{"id":101755,"date":"2017-05-30T15:50:25","date_gmt":"2017-05-30T15:50:25","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=101755"},"modified":"2018-04-11T12:35:20","modified_gmt":"2018-04-11T12:35:20","slug":"bach-h-moll-mise","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/bach-h-moll-mise\/","title":{"rendered":"Mass in B minor"},"content":{"rendered":"

Mass in B minor, BWV 232 (1724-1749)<\/strong><\/p>\n

by Johann Sebastian Bach<\/strong> (Eisenach, 1685 \u2013 Leipzig, 1750)<\/p>\n

Why did Bach, a devout Lutheran, write a Catholic Mass?\u00a0 What is more, why did he make it his one of his most elaborate and complex compositions, generally considered to be the pinnacle of his vocal works?\u00a0 The short answer is that he originally planned to present his work to the Catholic Saxon royal court, perhaps in hopes of employment.\u00a0 But this answer is unsatisfactory, since only parts of the work (the Kyrie and the Gloria) were used in this way, and Bach continued to work on the Mass almost to the end of his life, without any external, practical considerations.<\/p>\n

Bach first composed a Sanctus movement for six-part chorus and orchestra; this was performed on Christmas Day, 1724, at St. Thomas\u2019 Church in Leipzig.\u00a0 Contrary to later usage, the Lutheran Church in 18th-century Leipzig not only did not rule out singing in Latin, but actually required it, especially on major holidays.\u00a0 The polyphonic performance of all five<\/em> movements of the Ordinary in Latin was to be found only in Catholic churches, but the Lutherans would often include one or two movements in their services.\u00a0 Bach wrote a total of five Sanctus settings over the years, all for his own use at St. Thomas\u2019.\u00a0 The Ordinary movements most frequently performed in Lutheran Churches were, however, the Kyrie and the Gloria.\u00a0 In fact, these pairs were often simply called Missae<\/em> (\u201cMasses\u201d); and Bach\u2019s four short Masses (BWV 233-236),\u00a0 which consist only of Kyries and Glorias, were also intended for St. Thomas\u2019.<\/p>\n

Nine years after composing the D-major Sanctus (that ended up in the B-minor Mass), Bach composed the Missa<\/em> (that is, a Kyrie and a Gloria) that later became part of the Mass in B minor.\u00a0 In the summer of 1733, he sent it off to the Elector of Saxony, Friedrich August II, accompanied by a letter in which he asked to be given the honorary title of Saxon Court Kapellmeister.\u00a0 (After a second application, his request was finally granted in 1736.)\u00a0 This was the second of only three major works Bach dedicated to a patron outside his city of residence:\u00a0 in 1721 he had given his Brandenburg Concertos to Christian Ludwig, Margrave of Brandenburg; and in 1747, he would present his Musical Offering<\/em> to King Frederick II of Prussia.<\/p>\n

We have no evidence of a performance of the Missa<\/em> at the electoral court in Dresden. But the work has some unique characteristics suggesting that Bach was writing with a Dresden performance in mind.<\/p>\n

Dresden, the capital of Saxony, boasted a music life far more active than that of Leipzig.\u00a0 First of all, it had an opera house with excellent singers from Italy.\u00a0 Bach visited Dresden several times, most recently in 1731, two years before submitting his Mass, when he almost certainly visited the opera (he saw Cleofide<\/em> by Johann Adolf Hasse) and met with composers in the city.<\/p>\n

Bach saw that his Dresden colleagues, many of whom were from Italy, were writing polyphonic Masses on a very grand scale.\u00a0 He felt inspired and challenged by this, as he was by the virtuosity of many singers and instrumentalists he heard in Dresden.\u00a0 One obvious sign of Dresden influence may be found in the bass aria, \u201cQuoniam tu solus sanctus\u201d from the Gloria of the B-minor Mass, which has a solo for corno da caccia<\/em> (\u201chunting horn,\u201d or the valveless natural horn of the 18th century).\u00a0 Bach rarely used the horn as a solo instrument and then exclusively in pairs:\u00a0 this is his only aria with one<\/em> solo horn.\u00a0 Such horn writing was, however, frequent in Dresden at the time.<\/p>\n

The enigmas start multiplying when we approach the remainder of the Mass.\u00a0 Until recently, the date of composition for the Credo, Osanna, Benedictus and Agnus Dei was a matter of conjecture.\u00a0 It was a Japanese musicologist, Yoshitake Kobayashi, who showed, in 1988, that these movements were not written until 1748-49 and are therefore the last music Bach ever wrote, postdating The Art of Fugue<\/em>.<\/p>\n

We still don\u2019t know for sure why Bach decided to expand his earlier Ordinary movements into a full-fledged, and now unequivocally Catholic, Mass composition (a Missa tota<\/em>, as the five-movement cycle was often referred to at the time).\u00a0 A number of hypotheses have been put forth about possible performance venues in Dresden.\u00a0 It seems likely that Bach wanted to create a \u201cmulti-purpose\u201d work that could be performed in its entirety in a Catholic setting, or partially in a Protestant venue.\u00a0 His unusual division of the work seems to support this hypothesis:\u00a0 in a Catholic Mass the \u201cSanctus\u201d would be immediately followed by the \u201cOsanna,\u201d but Bach drew a line between the two, joining the \u201cOsanna\u201d to the \u201cBenedictus\u201d and \u201cAgnus\u201d instead.\u00a0 This suggests that he wanted to keep the \u201cSanctus\u201d a self-contained movement, appropriate for a Lutheran service.<\/p>\n

