world is in ruins! Dear Dresden, Weimar, Munich, all destroyed.\"\r\n\r\n<em>Metamorphosen<\/em> is regarded by some as the saddest work in the literature: it is Strauss's funeral music in which he mourns the fate of Germany. The composition quotes Marke's lament from the second act of <em>Tristan and Isolde <\/em>and through out it is permeated by a motif which is reminiscent of the funeral march from Beethoven's <em>Eroica symphony<\/em>. Strauss himself only noticed the similarity during composition and at the end of the work, when the cellos and double basses quote the Beethoven theme exactly, wrote on the manuscript: \"In Memoriam\". Musical historians are divided quite what Strauss was referring to. In 1947, a newspaper article appeared in which the author accused Strauss, arguing that just as Beethoven buried Napoleon in the slow movement of the <em>Eroica<\/em>, so <em>Metamorphosen<\/em> was raising a memorial to Hitler rather than the victims of the war. It is true that Strauss never asked forgiveness for his collaboration with the Nazi regime and during the post war \"de-Nazificiation\" period, never admitted that he had been mistaken earlier. His followers naturally defended Strauss, pointing to the composer's apolitical ideology and the absolute musical nature of the work.\r\n\r\nHowever, these interpretations say nothing about the nature of this moving music, perhaps the very last work composed in the Wagnerian spirit in music history. It is 30 minutes long, played without a break and is an undulating polyphony comprising of the linking, fading and rebirth of small motifs and melodic fragments of varying lengths. The infinite lament of the strings seems to evoke Mahler, Strauss's colleague from forty years before. The transcendence of<em> Metamorphosen<\/em> is itself a kind of evocation of the closing movement of Mahler's <em>Ninth Symphony <\/em>and the adagio of the unfinished <em>Tenth.<\/em> Strauss, who was generally far more at home in the everyday world, only confronted the hell of the world in his music much later in his career than Mahler, who was much more refined and sensitive in this respect.\r\n\r\nAlthough the world views of Richard Strauss, with his support for the Nazi regime and the \u00e9migr\u00e9 Thomas Mann were light years apart, it is hard all these years after the great calamity not to link <em>Metamorphosen<\/em> to the sentiment expressed in the final lines of Mann's novel <em>Doktor Faustus<\/em>: \"Germany, the hectic on her cheek, was reeling then at the height of her dissolute triumphs, about to gain the whole world by virtue of the one pact she was minded to keep, which she had signed with her blood. Today, clung round by demons, a hand over one eye, with the other staring into horrors, down she flings from despair to despair. When will she reach the bottom of the abyss? Then, out of uttermost hopelessness - a miracle beyond the power of belief - will the light of hope dawn? A lonely man folds his hands and speaks: 'God be merciful to thy poor soul, my friend, my Fatherland!'\"{:}","post_title":"{:hu}Metamorf\u00f3zisok{:}{:en}Metamorphosen - Study for 23 String Instruments{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"metamorfozisok-tanulmany-23-vonos-hangszerre","to_ping":"","pinged":"","post_modified":"2017-09-19 14:11:29","post_modified_gmt":"2017-09-19 14:11:29","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/metamorfozisok-tanulmany-23-vonos-hangszerre\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["R. Strauss"]}],"muvekrol_reszletesen":true,"kozr_szemelyek":[{"ID":86106,"post_author":"1","post_date":"2017-05-30 12:24:26","post_date_gmt":"2017-05-30 12:24:26","post_content":"{:hu}Kocsis Kriszti\u00e1n 1997. szeptember 