{"id":101727,"date":"2017-05-31T07:34:45","date_gmt":"2017-05-31T07:34:45","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=101727"},"modified":"2018-05-04T09:56:53","modified_gmt":"2018-05-04T09:56:53","slug":"beethoven-japan-szemmel","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/beethoven-japan-szemmel\/","title":{"rendered":"Beethoven jap\u00e1n szemmel"},"content":{"rendered":"

 <\/p>\n

 <\/p>\n

BEETHOVEN: <\/strong>Piano concerto No. 5 in E flat major, \u201cEmperor\u201d, op. 73<\/p>\n

    \n
  1. Allegro II. Adagio un poco mosso III. Rondo. Allegro<\/li>\n<\/ol>\n

    \u00a0<\/strong><\/p>\n

    Of the five piano concertos composed by Beethoven, his last was written in 1809. The key of E flat major, and the atmosphere of the piece, suggest that it is linked to the ideals of the French Revolution and to Napoleon’s cult of personality. Its first public performance was in Leipzig on 28 November, 1811. The solo was performed by Beethoven’s distinguished pupil Czerny. The order of movements in the work is traditional: two fast movements surrounding a slow one. While the first movement is oriented toward the structure of concertos and symphonic sonatas, surprisingly, it begins with a solo cadenza, only after which the orchestra joins in. \u201cThe piano solo enters the ensemble like a prince into the throne room, with regal consciousness.\u201d (Bence Szabolcsi) During the slow movement \u2013 to quote Szabolcsi again \u2013 \u201cthe fires of the universe light up… they sparkle in their full nocturnal splendour and merge into an otherworldly coronet.\u201d The movement doesn’t end as such, but after quietly prepared, searching moments, the basic galloping motif of the third movement bursts forth with elemental power. Before the end of the piece, Beethoven surprises us with an unexpected twist: above the sinister, soft beats of the timpani, the solo instrument seems to be bidding us farewell, then the coda explodes with a shower of scales, leaving the feeling in the listener of joy and affirmation.<\/p>\n

     <\/p>\n

     <\/p>\n

    BEETHOVEN: <\/strong>Symphony No. 3 in E flat major \u201cEroica\u201d, op. 55<\/p>\n

      \n
    1. Allegro con brio II. Marcia funebre \u2013 Adagio assai III. Scherzo. Allegro vivace IV. Finale. Allegro molto<\/li>\n<\/ol>\n

       <\/p>\n

      Audiences and critics alike were puzzled by Beethoven’s Symphony No. 3 in 1805. The length of the piece was unusual, as was the so-called \u201cdevelopment\u201d section in the first movement. Additionally, after the reprise, yet another long development section follows, instead of the expected short coda. The basic impression is that a single fundamental idea rules the movement: heroic pathos. We hear numerous themes and motifs which are only replaced for a short time by more melodic, gentler musical ideas during the middle of the movement. The slow movement in C minor is a true funeral march, and is followed by an astonishingly energetic scherzo which seems to dispel the mood of the funeral march in no uncertain terms. The beginning of the immense finale is also remarkable. At first we hear only a simple bass theme, and then variations on it as the melodic theme is finally revealed. Then begin variations on the theme, one of which is of distinctly Hungarian character. Beethoven had originally planned this as a Bonaparte Symphony, but upon hearing that Napoleon had crowned himself Emperor, he tore up the title page of the already completed work in disgust. The score was later published as the \u201cEroica\u201d symphony.<\/p>\n