One of the most striking characteristics of Bach\u2019s compositional procedure in the B-minor Mass is his reliance on earlier compositions.\u00a0 This procedure is known in musicology as \u201cparodying\u201d (of course; no humoristic overtones are intended), and it may involve anything from literal repeat to extensive editing and recomposing.\u00a0 About half the movements in the B-minor Mass have been shown to derive from earlier compositions, and scholars suspect that the same is true even when the originals are not known.\u00a0 In the words of American musicologist George Stauffer, working on the Mass gave the composer \u201ca final chance to rework and refine his earlier sources\u201d and resulted in \u201ca highly select sampling of vocal music culled from four decades of sacred and secular composition.\u201d\u00a0 Some earlier writers have frowned upon such extensive self-borrowing, but it was clearly much more than a matter of convenience.\u00a0 The ingenious reworking of earlier compositions became a method that allowed Bach to graft new ideas onto old ones; it became an art of \u201csuper-variation\u201d stretching from work to work across the years.<\/p>\n","protected":false},"template":"","class_list":["post-101755","concerts","type-concerts","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["hu","en"],"languages":{"hu":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":{"alcim":"Matthias Church","kiemelt_kep":{"ID":105744,"id":105744,"title":"samuel-marino-event","filename":"samuel-marino-event.png","filesize":795628,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event.png","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/bach-h-moll-mise\/samuel-marino-event\/","alt":"","author":"1","description":"","caption":"","name":"samuel-marino-event","status":"inherit","uploaded_to":101755,"date":"2018-03-13 16:19:59","modified":"2018-03-13 16:19:59","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1600,"height":583,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-300x109.png","medium-width":300,"medium-height":109,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-768x280.png","medium_large-width":640,"medium_large-height":233,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-1024x373.png","large-width":640,"large-height":233,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event.png","1536x1536-width":1536,"1536x1536-height":560,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event.png","2048x2048-width":1600,"2048x2048-height":583,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-165x165.png","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event.png","person-size-2-width":165,"person-size-2-height":60,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-263x263.png","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-360x203.png","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-359x450.png","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-555x555.png","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2017\/05\/samuel-marino-event-1600x583.png","slider-size-width":1600,"slider-size-height":583}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20180423","esemeny_idopontja":"20.00","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87540,"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}M\u00e1ty\u00e1s-templom{:}{:en}Matthias Church{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"matyas-templom","to_ping":"","pinged":"","post_modified":"2017-05-31 07:18:30","post_modified_gmt":"2017-05-31 07:18:30","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/matyas-templom\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"Budapest","orszag":"Hungary","cim":"I. Szenth\u00e1roms\u00e1g t\u00e9r 2.","megjegyzes":"","weboldal":""},"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\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 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&p=101545","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91610,"post_author":"1","post_date":"2016-09-08 08:57:53","post_date_gmt":"2016-09-08 08:57:53","post_content":"{:hu}Hith\u0171 luther\u00e1nus l\u00e9t\u00e9re mi\u00e9rt \u00edrt Bach katolikus mis\u00e9t? Mi t\u00f6bb, mi\u00e9rt tette ezt a mis\u00e9t \u00e9lete egyik legnagyobb \u00e9s legkomplexebb v\u00e1llalkoz\u00e1s\u00e1v\u00e1, vok\u00e1lis \u00e9letm\u0171v\u00e9nek cs\u00facspontj\u00e1v\u00e1? A szok\u00e1sos v\u00e1lasz az, hogy m\u0171v\u00e9t eredetileg a katolikus sz\u00e1sz kir\u00e1lyi udvarnak akarta felaj\u00e1nlani, tal\u00e1n \u00e1ll\u00e1st rem\u00e9lve ott - de ez a magyar\u00e1zat nem kiel\u00e9g\u00edt\u0151, mivel a m\u0171nek csak egy r\u00e9sz\u00e9re (a Kyri\u00e9re \u00e9s a Glori\u00e1ra) igaz; ezzel szemben Bach szinte \u00e9lete v\u00e9g\u00e9ig dolgozott a mis\u00e9n, l\u00e1tsz\u00f3lag minden k\u00fcls\u0151, gyakorlati k\u00e9sztet\u00e9s n\u00e9lk\u00fcl.\r\n\r\nBach 1724 kar\u00e1csony\u00e1ra, a lipcsei - persze luther\u00e1nus - Tam\u00e1s-templom sz\u00e1m\u00e1ra \u00edrta azt a Sanctust hatsz\u00f3lam\u00fa k\u00f3rusra \u00e9s zenekarra, melyet ma a h-moll mis\u00e9ben hallunk. Lipcs\u00e9ben akkoriban a luther\u00e1nus egyh\u00e1z nemhogy nem z\u00e1rta ki a latin nyelv\u0171 \u00e9neket, hanem a legfontosabb \u00fcnnepeken egyenesen megk\u00f6vetelte. Az ordin\u00e1riumnak mind az \u00f6t t\u00e9tel\u00e9t csak katolikus templomokban adt\u00e1k el\u0151 latinul, de egy vagy k\u00e9t t\u00e9tel a luther\u00e1nus istentiszteletben is szerepelhetett. Bach \u00f6sszesen \u00f6t Sanctust \u00edrt a Tam\u00e1s-templomnak. Leggyakrabban azonban a Kyrie \u00e9s a Gloria szerepelt a luther\u00e1nusokn\u00e1l, \u00e9s ezt a t\u00e9telp\u00e1rt h\u00edvt\u00e1k r\u00f6viden \"Miss\u00e1\"-nak. Bach n\u00e9gy r\u00f6vid mis\u00e9je (BWV 233-236), mely csak ezt a k\u00e9t t\u00e9telt tartalmazza, a Tam\u00e1s-templom gyakorlat\u00e1hoz igazodott.\r\n\r\nKilenc \u00e9vvel a Sanctus ut\u00e1n, 1733-ban \u00edrta Bach a jelen Kyri\u00e9t \u00e9s Glori\u00e1t. Az \u00e9v nyar\u00e1n elk\u00fcldte II. Frigyes \u00c1gost sz\u00e1sz v\u00e1laszt\u00f3fejedelemnek, egy lev\u00e9l k\u00eds\u00e9ret\u00e9ben, melyben a sz\u00e1sz udvari karmester tiszteletbeli c\u00edm\u00e9\u00e9rt folyamodott. (A m\u00e1sodik folyamodv\u00e1ny ut\u00e1n, 1736-ban kapta meg a titulust.) Bach \u00e9let\u00e9ben \u00f6sszesen h\u00e1romszor fordult el\u0151, hogy m\u00e1s v\u00e1rosban \u00e9l\u0151 magas patr\u00f3nusnak aj\u00e1nlott m\u0171vet: 1721-ben \u00edgy k\u00fcldte el Brandenburgi versenym\u0171veit Christian Ludwig brandenburgi \u0151rgr\u00f3fnak, 1747-ben pedig a Musikalisches Opfer<\/em>-t prezent\u00e1lta II. Frigyes porosz kir\u00e1lynak.