10-\u00e9n sz\u00fcletett Budapesten. Zen\u00e9sz sz\u00fcl\u0151k gyermekek\u00e9nt a klasszikus zene mindig fontos szerepet t\u00f6lt\u00f6tt be \u00e9let\u00e9ben. Igen kor\u00e1n, m\u00e1r n\u00e9gy \u00e9vesen kompon\u00e1lt \u00e9s improviz\u00e1lt, mindennapjai zenehallgat\u00e1ssal, zongor\u00e1z\u00e1ssal \u00e9s zeneszerz\u00e9ssel teltek. Erre az id\u0151szakra dat\u00e1l\u00f3dik kapcsolat\u00e1nak kezdete a kiv\u00e1l\u00f3 zenepedag\u00f3gussal \u00e9s zongoratan\u00e1rral, Becht Erik\u00e1val, akinek jelen pillanatban is n\u00f6vend\u00e9ke a J\u00e1rd\u00e1nyi P\u00e1l Zeneiskola tov\u00e1bbk\u00e9pz\u0151s oszt\u00e1ly\u00e1ban. K\u00f6zismereti tanulm\u00e1nyait a Szent Istv\u00e1n Kir\u00e1ly Zenem\u0171v\u00e9szeti Szakk\u00f6z\u00e9piskol\u00e1ban v\u00e9gzi. 2010-ben els\u0151 d\u00edjat nyert a Ny\u00edregyh\u00e1z\u00e1n megrendez\u00e9sre ker\u00fclt XII. Orsz\u00e1gos Zongoraversenyen, 2011-ben a III. Orsz\u00e1gos Bart\u00f3k B\u00e9la Zongoraversenyen j\u00e1t\u00e9k\u00e1t Kiemelt N\u00edv\u00f3d\u00edjjal jutalmazt\u00e1k.\r\n\r\nA 2012-13-as szezonban rendszeres k\u00f6zrem\u0171k\u00f6d\u0151je volt a \u201cDebussy \u00e9lete hat t\u00e9telben\u201d c\u00edm\u0171 sorozatnak, amely Kocsis Zolt\u00e1n szerkeszt\u00e9s\u00e9ben a M\u0171v\u00e9szetek Palot\u00e1ja-Fesztiv\u00e1l Sz\u00ednh\u00e1z\u00e1ban ker\u00fclt megrendez\u00e9sre. 2013 janu\u00e1rj\u00e1ban nagy sikerrel deb\u00fct\u00e1lt a Bart\u00f3k B\u00e9la Nemzeti Hangversenyteremben, ahol Mozart A-d\u00far\u00a0 zongoraverseny\u00e9t K. 414 adta el\u0151 a Liszt Ferenc Kamarazenekar k\u00f6zrem\u0171k\u00f6d\u00e9s\u00e9vel. 2013 m\u00e1jus\u00e1ban elnyerte az Ile de France Nemzetk\u00f6zi Zongoraverseny Philomuses k\u00fcl\u00f6nd\u00edj\u00e1t P\u00e1rizsban, ahol ezzel egyidej\u0171leg felk\u00e9rt\u00e9k egy sz\u00f3l\u00f3estre. \u00a02014. j\u00fanius 12-\u00e9n deb\u00fct\u00e1lt a francia f\u0151v\u00e1rosban. A 2014 m\u00e1rcius 25-30-ig megrendez\u00e9sre ker\u00fclt VI. Bart\u00f3k B\u00e9la Nemzetk\u00f6zi Zongoraversenyen harmadik d\u00edjat nyert. \u00a02015. november 21-\u00e9n fell\u00e9pett az \"Egy ki\u00e1ll\u00edt\u00e1s k\u00e9pei\" \u00f6sszm\u0171v\u00e9szeti rendezv\u00e9nyen a PostArtban, ugyanitt 2016. m\u00e1jus 27-\u00e9n \u00e9s augusztus 31-\u00e9n nagy siker\u0171 sz\u00f3l\u00f3estet adott.\r\n\r\n2016-ban egyetlen magyar versenyz\u0151k\u00e9nt bejutott a Liszt Ferenc Nemzetk\u00f6zi Zongoraverseny d\u00f6nt\u0151j\u00e9be, a legjobb hat k\u00f6z\u00e9; teljes\u00edtm\u00e9ny\u00e9t h\u00e9t k\u00fcl\u00f6nd\u00edjjal jutalmazt\u00e1k, amelyek k\u00f6z\u00f6tt sz\u00e1mos koncertfelk\u00e9r\u00e9s is szerepelt.\u00a0 Ugyanebben az \u00e9vben nagy siker\u0171 koncertet adott a M\u00dcPA Bart\u00f3k B\u00e9la hangversenyterm\u00e9ben, ahol Liszt Ferenc: Hal\u00e1lt\u00e1nc c\u00edm\u0171 m\u0171v\u00e9t j\u00e1tszotta a Zugl\u00f3i Filharm\u00f3nia zenekar\u00e1val, M\u00e9nesi Gergely vezet\u00e9s\u00e9vel.\u00a0 2016. okt\u00f3ber 27-\u00e9n Junior Pr\u00edma d\u00edjat kapott. 2017. m\u00e1rcius 14-\u00e9n a Magyar Nagyk\u00f6vets\u00e9g rendez\u00e9s\u00e9ben sz\u00f3l\u00f3estet adott Bernben. M\u0171sor\u00e1n, saj\u00e1t \u00e1tirat\u00fa m\u0171vek mellett, t\u00f6bbek k\u00f6z\u00f6tt Schumann Karnev\u00e1lja is szerepelt.