       <\/p>\n

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Liszt Ferenc t\u00e9r 8.","megjegyzes":"","weboldal":""},"helyszin_kategoria":"budapest","karmester":{"ID":86518,"post_author":"1","post_date":"2016-10-18 16:13:17","post_date_gmt":"2016-10-18 16:13:17","post_content":"{:hu}Kobayashi Ken-Ichiro 1940-ben sz\u00fcletett Jap\u00e1nban, karmesteri tanulm\u00e1nyait Watanabe Ake\u00f3n\u00e1l \u00e9s Yamada Kazu\u00f3n\u00e1l folytatta a Toki\u00f3i M\u0171v\u00e9szeti \u00e9s Zenei Egyetemen. 1974-ben ker\u00fclt be a nemzetk\u00f6zi zenei \u00e9let k\u00f6z\u00e9ppontj\u00e1ba, amikor els\u0151 d\u00edjat nyert a Magyar Telev\u00edzi\u00f3 I. Nemzetk\u00f6zi Karmesterverseny\u00e9n. Sikere az\u00f3ta is t\u00f6retlen, a legnevesebb zenekarokat dirig\u00e1lja N\u00e9metorsz\u00e1gban, Ausztri\u00e1ban \u00e9s Angli\u00e1ban. A Magyar \u00c1llami Hangversenyzenekar (ma Nemzeti Filharmonikus Zenekar) vezet\u0151 karmestere 1987-t\u0151l, \u00f6r\u00f6k\u00f6s tiszteletbeli eln\u00f6k-karnagya 1992-t\u0151l. 1994-ben megkapta a Magyar K\u00f6zt\u00e1rsas\u00e1g egyik legmagasabb kit\u00fcntet\u00e9s\u00e9t. Jelenleg a Jap\u00e1n Filharmonikusok vezet\u0151 karmestere.{:}{:en}Born in 1940. He studied conducting under WATANABE Akeo and YAMADA Kazuo at the Tokyo National University of Fine Arts and Music. It was in 1974 when he studied gaining international attention after receiving first prize at the International Conductors Competition of the Hungarian Television. Since then he has gained a reputation by conducting major orchestras in countries such as Germany, Austria and the UK. He was appointed Principal Conductor of the Hungary State Symphony Orchestra (Hungary National Philharmonic Orchestra nowaday) in 1987, and General Director of the Orchestra in 1992. In 1994, he received \"Middle Cross with the Star of the Order of the Republic of Hungary\". The Japan Philharmonic appointed him Chief Conductor in 1998, Principal Conductor in 1990, and Chief Guest Principal Conductor in 1994.\r\nIn 1997, he returns to the Japan Philharmonic as Chief Conductor.{:}","post_title":"{:hu}Kobayashi Ken-Ichiro{:}{:en}Ken-Ichiro Kobayashi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kobayashi-ken-ichiro","to_ping":"","pinged":"","post_modified":"2018-05-30 08:13:14","post_modified_gmt":"2018-05-30 08:13:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86518","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91340,"post_author":"1","post_date":"2016-09-08 08:57:50","post_date_gmt":"2016-09-08 08:57:50","post_content":"{:hu}

      Beethoven \u00f6t zongoraversenye k\u00f6z\u00fcl az utols\u00f3nak, egyben a korszak legnagyobb szab\u00e1s\u00fa versenym\u0171v\u00e9nek kompon\u00e1l\u00e1si \u00e9ve 1809, de a teljes m\u0171 val\u00f3sz\u00edn\u0171leg csak 1810-ben lett k\u00e9sz. Nemcsak az Esz-d\u00far hangnem magyar\u00e1zza, hanem a m\u0171 hangulata, t\u00e9m\u00e1inak karaktere, eg\u00e9sz atmoszf\u00e9r\u00e1ja is, hogy Beethovennek e hatalmas m\u00e9ret\u0171 koncertje, ak\u00e1rcsak az Eroica szimf\u00f3nia, a francia forradalom eszm\u00e9ihez \u00e9s Nap\u00f3leon szem\u00e9ly\u00e9nek kultusz\u00e1hoz kapcsol\u00f3dik. Nem v\u00e9letlen, hogy angol nyelvter\u00fcleten \"Emperor\" lett e zongoraverseny \u00e1lland\u00f3 mell\u00e9kneve. Az m\u00e1r a sors k\u00fcl\u00f6n\u00f6s fintora, hogy \u00e9pp azokban a h\u00f3napokban keletkezett a darab, amikor 1809 tavasz\u00e1n B\u00e9cs a francia seregek megsz\u00e1ll\u00e1sa alatt \u00e1llt, s az aj\u00e1nl\u00e1s c\u00edmzettje, Rudolf herceg a cs\u00e1sz\u00e1ri csal\u00e1ddal ideiglenesen elmenek\u00fclni k\u00e9nyszer\u00fclt a f\u0151v\u00e1rosb\u00f3l.<\/p>\r\n