\r\n\r\nNincs adat r\u00e1, hogy el\u0151adt\u00e1k-e a Miss\u00e1t Drezd\u00e1ban; de a m\u0171nek t\u00f6bb olyan jellegzetess\u00e9ge van, amely arra utal, hogy Bach a kompon\u00e1l\u00e1s sor\u00e1n tekintettel volt a drezdai udvar gyakorlat\u00e1ra.\r\n\r\nDrezda, Sz\u00e1szorsz\u00e1g f\u0151v\u00e1rosa, a lipcsein\u00e9l sokkal \u00e9l\u00e9nkebb zenei \u00e9letet mondhatott a mag\u00e1\u00e9nak. Volt operah\u00e1za, mely rendszeresen szerz\u0151dtette a legjobb olasz \u00e9nekeseket. Bach t\u00f6bbsz\u00f6r megfordult ott, legut\u00f3bb 1731-ben, k\u00e9t \u00e9vvel a Missa bek\u00fcld\u00e9se el\u0151tt; az operah\u00e1zban megn\u00e9zte Johann Adolf Hasse Cleofide<\/em> c. m\u0171v\u00e9t, \u00e9s t\u00f6bb helybeli zeneszerz\u0151vel is tal\u00e1lkozott.\r\n\r\nBach l\u00e1tta, hogy drezdai koll\u00e9g\u00e1i, akik k\u00f6z\u00fcl nem egy Olaszorsz\u00e1gb\u00f3l j\u00f6tt, nagyszab\u00e1s\u00fa polifon mis\u00e9ket \u00edrnak. Ez, valamint a sok kit\u0171n\u0151 drezdai \u00e9nekes \u00e9s hangszerj\u00e1t\u00e9kos, egyszerre jelentett inspir\u00e1ci\u00f3t \u00e9s kih\u00edv\u00e1st. Bizonyosan drezdai hat\u00e1st t\u00fckr\u00f6z a k\u00fcrtsz\u00f3l\u00f3s \"Quoniam tu solus sanctus\" basszus\u00e1ria. Bach ritk\u00e1n haszn\u00e1lta a k\u00fcrt\u00f6t sz\u00f3l\u00f3hangszerk\u00e9nt, \u00e9s ha megtette, mindig kettes\u00e9vel \u00edrta el\u0151. Ez volt az egyetlen alkalom, amikor egyetlen k\u00fcrtre \u00edrt sz\u00f3l\u00f3t; a drezdaiak sz\u00e1m\u00e1ra azonban ez \u00e1ltal\u00e1nos gyakorlat volt.\r\n\r\nHa a h-moll mise t\u00f6bbi r\u00e9sz\u00e9hez k\u00f6zeled\u00fcnk, sokasodni kezdenek a rejt\u00e9lyek. Csak 1988-ban der\u00fclt ki - egy jap\u00e1n zenetud\u00f3s, Kobajasi Jositake j\u00f3volt\u00e1b\u00f3l -, hogy ezek a t\u00e9telek 1748-49-ben keletkeztek, A f\u00faga m\u0171v\u00e9szete <\/em>ut\u00e1n, \u00e9s ily m\u00f3don Bach legutols\u00f3 m\u0171veinek tekintend\u0151k.\r\n\r\nHogy mi\u00e9rt sz\u00e1nta el mag\u00e1t Bach \u00e9ppen akkor, hogy a kor\u00e1bbi Miss\u00e1t teljes \u00f6tt\u00e9teles, \u00e9s egy\u00e9rtelm\u0171en katolikus mis\u00e9v\u00e9 (Missa tota<\/em>-v\u00e1, ahogy akkor mondt\u00e1k) eg\u00e9sz\u00edtse ki, azt biztosan tal\u00e1n sosem fogjuk megtudni. Hipot\u00e9zisek l\u00e9teznek esetleges, meg nem val\u00f3sult drezdai el\u0151ad\u00e1si lehet\u0151s\u00e9geket illet\u0151en. Az is lehet, hogy Bach olyan m\u0171vet akart \u00edrni, amely el\u0151adhat\u00f3 ak\u00e1r teljes eg\u00e9sz\u00e9ben egy katolikus templomban, ak\u00e1r r\u00e9szleteiben a luther\u00e1nusokn\u00e1l. Az, hogy a m\u0171vet nem a szok\u00e1sos m\u00f3don tagolta, mindenesetre erre utal. A katolikus mis\u00e9ben a Sanctus-ra megszak\u00edt\u00e1s n\u00e9lk\u00fcl k\u00f6vetkezik az Osanna, de Bach k\u00fcl\u00f6nv\u00e1lasztotta a kett\u0151t, \u00e9s az Osann\u00e1t a Benedictus-szal \u00e9s az Agnus Dei-vel kapcsolta \u00f6ssze, vagyis a Sanctust megtartotta \u00f6n\u00e1ll\u00f3 t\u00e9telnek, amint azt a luther\u00e1nus gyakorlatban megszokta.\r\n\r\nBachn\u00e1l igen gyakran fordul el\u0151, hogy kor\u00e1bbi m\u0171veit valamilyen form\u00e1ban \u00fajra felhaszn\u00e1lja. Ezt az elj\u00e1r\u00e1st a zenetudom\u00e1ny \"par\u00f3dia-technik\u00e1nak\" h\u00edvja (term\u00e9szetesen a sz\u00f3 humoros konnot\u00e1ci\u00f3ja n\u00e9lk\u00fcl): sz\u00f3 lehet v\u00e1ltozatlan \u00e1tv\u00e9telr\u0151l \u00e9s alapos \u00fajrakompon\u00e1l\u00e1sr\u00f3l egyar\u00e1nt. A h-moll mise t\u00e9teleinek mintegy a fele megy vissza kor\u00e1bbi kompoz\u00edci\u00f3kra, ami arra enged k\u00f6vetkeztetni, hogy tal\u00e1n a t\u00f6bbi t\u00e9telekn\u00e9l is hasonl\u00f3 lehet a helyzet, csak ott az eredeti m\u0171vek elvesztek. George Stauffer amerikai zenetud\u00f3s szerint a mise alkalmat adott Bachnak, hogy \"kor\u00e1bbi m\u0171veit m\u00e9g egyszer utolj\u00e1ra t\u00f6k\u00e9letes\u00edtse\", \u00e9s a mise \u00edgy aff\u00e9le \"antol\u00f3gia negyven \u00e9v egyh\u00e1zi \u00e9s vil\u00e1gi m\u0171veib\u0151l\". Bach biztosan nemcsak k\u00e9nyelemb\u0151l vett \u00e1t ennyi kor\u00e1bbi m\u0171vet. A r\u00e9gi zenei gondolatok \u00faj \u00f6tleteket sz\u00fcltek: mintha valamif\u00e9le \"szuper-vari\u00e1ci\u00f3s form\u00e1val\" \u00e1lln\u00e1nk szemben, amely sok m\u0171vet \u00e9s sok alkot\u00f3 \u00e9vet fog \u00e1t.{:}{:en}Why did Bach, a devout Lutheran, write a Catholic Mass? What is more, why did he make it his one of his most elaborate and complex compositions, generally considered to be the pinnacle of his vocal works? The short answer is that he originally planned to present his work to the Catholic Saxon royal court, perhaps in hopes of employment. But this answer is unsatisfactory, since only parts of the work (the Kyrie and the Gloria) were used in this way, and Bach continued to work on the Mass almost to the end of his life, without any external, practical considerations.\r\nBach first composed a Sanctus movement for six-part chorus and orchestra; this was performed on Christmas Day, 1724, at St. Thomas' Church in Leipzig. Contrary to later usage, the Lutheran Church in 18th-century Leipzig not only did not rule out singing in Latin, but actually required it, especially on major holidays. The polyphonic performance of all five<\/em> movements of the Ordinary in Latin was to be found only in Catholic churches, but the Lutherans would often include one or two movements in their services. Bach wrote a total of five Sanctus settings over the years, all for his own use at St. Thomas'. The Ordinary movements most frequently performed in Lutheran Churches were, however, the Kyrie and the Gloria. In fact, these pairs were often simply called Missae<\/em> (\"Masses\"); and Bach's four short Masses (BWV 233-236), which consist only of Kyries and Glorias, were also intended for St. Thomas'.\r\n\r\n \r\n\r\nNine years after composing the D-major Sanctus (that ended up in the B-minor Mass), Bach composed the Missa<\/em> (that is, a Kyrie and a Gloria) that later became part of the Mass in B minor. In the summer of 1733, he sent it off to the Elector of Saxony, Friedrich August II, accompanied by a letter in which he asked to be given the honorary title of Saxon Court Kapellmeister. (After a second application, his request was finally granted in 1736.) This was the second of only three major works Bach dedicated to a patron outside his city of residence: in 1721 he had given his Brandenburg Concertos to Christian Ludwig, Margrave of Brandenburg; and in 1747, he would present his Musical Offering<\/em> to King Frederick II of Prussia.