{:}{:en}<p style=\"text-align: justify;\"><img src=\"http:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/f\/image\/muveszek\/Kocsis%20Kriszti%C3%A1n_100.jpg\" alt=\"\" width=\"100\" height=\"116\" align=\"left\" \/>Kriszti\u00e1n Kocsis was born on September 10th 1997 in Budapest. As a child of his musician parents, the classical music has always played an important role in his life. Very early, at the age of 4 he composed and improvised already, listened to music all day and played the piano. This was the time when he got acquanted with the outstanding music and piano teacher, Erika Becht who is currently his teacher at the P\u00e1l J\u00e1rd\u00e1nyi School of Music. For his general education he attends the St. Stephen Music High School in Budapest. In 2010 Kriszti\u00e1n Kocsis won the first prize at the Twelfth National Piano Competition in Ny\u00edregyh\u00e1za. In 2011 at the Third B\u00e9la Bart\u00f3k National Piano Competition he became awarded with Special Prize. In the 2012-13 season he was a regular contributor to the series 'Six episodes Debussy's life\" held at the Palace of Arts Festival Theater. In January 2013 he debuted with great success at the B\u00e9la Bart\u00f3k National Concert Hall in Budapest, performing Mozart 's K.414 in A major Piano concerto with the Franz Liszt Chamber Orchestra. In May 2013, at the age of 15, he was awarded the Philomuses prize at the Ile de France International Piano Competition, Paris, France. At the beginning of 2014, he gave a concert in Szolnok, where he played Mozart's A Major (K. 488) Piano Concerto with considerable success. He receives many invitations to play recitals and perform with orchestras. His last major appearance took place in Paris in June 2014 where he gave a solo recital.<\/p>{:}","post_title":"{:hu}Kocsis Kriszti\u00e1n{:}{:en}Kriszti\u00e1n Kocsis{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kocsis-krisztian","to_ping":"","pinged":"","post_modified":"2017-08-17 08:53:15","post_modified_gmt":"2017-08-17 08:53:15","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=86106","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}zongora{:}{:en}piano{:}"}],"muveszekrol_reszletesen":true,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[{"ID":87472,"post_author":"1","post_date":"2016-09-08 07:58:44","post_date_gmt":"2016-09-08 07:58:44","post_content":"{:hu}<img class=\"size-medium wp-image-115524 alignnone\" src=\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/>\r\n\r\nA Nemzeti Filharmonikus Zenekar Magyarorsz\u00e1g egyik vezet\u0151 szimfonikus zenekara t\u00f6bb mint kilencven \u00e9ve. Ferencsik J\u00e1nos, Kobayashi Ken-Ichiro ut\u00e1n 1997-ben Kocsis Zolt\u00e1n f\u0151zeneigazgat\u00f3 ir\u00e1ny\u00edt\u00e1sa alatt a zenekar meg\u00fajult, a nemzeti szimfonikus egy\u00fctteshez m\u00e9lt\u00f3 sokoldal\u00fas\u00e1ggal nemcsak a klasszikus m\u0171veket, hanem ezek mellett a megszokott reperto\u00e1rr\u00f3l hi\u00e1nyz\u00f3 fontos alkot\u00e1sokat is megsz\u00f3laltatott, tov\u00e1bb\u00e1 a k\u00f6zelm\u00falt \u00e9s napjaink magyar zen\u00e9j\u00e9t is megismerteti k\u00f6z\u00f6ns\u00e9g\u00e9vel, valamint n\u00e9pszer\u0171ek kamarazenei \u00e9s ifj\u00fas\u00e1gi sorozatai is. \u00a02017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig a a zenekarn\u00e1l kor\u00e1bban \u00e9veken \u00e1t els\u0151 \u00e1lland\u00f3 karmesterk\u00e9nt k\u00f6zrem\u0171k\u00f6d\u0151, komoly nemzetk\u00f6zi karriert maga m\u00f6g\u00f6tt tudhat\u00f3, Liszt Ferenc-d\u00edjas Hamar Zsolt t\u00f6lt\u00f6tte be a Nemzeti Filharmonikusok zeneigazgat\u00f3i posztj\u00e1t.