      \r\nFeltehet\u0151, hogy Beethoven a v\u00e9szterhes id\u0151 elm\u00falt\u00e1val maga j\u00e1tszotta el el\u0151sz\u00f6r a zongorasz\u00f3lamot egy h\u00e1zi el\u0151ad\u00e1son, tan\u00edtv\u00e1ny\u00e1nak, k\u00e9s\u0151bbi bar\u00e1tj\u00e1nak \u00e9s term\u00e9szetesen mec\u00e9n\u00e1s\u00e1nak, Rudolf hercegnek a rezidenci\u00e1j\u00e1n, de nyilv\u00e1nos bemutat\u00e1s\u00e1ra megromlott hall\u00e1sa miatt m\u00e1r nem v\u00e1llalkozhatott. A m\u0171 els\u0151 k\u00f6z\u00f6ns\u00e9g el\u0151tti el\u0151ad\u00e1sa Lipcs\u00e9ben volt, 1811. november 28-\u00e1n. A sz\u00f3l\u00f3t ez alkalommal m\u00e1r nem Beethoven j\u00e1tszotta, \u00e9s a k\u00e9s\u0151bbi (1812-es) b\u00e9csi bemutat\u00f3j\u00e1n sem \u0151 maga, hanem kit\u0171n\u0151 tan\u00edtv\u00e1nya, Czerny \u00fclt a zongor\u00e1n\u00e1l.<\/p>\r\n

      A m\u0171 t\u00e9telrendje a hagyom\u00e1nyos h\u00e1rmas fel\u00e9p\u00edt\u00e9st mutatja: k\u00e9t gyors t\u00e9tel fog k\u00f6zre egy lass\u00fat. Az els\u0151 t\u00e9tel a versenym\u0171vek, szimf\u00f3ni\u00e1k szon\u00e1taszerkezet\u00e9hez igazodik, allegro temp\u00f3ban. Nem sz\u00e1m\u00edt teljesen \u00fajnak a zenet\u00f6rt\u00e9netben, m\u00e9gis alaposan meglepi a hallgat\u00f3t, hogy a versenym\u0171 sz\u00f3l\u00f3-kadenci\u00e1val kezd\u0151dik. A t\u00e9telv\u00e9gz\u0151d\u00e9sek el\u0151tt volt szok\u00e1s lehet\u0151s\u00e9get adni a sz\u00f3list\u00e1nak m\u0171v\u00e9szete brav\u00faros csillogtat\u00e1s\u00e1ra egy kadenci\u00e1ban, de Beethovennek nem volt t\u00fcrelme kiv\u00e1rni ezt az alkalmat, \"in medias res\" ind\u00edtja a koncertet. A megel\u0151z\u0151, G-d\u00far zongoraverseny is hasonl\u00f3 \u00f6tlettel \u00e1llt el\u0151, de eg\u00e9szen m\u00e1s karakter\u0171 t\u00e9m\u00e1val. Az Esz-d\u00far verseny bevezet\u00e9s\u00e9ben azonban nemcsak a sz\u00f3lista kap helyet, hanem csatlakozik a zenekar is. Szabolcsi Bence szerint: \"...\u00fagy l\u00e9p be a zongora sz\u00f3lama az egy\u00fcttes k\u00f6z\u00e9, mint fejedelem a tr\u00f3nterembe, a f\u0151hajt\u00f3 udvar sorfala k\u00f6z\u00f6tt, val\u00f3ban kir\u00e1lyi \u00f6ntudattal.\" A var\u00e1zslatos moll mell\u00e9kt\u00e9ma feloldja a harcias karaktert, \u00e9s a visszat\u00e9r\u00e9s ink\u00e1bb m\u00e1r felszabadult, boldog zen\u00e9nek hat, mintsem er\u0151szakosnak. Az Esz-d\u00far zongoraverseny els\u0151 t\u00e9tel\u00e9nek v\u00e9g\u00e9n, mintha a cselekm\u00e9ny lebonyol\u00f3d\u00e1sa ut\u00e1n \u00fajrakezd\u0151dn\u00e9k a t\u00e9tel, a k\u00f3d\u00e1ban visszat\u00e9rnek a zenekari bevezet\u00e9s mot\u00edvumai, \u00e9s belesz\u00f6v\u0151dik a hagyom\u00e1nyos sz\u00f3l\u00f3-kadencia r\u00f6vid, megkompon\u00e1lt v\u00e1ltozata is.<\/p>\r\n