\r\n\r\n \r\n\r\nWe have no evidence of a performance of the Missa<\/em> at the electoral court in Dresden. But the work has some unique characteristics suggesting that Bach was writing with a Dresden performance in mind.\r\n\r\n \r\n\r\nDresden, the capital of Saxony, boasted a music life far more active than that of Leipzig. First of all, it had an opera house with excellent singers from Italy. Bach visited Dresden several times, most recently in 1731, two years before submitting his Mass, when he almost certainly visited the opera (he saw Cleofide<\/em> by Johann Adolf Hasse) and met with composers in the city.\r\n\r\n \r\n\r\nBach saw that his Dresden colleagues, many of whom were from Italy, were writing polyphonic Masses on a very grand scale. He felt inspired and challenged by this, as he was by the virtuosity of many singers and instrumentalists he heard in Dresden. One obvious sign of Dresden influence may be found in the bass aria, \"Quoniam tu solus sanctus\" from the Gloria of the B-minor Mass, which has a solo for corno da caccia<\/em> (\"hunting horn,\" or the valveless natural horn of the 18th century). Bach rarely used the horn as a solo instrument and then exclusively in pairs: this is his only aria with one<\/em> solo horn. Such horn writing was, however, frequent in Dresden at the time.\r\n\r\n \r\n\r\nThe enigmas start multiplying when we approach the remainder of the Mass. Until recently, the date of composition for the Credo, Osanna, Benedictus and Agnus Dei was a matter of conjecture. It was a Japanese musicologist, Yoshitake Kobayashi, who showed, in 1988, that these movements were not written until 1748-49 and are therefore the last music Bach ever wrote, postdating The Art of Fugue<\/em>.\r\n\r\n \r\n\r\nWe still don't know for sure why Bach decided to expand his earlier Ordinary movements into a full-fledged, and now unequivocally Catholic, Mass composition (a Missa tota<\/em>, as the five-movement cycle was often referred to at the time). A number of hypotheses have been put forth about possible performance venues in Dresden. It seems likely that Bach wanted to create a \"multi-purpose\" work that could be performed in its entirety in a Catholic setting, or partially in a Protestant venue. His unusual division of the work seems to support this hypothesis: in a Catholic Mass the \"Sanctus\" would be immediately followed by the \"Osanna,\" but Bach drew a line between the two, joining the \"Osanna\" to the \"Benedictus\" and \"Agnus\" instead. This suggests that he wanted to keep the \"Sanctus\" a self-contained movement, appropriate for a Lutheran service.\r\n\r\n \r\n\r\nOne of the most striking characteristics of Bach's compositional procedure in the B-minor Mass is his reliance on earlier compositions. This procedure is known in musicology as \"parodying\" (of course; no humoristic overtones are intended), and it may involve anything from literal repeat to extensive editing and recomposing. About half the movements in the B-minor Mass have been shown to derive from earlier compositions, and scholars suspect that the same is true even when the originals are not known. In the words of American musicologist George Stauffer, working on the Mass gave the composer \"a final chance to rework and refine his earlier sources\" and resulted in \"a highly select sampling of vocal music culled from four decades of sacred and secular composition.\" Some earlier writers have frowned upon such extensive self-borrowing, but it was clearly much more than a matter of convenience. The ingenious reworking of earlier compositions became a method that allowed Bach to graft new ideas onto old ones; it became an art of \"super-variation\" stretching from work to work across the years.\r\n\r\n \r\n\r\n***\r\n\r\n \r\n\r\nThe Kyrie eleison<\/strong> begins with a four-measure choral invocation followed by an instrumental introduction and a tortuously chromatic, five-part choral fugue. The Christe eleison<\/strong> is a more light-hearted duet for two sopranos. The second Kyrie<\/strong>, in four parts,is not a repeat of the first but completely different music, written in an archaic style reminiscent of the stile antico<\/em> still very much in use among church composers. Yet this style, rooted in the 16th-century works of Palestrina, received an \"overlay\" of chromaticism from Bach.\r\n\r\n \r\n\r\nAppropriately enough, the Gloria<\/strong> brings in trumpets and kettledrums in a jubilant opening chorus, followed by a second choral movement, the magnificently polyphonic Et in terra pax<\/strong>. The soprano aria Laudamus te<\/strong>, with solo violin, demands a great deal of virtuosity from both the vocal and the instrumental soloists. The relatively low range of the vocal part makes it likely that it was written with the voice of mezzo-soprano Faustina Bordoni in mind. Bordoni was one of the stars of the Dresden opera (and was married to composer Johann Adolf Hasse). Also, Stauffer notes that a certain short-long rhythmic figure, prominent in this aria, was \"highly fashionable in Dresden circles.\" The four-part chorus Gratias agimus tibi<\/strong> is another stile antico<\/em> piece, rigorously contrapuntal and with instrumental lines merely doubling the voices, as in the second Kyrie. With Domine Deus<\/strong>, for soprano and tenor solos and flute obligato, we are back to the conrtemporary world of Dresden. The style of the music resembles that of an operatic love duet. The two singers sing different texts simultaneously: the tenor has the words about the Father, the soprano those about the Son. In the opinion of the 19th-century scholar Philipp Spitta, Bach superimposed the two lines to express the \"mysterious Unity of the Father and Son.