\r\n\r\nAz egy\u00fcttes reperto\u00e1rj\u00e1n hangs\u00falyosan szerepel a Bart\u00f3k-\u00e9letm\u0171; m\u00e9rt\u00e9kad\u00f3 interpret\u00e1ci\u00f3i 2006 \u00f3ta a Bart\u00f3k \u00daj Sorozatban jelennek meg, de sz\u00ednfoltot k\u00e9pviselnek reperto\u00e1rj\u00e1n Kocsis Zolt\u00e1n Debussy, Rachmaninov, Bart\u00f3k m\u0171veib\u0151l k\u00e9sz\u00edtett \u00e1tiratai is. Hangversenyb\u00e9rleti el\u0151ad\u00e1sain vil\u00e1gh\u00edr\u0171 vend\u00e9gm\u0171v\u00e9szek \u00e9s vend\u00e9gkarmesterek l\u00e9pnek fel, valamint feladat\u00e1nak tekinti a kiemelked\u0151 p\u00e1lyakezd\u0151 magyar muzsikusok megh\u00edv\u00e1s\u00e1t is. Olyan neves helysz\u00edneken \u00e9s fesztiv\u00e1lokon l\u00e9pett fel az ut\u00f3bbi \u00e9vtizedekben, mint a New York-i Avery Fisher Hall, a toki\u00f3i Suntory Hall, a birminghami Symphony Hall, az ath\u00e9ni Megaron, a br\u00fcsszeli Bozar K\u00f6zpont, a bukaresti Enescu Fesztiv\u00e1l, a Colmari \u00e9s a Kan\u00e1ri-szigeteki Fesztiv\u00e1l. Az elm\u00falt 15 \u00e9vben mintegy 40 orsz\u00e1gban t\u00f6bb mint 330 k\u00fclf\u00f6ldi turn\u00e9koncertet adott.{:}{:en}<img class=\"size-medium wp-image-115524 alignnone\" src=\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/>\r\nThe Hungarian National Philharmonic Orchestra has been one of Hungary\u2019s leading symphony orchestras for over ninety years. The era marked by the name of J\u00e1nos Ferencsik and Kobayashi Ken-Ichiro was followed by a new chapter in the history of the orchestra when in 1997 Zolt\u00e1n Kocsis became general music director until his death. In almost two decades the National Philharmonic Orchestra underwent renewal. After the death of Zolt\u00e1n Kocsis, the Ferenc Liszt Award-winning Zsolt Hamar held the post of Musical Director at the Hungarian National Philharmonic from March 2017 to August 2020. He previously worked with the orchestra as its first permanent conductor and built up an impressive international career.\r\n\r\nThe Orchestra is one of the top interpreters of the work of B\u00e9la Bart\u00f3k, and the albums of the <em>Bart\u00f3k New Series<\/em> have won numerous accolades in Hungary and abroad. The orchestra perform not only classics but also numerous other important works previously missing from the repertoire, many of which require a large orchestral apparatus. It attaches great importance to introducing contemporary Hungarian works to the audiences. It has given many popular chamber music concerts and hosted events for young people.\r\n\r\nThe orchestra\u2019s concerts have featured world-famous soloists and conductors. It supports young musicians recently embarked on an international career. In recent decades, the National Philharmonic Orchestra has appeared in the greatest venues and festivals around the world, including the Avery Fisher Hall in New York, the Suntory Hall in Tokyo, the Birmingham Symphony Hall, the Megaron in Athens, Bozar Centre in Brussels, the Enescu Festival in Bucharest, the Beethoven Festival in Bogot\u00e1, as well as the Colmar and Canary Island Festivals. In the past two decades, the National Philharmonic Orchestra has given more than 330 concerts in some 40 countries.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;{:}","post_title":"{:hu}Nemzeti Filharmonikus Zenekar{:}{:en}Hungarian National Philharmonic Orchestra{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nemzeti-filharmonikus-zenekar","to_ping":"","pinged":"","post_modified":"2020-08-10 08:27:54","post_modified_gmt":"2020-08-10 08:27:54","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/institutions\/nemzeti-filharmonikus-zenekar\/","menu_order":0,"post_type":"institutions","post_mime_type":"","comment_count":"0","filter":"raw"}],"gombtipus":"link","jegyarak":"3.500 Ft, 2.500 Ft","jegyvasarlas_gomb":"","elkeltek_a_jegyek":false,"youtube_id":"","old_id":"","hivatkozas_gomb_szovege":"Tov\u00e1bb","hivatkozas_gomg_url-je":"https:\/\/nfz.jegy.hu\/"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/101352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts"}],"about":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/types\/concerts"}],"wp:attachment":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/media?parent=101352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}