      A lass\u00fa t\u00e9telben - ugyancsak Szabolcsi ihletett szavaival: \"...itt val\u00f3ban megny\u00edlt [Beethoven] felett a csillagos \u00e9g, (...) felragyogtak a vil\u00e1g\u0171r t\u00fczei, (...) teljes \u00e9jszakai pomp\u00e1jukban t\u00fcnd\u00f6k\u00f6lnek \u00e9s fon\u00f3dnak \u00f6ssze f\u00f6ld\u00f6nt\u00fali diad\u00e9mm\u00e1.\" A sz\u00e9ps\u00e9ges t\u00e9ma egy\u00e9bk\u00e9nt a Missa Solemnis Benedictus t\u00e9tel\u00e9ig mutat el\u0151re. A t\u00e9tel nem z\u00e1rul le, hanem k\u00fcl\u00f6nleges m\u00f3don adja \u00e1t a hely\u00e9t a k\u00f6vetkez\u0151, harmadiknak. A halkan el\u0151k\u00e9sz\u00edtett, szinte improviz\u00e1l\u00f3, keresg\u00e9l\u0151 pillanatok ut\u00e1n element\u00e1ris er\u0151vel robban ki a harmadik t\u00e9tel szurony-szer\u0171 alapmot\u00edvuma. Ez a rond\u00f3 t\u00e9ma - ak\u00e1rcsak az els\u0151 t\u00e9tel t\u00e9m\u00e1i - sz\u00e1mos rokonra lelhetnek Beethoven \u00e9letm\u0171v\u00e9ben - p\u00e9ld\u00e1ul az Eroica scherzo t\u00e9tel\u00e9ben, a t\u00e9tel tri\u00f3j\u00e1ban. J\u00f3kedv \u00e9s gy\u0151zelmi hangulat jellemzi ezt a zen\u00e9t is, csak a befejez\u00e9s el\u0151tt lep meg Beethoven egy v\u00e1ratlan fordulattal: az \u00fcstdob sejtelmesen halk \u00fct\u00e9sei felett mintha elb\u00facs\u00fazna a sz\u00f3l\u00f3hangszer, majd a sebes k\u00f3da sk\u00e1lameneteivel szikr\u00e1z\u00f3 \u00e9let\u00f6r\u00f6m \u00e9rz\u00e9s\u00e9t hagyja maga ut\u00e1n kicsend\u00fclni a hallgat\u00f3ban.<\/p>{:}{:en}I. Allegro II. Adagio un poco mosso III. Rondo. Allegro\r\n\r\n \r\n

      Beethoven composed the final and grandest of his five piano concertos in 1809, although it seems he made some minor alterations in 1810. It is not just the shared tonality of E flat that suggests Beethoven was thinking of a concerto equivalent to the Eroica symphony, but also its atmosphere and the character of its themes. Thus we can link the concerto to the ideals of the French revolution and the cult surrounding Napoleon's personality and it is no accident that in English speaking lands, the concerto is generally known as \"The Emperor.\" It is an irony of fate that when the work was being composed in 1809, Vienna was under siege by the French army and Prince Rudolf, the dedicatee of the concerto, was forced to temporarily flee the city with the imperial family.<\/p>\r\n

      <\/p>\r\n

      It is possible that when calm returned, Beethoven himself first played the piano solo at a private performance in the residence of his pupil, friend and patron, Prince Rudolf, but he dared not undertake a public performance because of the deteriorating state of his hearing. The concerto received its public premiere in Leipzig on November 28th, 1811, where the soloist was Beethoven's distinguished pupil Czerny, who also gave the Viennese premiere a year later.<\/p>\r\n