\" In the chorus Qui tollis<\/strong>, an extensive reworking of the opening chorus of Cantata 46 (1723), imitative passages alternate with homophonic ones (where all voices sing together in the same rhythm). The voices are accompanied by the florid lines of the two flutes. With Qui sedes<\/strong>, an aria for alto with oboe d'amore solo, another style makes its appearance in the Mass, namely dance music. Some writers have interpreted this movement as deriving from the gigue, others from the polonaise. It is probably neither, yet there is no question that this music comes from the same source of inspiration as Bach's instrumental suites. Quoniam tu solus sanctus<\/strong> has already been mentioned as a special case among Bach's arias, on account of the single corno da caccia<\/em>, to which Bach further added two virtuosic bassoon parts. The Gloria ends with a jubilant chorus, Cum Sancto Spiritu<\/strong> that, with its trumpets and kettledrums, returns to the mood of the two opening choruses of this section. It combines the solemnity of the \"Gloria in excelsis\" with the contrapuntal agility of \"Et in terra pax.\" The elaborate conclusion reminds us of the fact that in its 1733 version, the work ended here.\r\n\r\n \r\n\r\nBach called the Credo<\/strong> portion of the mass Symbolum Nicenum<\/em>, after Nicaea, the town in the Byzantine Empire (in what is now Northwestern Turkey) where the Nicene Creed was adopted by a council of bishops in the year 325. This is the most abstract part of the Mass text which has traditionally proven to be the most problematic for composers. Moreover, it was a text that Bach had never tackled until the last years of his life (some sketches probably dating from 1747 are the earliest signs of direct involvement). He approached the formidable task armed with the same multiplicity of styles already seen in the Gloria (stile antico<\/em> alternating with styles derived from his Leipzig cantatas and, occasionally, from Dresden models). Like the Gloria, the Credo opens with a pair of choruses in contrasted styles: Credo in unum Deum<\/strong>is a further, densely contrapuntal, example of the stile antico<\/em> (here in five parts and an instrumental \"walking bass line\" added to the voices); Patrem omipotentem<\/strong> is a four-part chorus in a more modern style, reminiscent of Bach's Leipzig cantatas (it is, in fact, based on the opening movement of Cantata 171 from 1729). Et in unum Dominum<\/strong> Jesum Christum <\/strong>is a duet for soprano and alto (with two oboes d'amore as instrumental soloists) which continues the association between Jesus and an intimate aria style already seen in the \"Christe\" portion of the Kyrie and the \"Domine Deus\" movement of the Gloria. By its dark mood, the chorus Et incarnatus est<\/strong> stresses the inevitable connections between Christ's incarnation and the Crucifixion, which follows immediately. The Crucifixus<\/strong> is the reworking of a much earlier work: the opening chorus of Cantata 12 (\"Weinen, Klagen\"). This cantata, written in Weimar in 1714, later inspired Franz Liszt to write one of his great organ works. It is one of the emotional high points of the entire composition. The chromatically descending bass, something of a Baroque clich\u00e9, was never invested with more passion - and the pun is intended, for never was Christ's Passion expressed with more power than it was here. The jubilant trumpets and kettledrums of Et resurrexit<\/strong> form a most dramatic contrast; we are back to the radiant world of the Gloria. The resemblance between this movement and the \"R\u00e9jouissance\" from the Orchestral Suite No.4 has been pointed out by at least one commentator. The vocal line of the bass aria Et in Spiritum sanctum<\/strong>, accompanied by two oboes d'amore, contains the line about the \"holy, Catholic and apostolic church\" which most composers have found the most abstract and the least conducive to musical setting; Bach literally skates over what would otherwise be a problematic spot by the gently lilting rhythms of a pastoral dance, which turn an abstract institutional dogma into something perfectly simple, natural and good.\r\n\r\n \r\n\r\nonfiteor<\/strong> is a grave and solemn movement: as a stile antico<\/em> chorus, it matches the tone of the \"Credo in unum Deum\" which opened the Symbolum Nicenum<\/em>. This passage takes its full meaning only if considered from a theological point of view, which Bach must certainly have done: baptism, while it leads to eternal life, does so only through the individual's death and resurrection. Hence the unexpected austerity of this strictly polyphonic movement, which leads into what is certainly the most harmonically daring passage to be found anywhere in Bach's works. The first appearance of the words \"Et exspecto resurrectionem mortuorum\" portrays the unfathomable mystery of the resurrection, and the suffering that is an unavoidable precondition of it, by a harmonic progression that plumbs the depths of despair with a series of modulations that are absolutely unique in the Baroque era. At one point, the tonality reaches E-flat minor that, with its six flats, represents the nadir of the classical tonal system. The transition from there to the restatement of the same words, Et exspecto resurrectionem mortuorum, <\/em><\/strong>in a bright and glorious D major, can only be compared to the transition between the third and fourth movements of Beethoven's Fifth Symphony.\r\n\r\n \r\n\r\nThe Sanctus<\/strong>, written in 1724 and revised in the 1740s, is in six parts. A solemn first half is followed by an exultant fugue, in a fast tempo, on the words \"Pleni sunt coeli and terra.\"\r\n\r\n \r\n\r\nIn the Osanna <\/strong>the chorus is divided into two half-choirs of four parts each. The music, with its bright D-major sonorities with trumpets and kettledrums, is reminiscent of the opening of the Gloria. The music comes from a secular cantata, written to celebrate the anniversary of the election of Friedrich August II in 1734 (Cantata 215). The Benedictus <\/strong>is a tenor aria where the obligato instrument is not specified in the manuscript. Earlier it was assumed that Bach intended a violin; more recently, it has been assumed that he meant a flute because the part does not go below D above middle C (a violin could go several notes lower, and it seems unlikely that Bach would not have wanted to make use of those extra notes). It is a lyrical and affectionate aria that is a perfect foil for the \"Osanna\" which subsequently returns in its entirety. The Agnus Dei<\/strong>, scored for alto solo and strings, is also a reworking of an earlier aria, with substantial changes. The mourning for Christ and a plea for mercy, inherent in the text, are expressed by intense chromatic melodies that always symbolize torment, here further amplified by anguished melodic leaps and syncopated rhythms. Finally, the Dona nobis pacem<\/strong> chorus is entirely identical to \"Gratias agimus tibi\" from the Gloria. It may well be that Bach would have composed a different closing movement had his eyesight and his general health not begun to fail in 1749; but even as it stands, the movement is a convincing conclusion to the most grandiose of his works.{:}","post_title":"{:hu}h-moll mise, BWV 232{:}{:en}Mass in B minor, BWV 232{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"h-moll-mise-bwv-232","to_ping":"","pinged":"","post_modified":"2018-04-11 12:34:29","post_modified_gmt":"2018-04-11 12:34:29","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/h-moll-mise-bwv-232\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Bach"]}],"muvekrol_reszletesen":true,"kozr_szemelyek":[{"ID":105661,"post_author":"951582","post_date":"2018-03-09 16:58:52","post_date_gmt":"2018-03-09 16:58:52","post_content":"{:hu}Az oldal felt\u00f6lt\u00e9s alatt...{:}{:en}Page will be soon uploaded \u2026{:}","post_title":"{:hu}Samuel Marino{:}{:en}Samuel Marino {:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"samuel-marino","to_ping":"","pinged":"","post_modified":"2018-03-09 16:58:52","post_modified_gmt":"2018-03-09 16:58:52","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105661","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"},{"ID":85810,"post_author":"1","post_date":"2017-10-13 11:08:57","post_date_gmt":"2017-10-13 11:08:57","post_content":"{:hu}1990 \u00f3ta \u00e9nekelek koncerteken \u00e9s liturgikus szolg\u00e1latokon (Cantus Corvinus, Voces Aequales, A:N:S Chorus, Purcell K\u00f3rus, F\u0151v\u00e1rosi K\u00e1ntor\u00e1tus, Szent Efr\u00e9m Biz\u00e1nci F\u00e9rfikar), majd 1999-ben a Nemzeti \u00c9nekkarnak is tagja lettem. Itt tenork\u00e9nt, de kamaraform\u00e1ci\u00f3kban \u00e9s sz\u00f3listak\u00e9nt ink\u00e1bb kontratenork\u00e9nt (alt, mezzoszopr\u00e1n) szoktam fell\u00e9pni. Harminc \u00e9v alatt a k\u00f6zelm\u00falt \u00e9s a mostani id\u0151szak hazai koncert\u00e9let\u00e9nek legt\u00f6bbet foglalkoztatott counter sz\u00f3list\u00e1ja lettem. A barokk a f\u0151 ter\u00fcletem, J. S. Bach szakr\u00e1lis m\u0171vei \u00e1llnak hozz\u00e1m legk\u00f6zelebb, de kort\u00e1rs m\u0171vekben is sz\u00edvesen szerepelek (Bernstein: Chichester Psalms,<\/em> E\u00f6tv\u00f6s P\u00e9ter: Radames,<\/em> Vajda Gergely: A var\u00e1zshegy,<\/em> Gy\u00f6ngy\u00f6si Levente: A Mester \u00e9s Margarita<\/em>). Zenei tanulm\u00e1nyaim \u00e9s szakmai fejl\u0151d\u00e9sem sor\u00e1n ismeretmegoszt\u00e1ssal, \u00edzl\u00e9ssel, al\u00e1zattal, megbecs\u00fcl\u00e9ssel sokat form\u00e1lt \u00e9s seg\u00edtett Fricsovszky Ott\u00f3, Klembala G\u00e9za, F\u00f6ldes Imre, Adorj\u00e1n Ilona, Lax \u00c9va, Bali J\u00e1nos, Vashegyi Gy\u00f6rgy, Szab\u00f3ki T\u00fcnde, Bubn\u00f3 Tam\u00e1s, Diny\u00e9s Soma \u00e9s V\u00e1radi Zita, akiknek k\u00f6sz\u00f6nettel tartozom.\r\n\r\nA Budapesti Fesztiv\u00e1lzenekar, a Budafoki Dohn\u00e1nyi Zenekar, a Pannon Filharmonikusok \u00e9s a Magyar R\u00e1di\u00f3 Zenei Egy\u00fctteseinek vok\u00e1lis koncertjein rendszeresen visszat\u00e9r\u0151 k\u00f6zrem\u0171k\u00f6d\u0151 vagyok.\r\n\r\n2011-ben kolleg\u00e1im az \u00c9v \u00c9nekkari M\u0171v\u00e9sz\u00e9nek v\u00e1lasztottak. N\u00e9h\u00e1ny \u00e9ve sz\u00edvesen k\u00e9sz\u00edtek m\u0171ford\u00edt\u00e1sokat is a koncertjeinken elhangz\u00f3 olyan idegen nyelv\u0171 k\u00f3rusm\u0171vek alapj\u00e1ul szolg\u00e1l\u00f3 versekhez, amelyek eleddig elker\u00fclt\u00e9k irodalmi nagys\u00e1gaink m\u0171v\u00e9szi figyelm\u00e9t (Eric Whitacre: Sleep,<\/em> Veljo Tormis: Raua needmine,<\/em> Maurice Ravel: Trois chansons<\/em>).{:}{:en}Since 1990, I have been singing in concerts and at liturgical services (with Cantus Corvinus, Voces Aequales, A:N:S Chorus, Purcell Choir, Metropolitan Budapest Cantors, Saint Ephraim Byzantine Male Choir), and I have been a member of the Hungarian National Choir since 1999. Here I sing as a tenor, although in chamber configurations and as a soloist, I appear as a countertenor (the male equivalent of an alto or mezzo-soprano). Over the course of 30 years, in the recent past and the present, I have become the most frequently engaged countertenor soloist in Hungarian concert life. My main area is the Baroque, with the sacred music of J.S. Bach closest to my heart. However, I also gladly take part in contemporary works (Bernstein: Chichester Psalms,<\/em> P\u00e9ter E\u00f6tv\u00f6s: Radames,<\/em> Gergely Vajda: Magic Mountain,<\/em> Levente Gy\u00f6ngy\u00f6si: The Master and Margarita<\/em>). For greatly shaping and aiding my music education and professional development by sharing their knowledge with taste, humility and respect, I would like to thank Ott\u00f3 Fricsovszky, G\u00e9za Klembala, Imre F\u00f6ldes, Ilona Adorj\u00e1n, \u00c9va Lax, J\u00e1nos Bali, Gy\u00f6rgy Vashegyi, T\u00fcnde Szab\u00f3ki, Tam\u00e1s Bubn\u00f3, Soma Diny\u00e9s and Zita V\u00e1radi.\r\n\r\nI regularly collaborate with the Budapest Festival Orchestra, the Budafok Dohn\u00e1nyi Orchestra, the Pannon Philharmonic and the Hungarian Radio Music Ensembles in their concerts requiring vocal music.\r\n\r\nIn 2011, my colleagues elected me Choir Artist of the Year. For several years, I\u2019ve also enjoyed preparing translations of the poetry serving as the basis for those of our foreign-language choral works we perform in concerts that are yet to have been treated by our literary greats (Eric Whitacre\u2019s Sleep,<\/em> Veljo Tormis\u2019s Raua needmine,<\/em> and Maurice Ravel\u2019s Trois chansons<\/em>).