      <\/p>\r\n

      The work is cast in the traditional three movement form, with two fast movements surrounding a slow central Adagio. The first movement conforms to the sonata structure of concertos and symphonies, and is marked Allegro. While not a complete novelty for its time, the entry of the soloist with a virtuosic cadenza was still fundamentally surprising. The usual habit was to allow the soloist to show his pianistic wares in a cadenza just before the coda but Beethoven seems not to have had the patience to wait that long. The previous concerto in G major employed a similar idea but it begins with a theme of a very different character. The introduction to the E flat major concerto gives room to not only the soloist but also the orchestra. According to the Hungarian scholar Bence Szabolcsi \"the piano solo enters among the ensemble like a prince into the throne room, between the rows of courtiers, with regal consciousness.\" The enchanting minor key secondary theme resolves the military character and the recapitulation feels more like liberated joyous music rather than something forceful or violent. Towards the end, the movement appears to be starting again and in the coda the motifs from the orchestral introduction re-appear and Beethoven includes a brief, composed solo cadenza, not trusting the performer to improvise one that would upset his well thought out structure.<\/p>\r\n

      <\/p>\r\n

      In the slow movement, to quote Szabolcsi again, \"here the starry sky truly opens up above Beethoven (...) the fires of the universe light up, (...) they sparkle in their full nocturnal splendour and merge into an other worldly coronet.\" The beautiful theme also predicts the Benedictus from the Missa Solemnis. This movement does not end as such, but uniquely makes way for the third. After a few quiet, improvisatory moments, where the piano seems to be groping for directions, the basic galloping motif of the third movement bursts forth with elemental power. This rondo theme - rather like the themes of the first movement - can be linked with many other themes from Beethoven's oeuvre, such as the Trio from the Eroica scherzo. This music is good humoured and triumphant but just before the end, Beethoven surprises us with an unexpected twist: above the sinister, soft beats of the timpani, the solo instrument seems to be bidding us farewell; then the coda explodes with a shower of scales, leaving the feeling in the listener of joy and affirmation.<\/p>{:}","post_title":"{:hu}V. Zongoraverseny Esz-d\u00far \"Emperor\", op. 73{:}{:en}Piano Concerto No. 5 in E flat major, Op. 73{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"v-zongoraverseny-esz-dur-op-73","to_ping":"","pinged":"","post_modified":"2017-05-30 09:37:35","post_modified_gmt":"2017-05-30 09:37:35","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/v-zongoraverseny-esz-dur-op-73\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Beethoven"]},{"ID":101619,"post_author":"3","post_date":"2017-05-30 09:39:27","post_date_gmt":"2017-05-30 09:39:27","post_content":"\"T\u00fal sok benne a rik\u00edt\u00f3 \u00e9s bizarr von\u00e1s\" - \u00edrta 1805-ben az egyik kritikus Beethoven III. szimf\u00f3ni\u00e1j\u00e1r\u00f3l. Nem csoda, hogy nem sokat tudott az \u00fajdons\u00e1ggal kezdeni. Zavarba ejthett\u00e9k m\u00e1r a m\u00e9retek is: ha a kott\u00e1ban el\u0151\u00edrt (manaps\u00e1g nem mindig figyelembe vett) ism\u00e9tl\u00e9st is sz\u00e1m\u00edtjuk, az els\u0151 t\u00e9tel 846 \u00fctemb\u0151l \u00e1ll - b\u0151ven akad Haydn- vagy Mozart-szimf\u00f3nia, amelynek \u00f6sszes t\u00e9tele is kevesebb enn\u00e9l.\u00a0 A bels\u0151 ar\u00e1nyok is mer\u0151ben szokatlannak t\u0171nhettek a korabeli muzsikusoknak.\r\n\r\n\r\n\r\nI. Allegro con brio II. Marcia funebre - Adagio assai III. Scherzo. Allegro vivace IV. Finale. Allegro molto\r\n

      \"T\u00fal sok benne a rik\u00edt\u00f3 \u00e9s bizarr von\u00e1s\" - \u00edrta 1805-ben az egyik kritikus Beethoven III. szimf\u00f3ni\u00e1j\u00e1r\u00f3l. Nem csoda, hogy nem sokat tudott az \u00fajdons\u00e1ggal kezdeni. Zavarba ejthett\u00e9k m\u00e1r a m\u00e9retek is: ha a kott\u00e1ban el\u0151\u00edrt (manaps\u00e1g nem mindig figyelembe vett) ism\u00e9tl\u00e9st is sz\u00e1m\u00edtjuk, az els\u0151 t\u00e9tel 846 \u00fctemb\u0151l \u00e1ll - b\u0151ven akad Haydn- vagy Mozart-szimf\u00f3nia, amelynek \u00f6sszes t\u00e9tele is kevesebb enn\u00e9l.\u00a0 A bels\u0151 ar\u00e1nyok is mer\u0151ben szokatlannak t\u0171nhettek a korabeli muzsikusoknak. A szon\u00e1taforma \u00fan. expoz\u00edci\u00f3 r\u00e9sz\u00e9nek m\u00e9reteihez k\u00e9pest hatalmas a \"kidolgoz\u00e1si\" szakasz, s a repr\u00edz ut\u00e1n a szok\u00e1sos p\u00e1r \u00fctemnyi coda helyett ism\u00e9t kidolgoz\u00e1snyi m\u00e9ret\u0171 formar\u00e9sz k\u00f6vetkezik. Mindek\u00f6zben rengeteg t\u00e9ma, mot\u00edvum, \u00f6tlet hangzik fel - a hallgat\u00f3 alapvet\u0151 benyom\u00e1sa m\u00e9gis az, hogy egyetlen hangulat, alapeszme uralkodik a t\u00e9telen: a h\u0151sies p\u00e1toszt csak a m\u0171 k\u00f6zep\u00e9n v\u00e1ltja fel r\u00f6vid id\u0151re egy dallamosabb, szel\u00eddebb zenei gondolat, az Esz-d\u00far alaphangnemhez k\u00e9pest meglep\u0151en t\u00e1voli e-moll hangnemben. K\u00f6zben olyan harm\u00f3ni\u00e1k is megsz\u00f3lalnak, amelyeket a 19. sz\u00e1zad elej\u00e9n mindenki elk\u00e9peszt\u0151en disszon\u00e1nsnak, fesz\u00fcltnek hallhatott. A kidolgoz\u00e1s ut\u00e1ni visszat\u00e9r\u00e9s pedig alighanem p\u00e1ratlan a zeneirodalomban. A zenekar izgatott von\u00f3saihoz k\u00e9pest (amelyek az alaphangnemet el\u0151k\u00e9sz\u00edt\u0151 akkordn\u00e1l tartanak) a k\u00fcrt mintha t\u00fal hamar l\u00e9pne be a f\u0151t\u00e9m\u00e1val: egy pillanatra \u00e9les disszonancia keletkezik. A c-moll lass\u00fat\u00e9tel igazi gy\u00e1szindul\u00f3 - ez sem volt megszokott a 18-19. sz\u00e1zad fordul\u00f3j\u00e1n. Ezut\u00e1n d\u00f6bbenetes ellent\u00e9t k\u00f6vetkezik: a gy\u00e1sz hangulat\u00e1t sz\u00e1guld\u00f3 scherzo v\u00e1ltja fel, amely csak a k\u00f6z\u00e9pr\u00e9sz\u00e9ben v\u00e1lik valamelyest nyugodtabb\u00e1. A finale pedig ism\u00e9t hatalmas m\u00e9ret\u0171 t\u00e9tel. K\u00fcl\u00f6n\u00f6s a kezdete. Bevezet\u0151 futam ut\u00e1n el\u0151bb csak egy basszust\u00e9m\u00e1t hallunk. Ehhez csatlakoznak k\u00fcl\u00f6nf\u00e9le sz\u00f3lamok, majd v\u00e9gre megsz\u00fcletik a basszushoz tartoz\u00f3 t\u00e9ma-dallam. A basszust\u00e9m\u00e1t \u00e9s a mel\u00f3di\u00e1t Beethoven nem el\u0151sz\u00f6r haszn\u00e1lta fel: egy korai kontrat\u00e1ncban is felfedezhetj\u00fck, majd a Prom\u00e9theusz-balett z\u00e1r\u00f3t\u00e9tel\u00e9ben, illetve az op. 35-\u00f6s jelz\u00e9ssel kiadott zongora-vari\u00e1ci\u00f3kban. A t\u00e9tel szerkezete t\u00f6bb\u00e9-kev\u00e9sb\u00e9 vari\u00e1ci\u00f3s jelleg\u0171: hol a basszus, hol a t\u00e9ma-dallam a vari\u00e1ci\u00f3k f\u0151szerepl\u0151je. Az egyik - g-moll hangnem\u0171 - vari\u00e1ci\u00f3 ezek k\u00f6z\u00fcl hat\u00e1rozottan magyaros jelleg\u0171. Beethoven 1800-t\u00f3l volt rendszeresen a Brunszvik csal\u00e1d vend\u00e9ge Martonv\u00e1s\u00e1ron, b\u0151ven ny\u00edlt alkalma teh\u00e1t megismerni a korban divatos verbunkos jelleg\u0171 muzsik\u00e1t.<\/p>\r\n