{:}","post_title":"{:hu}Gavodi Zolt\u00e1n{:}{:en}Zolt\u00e1n Gavodi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"gavodi-zoltan","to_ping":"","pinged":"","post_modified":"2025-10-01 10:47:17","post_modified_gmt":"2025-10-01 10:47:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=85810","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}tenor{:}{:en}tenor{:}"},{"ID":105664,"post_author":"951582","post_date":"2018-03-09 17:01:25","post_date_gmt":"2018-03-09 17:01:25","post_content":"{:hu}Az oldal felt\u00f6lt\u00e9s alatt....{:}{:en}Page will be soon uploaded \u2026{:}","post_title":"{:hu}Alex Potter{:}{:en}Alex Potter {:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alex-potter","to_ping":"","pinged":"","post_modified":"2018-03-09 17:18:10","post_modified_gmt":"2018-03-09 17:18:10","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105664","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}alt{:}{:en}alto{:}"},{"ID":105666,"post_author":"951582","post_date":"2018-03-09 17:04:37","post_date_gmt":"2018-03-09 17:04:37","post_content":"{:hu}Az oldal felt\u00f6lt\u00e9s alatt...{:}{:en}German tenor Markus Francke was born in Freiburg im Breisgau, where he early appeared as a boy soprano. Upon completing his Abitur, he first began to study Musicology, and then Choral Conducting und Voice at the Music Academy in Cologne. At this time he received further valuable impulses from Peter Schreier and Francisco Araiza.\r\n\r\nEarly roles of the tenor include Tamino in Die Zauberfl\u00f6te at the Landestheater Detmold, Lindoro in Die Italienerin in Algier at the Musiktheater im Revier Gelsenkirchen, as well as Sam in Brittens Paul Bunyan at the Bregenzer Festspiele. He was a regular guest at the Theater Pforzheim, performing such demanding roles as Mollfels in Glanerts Scherz, Satire, Ironie und tiefere Bedeutung and Usher in The Fall of the House of Usher. Markus Francke was a member of the opera company of the Hessisches Staatstheater Wiesbaden from 2012 \u2013 2014, where he appeared as Rosillon in Die lustige Witwe,\r\n\r\nTamino and as the Tanzmeister in Ariadne auf Naxos. In addition he celebrated a major success with his debut as the Steuermann in Der fliegende Holl\u00e4nder. In May 2014 he made his successful debut at the Bayerische Staatsoper Munich with the role of the Tanzmeister. He was a soloist in concerts of Nono\u2019s Prometeo and Canto sospeso in Amsterdam and Zurich under the musical direction of Ingo Metzmacher.\r\n\r\nIn recent seasons he sang the roles of Belmonte in Die Entf\u00fchrung aus dem Serail in Pforzheim, L\u2019Aumonier in Dialoge der Karmeliterinnen in Klagenfurt, Regisseur in Un re in ascolta in Kassel, and Filipeto in Die vier Grobiane with the M\u00fcnchner Rundfunkorchester under the musical direction of Ulf Schirmer. Further he gave his successful debuts as Don Jos\u00e9 in Carmen at the Schlossfestspiele in Sondershausen and as Matteo in Arabella at the Oper Leipzig under the baton of Ulf Schirmer. As a\r\n\r\ncurrent member of the Staatsoperette Dresden he performs roles including Tamino, Hans in Die verkaufte Braut and Eisenstein in Die Fledermaus. Future productions include the title role in Candide in Dresden and Fenton in Die lustigen Weiber von Windsor at the Anhaltisches Theater Dessau.\r\n\r\nMarkus Francke is a much sought-after performer of Baroque and Oratorio-literature, including the role of the Evangelist in the works of Johann Sebastian Bach. His concert repertoire expands a period from the Renaissance to the Modern. He has sung in the cathedrals of Santiago de Compostela and Reims, in the Philharmonie in Berlin and in Cologne, in St. Michaelis in Hamburg, in the Liederhalle Stuttgart, the Frauenkirche in Dresden and in the Dome in Cologne, as well as with the RuhrTriennale, in Paris and in Finnland. Numerous radio- and CD-recordings attest to his artistic achievement.{:}","post_title":"{:hu}Markus Francke{:}{:en}Markus Francke{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"markus-francke","to_ping":"","pinged":"","post_modified":"2018-03-09 17:18:39","post_modified_gmt":"2018-03-09 17:18:39","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105666","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}tenor{:}{:en}tenor{:}"},{"ID":105669,"post_author":"951582","post_date":"2018-03-09 17:07:51","post_date_gmt":"2018-03-09 17:07:51","post_content":"{:hu}Az oldal felt\u00f6lt\u00e9s alatt...{:}{:en}For nearly 30 years already Wolf Matthias Friedrich inspires audiences all over the globe with his singing.\r\n\r\nThe solistic career of the bass singer started after his diploma at the Hochschule f\u00fcr Musik Leipzig with an award at the International Dvorak-competition in Karlovy Cary in 1980, followed by an engagement at the Staatsoper Dresden from 1982-86. An enormous ambitus, the variety of beautiful colours in his voice, technical brilliance, musical intensity and dramatic talent characterise his singing together with broad dynamic range and perfect intonation and articulation - not an implicitness for singers also active on the opera stage today.\r\n\r\nSoon Wolf also established himself in the field of concert, song and oratorio. His ability to sing very focused and to blend smoothly with an ensemble in spite of his grand volume and especially his curiosity for research and discoveries in Baroque repertoire made him one of the most sought-after singers of the early music scene today. His regular work with directors as Howard Arman, Michel Corboz, Rafael Fr\u00fchbeck de Burgos, Roy Goodmann, Marek Janowski, Konrad Jungh\u00e4nel, Fabio Luisi, Rudolf Lutz, Nicholas McGegan, Kurt Masur, Philippe Herreweghe, Peter van Heyghen oder Alessandro De Marchi and many others often leads him to the most important concert houses and festivals on all continents.\r\n\r\nIn 2002 he was one of the founders of the Kerll-Rosenm\u00fcller-festival in his native region, the Vogtland, which until 2006 presented yearly performances of music by Johann Caspar Kerll, Johann Rosenm\u00fcller and Sebastian Kn\u00fcpfer.\r\n\r\nAmongst Wolf\u2018s most recent opera productions are parts in works by Monteverdi, Legrenzi, Steffani, H\u00e4ndel, Mozart, Rossini, Wagner and Cimarosa, but also Weill, Shi, Matthus and Zimmermann in opera houses and festivals in for instance Cologne, Brisbane, Sydney, Melbourne, Schwetzingen, Innsbruck, Halle, Drottningholm, Berlin, Hamburg, Wiesbaden, Potsdam, Dresden, Munich, Tanglewood or New York.\r\n\r\nThe singer appears on the most important early music festivals worldwide (Festival Oude Muziek Utrecht, Tage Alter Musik Regensburg, Innsbrucker Festwochen der Alten Musik....), but also presents recitals and Lied concerts with for instance pianist Norman Shetler or fortepianist Linda Nicholson.\r\n\r\nFurthermore plenty of broadcast productions as well as more than 60 CD and DVD recordings reflect the wide spectrum of his musical interests, ranging from the Renaissance up to contemporary music.{:}","post_title":"{:hu}Wolf Matthias Friedrich{:}{:en}Wolf Matthias Friedrich {:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"wolf-matthias-friedrich","to_ping":"","pinged":"","post_modified":"2018-03-09 17:17:48","post_modified_gmt":"2018-03-09 17:17:48","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105669","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}bariton{:}{:en}baritone{:}"}],"muveszekrol_reszletesen":true,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[{"ID":87528,"post_author":"1","post_date":"2016-09-08 07:58:45","post_date_gmt":"2016-09-08 07:58:45","post_content":"{:hu}\"\"A Nemzeti \u00c9nekkar 1985-ben alakult \u00c1llami \u00c9nekkar n\u00e9ven, 2016. janu\u00e1r 1-t\u0151l vezet\u0151 karnagya Somos Csaba. Az \u00e9nekkar Magyarorsz\u00e1g egyik vezet\u0151 hivat\u00e1sos k\u00f3rusa, amelynek profilja a zenekar-k\u00eds\u00e9retes kompoz\u00edci\u00f3k, orat\u00f3riumok, valamint a cappella m\u0171vek el\u0151ad\u00e1sa. Reperto\u00e1rja ennek megfelel\u0151en rendk\u00edv\u00fcl gazdag, a kora barokk Sch\u00fctz alkot\u00e1sait\u00f3l Bach, a b\u00e9csi klasszikusok \u00e9s a 19. sz\u00e1zad zeneszerz\u0151inek kompoz\u00edci\u00f3in kereszt\u00fcl a 20. sz\u00e1zad \u00e9s a kort\u00e1rs zen\u00e9ig minden ir\u00e1nyba nyitott, m\u0171faji hat\u00e1rok n\u00e9lk\u00fcl, de a ritk\u00e1n m\u0171sorra ker\u00fcl\u0151 alkot\u00e1sok megsz\u00f3laltat\u00e1s\u00e1ban is elk\u00f6telezett. A reperto\u00e1rj\u00e1n hangs\u00falyosan jelen lev\u0151 19. sz\u00e1zadi orat\u00f3riumok mellett az egy\u00fcttes kiemelt fontoss\u00e1got tulajdon\u00edt a kort\u00e1rs m\u0171vek el\u0151ad\u00e1s\u00e1nak, sz\u00e1mos m\u0171 \u0151sbemutat\u00f3ja, illetve magyarorsz\u00e1gi bemutat\u00f3ja f\u0171z\u0151dik a nev\u00e9hez.\r\n\r\nA k\u00f3rus visszat\u00e9r\u0151 k\u00f6zrem\u0171k\u00f6d\u0151je a Nemzeti Filharmonikusok martonv\u00e1s\u00e1ri ny\u00e1ri Beethoven-sorozat\u00e1nak, kiemelked\u0151 szerepl\u0151je a zenekar csal\u00e1di matin\u00e9 koncertsorozat\u00e1nak, valamint a Kocsis Zolt\u00e1n m\u0171v\u00e9szeti vezet\u00e9s\u00e9vel 2006 \u00f3ta fel\u00e9p\u00fcl\u0151 Bart\u00f3k \u00daj Sorozatnak. A Nemzeti Filharmonikusok Richard Strauss oper\u00e1it bemutat\u00f3 nagy siker\u0171 sz\u00e9ri\u00e1j\u00e1ban \u00e9s Schoenberg M\u00f3zes \u00e9s \u00c1ron c\u00edm\u0171 oper\u00e1j\u00e1ban, az \u00e9nekkar mellett t\u00f6bb tagja sz\u00f3listak\u00e9nt is fell\u00e9pett. Az \u00e9nekkar a hazai koncertek mellett nemzetk\u00f6zi felk\u00e9r\u00e9seknek is eleget tesz, rendszeresen koncertezik a magyarok \u00e1ltal is lakott hat\u00e1ront\u00fali telep\u00fcl\u00e9seken. A Nemzeti \u00c9nekkar a M\u00fcp\u00e1ban megrendezett nagyszab\u00e1s\u00fa Wagner-napok rendszeresen megh\u00edvott k\u00f6zrem\u0171k\u00f6d\u0151je.{:}{:en}\"\"\r\n\r\nThe Hungarian National Choir (originally called State Choir) was founded in 1985. Between 1990 and 2016 it was headed by M\u00e1ty\u00e1s Antal, who was succeeded by Csaba Somos on 1 January 2016. The choir is one of Hungary\u2019s leading professional choirs. It boasts a rich repertoire chiefly consisting of orchestra-accompanied and a capella choral music, as well as oratorios, ranging from works by the early-Baroque Sch\u00fctz to Bach, Viennese Classical, 19th<\/sup> and 20th<\/sup>-century composers, and contemporary music. The Hungarian National Choir is open to every genre and is dedicated to performing rarely heard works. While the backbone of the repertoire consists of 19th<\/sup>-century oratorios, the Hungarian National Choir attaches great importance to performing contemporary music. Numerous world and national premi\u00e8res are linked with its name.\r\n\r\nThey are\u00a0 returning guests at the Hungarian National Philharmonic Orchestra\u2019s summer Beethoven series in Martonv\u00e1s\u00e1r. It regularly appears in the Orchestra\u2019s family matin\u00e9e concerts, as well as the Bart\u00f3k New Series<\/em>, launched in 2006. The successful performance of Richard Strauss\u2019s operas and Schoenberg\u2019s Moses and Aron<\/em> has involved the National Choir and many of its soloists. In addition to concerts at home, the choir performs extensively abroad and regularly gives concerts in minority Hungarian areas across the border. The Hungarian National Choir is a regular participant of large-scale events at the Palace of Art, such as the Wagner Days.{:}","post_title":"{:hu}Nemzeti \u00c9nekkar (karigazgat\u00f3: Somos Csaba){:}{:en}Hungarian National Choir (choirmaster: Csaba Somos){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nemzeti-enekkar-karigazgato-somos-csaba","to_ping":"","pinged":"","post_modified":"2020-07-22 10:07:10","post_modified_gmt":"2020-07-22 10:07:10","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/institutions\/nemzeti-enekkar-karigazgato-somos-csaba\/","menu_order":0,"post_type":"institutions","post_mime_type":"","comment_count":"0","filter":"raw"},{"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":"2.500 Ft - helyfoglal\u00e1s \u00e9rkez\u00e9si sorrendben","jegyvasarlas_gomb":"","elkeltek_a_jegyek":false,"youtube_id":"","old_id":"","hivatkozas_gomb_szovege":"Tickets ","hivatkozas_gomg_url-je":"https:\/\/nfz.jegy.hu\/program\/templomi-berlet-3-81024\/383530","muvek_feluldefinialasa":false,"is_muvekrol_reszletesen_en":false,"is_muveszekrol_reszletesen_en":true},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/101755","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=101755"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}