      A szimf\u00f3ni\u00e1t Beethoven p\u00e1rtfog\u00f3j\u00e1nak, Lobkowitz hercegnek aj\u00e1nlotta. Eredetileg nem ez volt a sz\u00e1nd\u00e9ka. Bonaparte-szimf\u00f3ni\u00e1t tervezett (egy megrendel\u00e9s alapj\u00e1n). Az anekdota k\u00f6zismert, s sok Beethovennel kapcsolatos sz\u00ednes t\u00f6rt\u00e9nettel ellent\u00e9tben val\u00f3sz\u00edn\u0171leg igaz: amikor a komponista h\u00edr\u00e9t vette, hogy Nap\u00f3leon cs\u00e1sz\u00e1rr\u00e1 koron\u00e1ztatta mag\u00e1t, let\u00e9pte a m\u00e1r k\u00e9sz m\u0171 c\u00edmlapj\u00e1t. A partit\u00fara k\u00e9s\u0151bb \"Eroica\", azaz \"h\u0151si\" szimf\u00f3niak\u00e9nt jelent meg nyomtat\u00e1sban. A Nap\u00f3leonnal kapcsolatos t\u00f6rt\u00e9net, s a \"h\u0151si\" mell\u00e9kn\u00e9v term\u00e9szetesen sz\u00e1mtalan \u00e9rtelmez\u00e9snek adott t\u00e1pot. Akadt, aki a Prom\u00e9theusz-monda elemeit is belehallotta a kompoz\u00edci\u00f3ba. Arnold Schering n\u00e9met kutat\u00f3 szerint pedig az Ili\u00e1sz egyes fejezeteib\u0151l \u00e1llna \u00f6ssze a m\u0171 rejtett programja. A gy\u00e1szindul\u00f3 ebben az \u00f6sszef\u00fcgg\u00e9sben Hektort siratja, a r\u00e1k\u00f6vetkez\u0151 scherzo az elesett Patroklosz tisztelet\u00e9re rendezett zenei j\u00e1t\u00e9kot eleven\u00edten\u00e9 meg... A zenetud\u00f3soknak olykor a zeneszerz\u0151k\u00e9n\u00e9l is \u00e9l\u00e9nkebb a fant\u00e1zi\u00e1juk.<\/p>","post_title":"{:hu}III. (Esz-d\u00far, \"Eroica\") szimf\u00f3nia, op. 55{:}{:en}Symphony No. 3 in E-flat major (\"Eroica\"){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iii-szimfonia-esz-dur-eroica-op-55","to_ping":"","pinged":"","post_modified":"2020-03-10 09:11:57","post_modified_gmt":"2020-03-10 09:11:57","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=101619","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]}],"muvekrol_reszletesen":true,"kozr_szemelyek":[{"ID":86096,"post_author":"1","post_date":"2017-05-30 19:47:08","post_date_gmt":"2017-05-30 19:47:08","post_content":"","post_title":"{:hu}Miyuji Kaneko{:}{:en}Miyuji Kaneko{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"miyuji-kaneko","to_ping":"","pinged":"","post_modified":"2017-05-30 19:47:08","post_modified_gmt":"2017-05-30 19:47:08","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86096","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}zongora{:}{:en}piano{:}"}],"muveszekrol_reszletesen":null,"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}\"\"\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}\"\"\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 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 \r\n\r\n \r\n\r\n {:}","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":"6.000 Ft, 4.500 Ft, 3.000 Ft","hivatkozas_gomb_szovege":"Tov\u00e1bb","hivatkozas_gomg_url-je":"https:\/\/nfz.jegy.hu\/","youtube_id":"","old_id":"","muvek_feluldefinialasa":false,"is_muvekrol_reszletesen_en":false,"is_muveszekrol_reszletesen_en":false},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/101727","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=101727"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}