{"id":101781,"date":"2017-05-30T19:03:04","date_gmt":"2017-05-30T19:03:04","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=101781"},"modified":"2017-12-16T15:33:38","modified_gmt":"2017-12-16T15:33:38","slug":"banda-adam-es-hamar-zsolt","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/banda-adam-es-hamar-zsolt\/","title":{"rendered":"\u00c1d\u00e1m Banda and Zsolt Hamar"},"content":{"rendered":"

Ern\u0151 Dohn\u00e1nyi: Symphonic minutes, op. 36<\/strong><\/p>\n

\u00a0<\/strong>The flashing woodwind passages of the opening movement, Capriccio are evocative of the world of Mendelssohn\u2019s fairy scherzos and the richness of orchestration of the art of Richard Strauss.<\/p>\n

Rapsodia begins with the melancholic, freely roaming melody of the cor anglais, to which the clarinet responds. This fascinating music conjures up the natural images of late-Romantic opera, as well as the midnight monologues in the works of Bart\u00f3k and Kod\u00e1ly.<\/p>\n

The central movement of the cycle is the lively Scherzo. The turbulent main part is counterpointed by an emotional, lyrical melody in the brass. Tema con variazioni (Doh\u00e1nyi\u2019s favourite form) is a setting a simple, 16th-century theme, The variations dissolve the rhythm of the theme to soft, continuous movement, to become firmer later on. This tone would reappear in the chorale of Bart\u00f3k\u2019s Concerto. The last version faithfully returns to the initial theme, the mysterious sonority of the celesta lifting the music to ethereal heights. In the fast-paced closing Rondo the fairy-scherzo character transforms to a full-blooded theme. It is carefree, cheerful music, a fitting successor of Brahms\u2019s Hungarian Dances.<\/p>\n

While Dohn\u00e1nyi\u2019s work is a treasure trove of musical allusions, from the sum of the movements emerges the portrait of an inimitable musician.<\/p>\n

 <\/p>\n

Zsolt Durk\u00f3: Violin Concerto<\/strong><\/p>\n

\u00a0<\/strong>From the second half of the 1960s Zsolt Durk\u00f3 (1934\u20131997) was considered abroad to be the most often performed contemporary Hungarian composer. He sought to meld universal and Hungarian values in his music, an effort reflected, among other works of his, by his four-movement Violin Concerto (1933), which betrays an influence of Bart\u00f3k, Berg and Webern. Durk\u00f3 composed the work in Budapest and Velem, a village that provided idyllic circumstances for work. It received its world premi\u00e8re at the Music Academy in the autumn of 1993, with Ferenc Szecs\u0151di playing solo, to whom the work is dedicated. Although it is Durk\u00f3\u2019s fourth work for solo violin and orchestra, it is the only one designated as a concerto in the title. Each of the movements are a different musical world. The opening Allegretto develops from a tiny musical germ; the more energetic second movement allows for the development of a prolonged dramatic fabric; the third would be unimaginable without the backdrop of Bart\u00f3kian \u201cnight slow movements\u201d; and the finale is the richest in character.<\/p>\n

 <\/p>\n

Ferenc Liszt: Dante Symphony<\/strong><\/p>\n

Liszt had intended to compose his symphony, based on Dante\u2019s Divine Comedy<\/em>, in three movements, Hell, Purgatory and Paradise. Wagner, however, persuaded him to do away with the third movement, arguing that Paradise was impossible to render in music. Eventually, Liszt added to the second movement a setting of Magnificat<\/em> for female or boys\u2019 choir. The work comprises numerous innovations in harmony, rhythm and orchestration well ahead of his age. In a letter, the composer actually points out the whole-tone scale employed in the closing passage of his setting.<\/p>\n

In the first movement, Liszt renders Dante\u2019s Hell in a chillingly unsettling character, with the episode of Francesca da Rimini falling in sinful love with her brother-in-law as the middle section. The original title of the second movement (Purgatory) was Vision. The setting of the Magnificat begins with the choir intoning the first two lines of the canticle of the Song of Mary: \u201cMy soul doth magnify the Lord. \/ And my spirit hath rejoiced in God my Saviour.\u201d<\/p>\n

 <\/p>\n

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Vigad\u00f3 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":91306,"post_author":"1","post_date":"2016-09-08 08:57:50","post_date_gmt":"2016-09-08 08:57:50","post_content":"{:hu}

A Szimfonikus percek keletkez\u00e9se voltak\u00e9ppen Galafr\u00e9s Elz\u00e1nak, Dohn\u00e1nyi m\u00e1sodik feles\u00e9g\u00e9nek k\u00f6sz\u00f6nhet\u0151. A berlini sz\u00fclet\u00e9s\u0171 dr\u00e1mai sz\u00edn\u00e9szn\u0151t a zeneszerz\u0151 1912 \u00f3ta alkot\u00f3t\u00e1rs\u00e1nak tekintette a sz\u00ednpadi zen\u00e9k \u00fcgy\u00e9ben.\r\nDohn\u00e1nyi r\u00e9gen foglalkozott m\u00e1r azzal a gondolattal, hogy sikeres Ruralia Hungarica c\u00edm\u0171 m\u0171v\u00e9t sz\u00ednpadra alkalmazza. A Szimfonikus percek a Ruralia (\u00f6nmag\u00e1ban r\u00f6vid) t\u00e9teleihez f\u0171z\u00f6tt p\u00f3tl\u00e1s. A t\u00e1nclegend\u00e1t 1934. december 6-\u00e1n mutatta be a Magyar \u00c1llami Operah\u00e1z \"A szent f\u00e1klya\" c\u00edmmel, Galafr\u00e9s Elza koreogr\u00e1fi\u00e1j\u00e1val, aki eg\u00e9szen \u00faj lejegyz\u00e9sform\u00e1t, egyfajta \u201et\u00e1ncpartit\u00far\u00e1t\u201d tal\u00e1lt ki a m\u0171 sz\u00e1m\u00e1ra. Ez mag\u00e1ba foglalta a zen\u00e9t, a cselekm\u00e9ny sz\u00f6veges le\u00edr\u00e1s\u00e1t, a t\u00e1ncosok mozdulatainak pontos jelz\u00e9s\u00e9t, a t\u00e1ncol\u00f3 csoportok sz\u00ednpadi elhelyezked\u00e9s\u00e9t, de m\u00e9g a vil\u00e1g\u00edt\u00e1si el\u0151\u00edr\u00e1sokat is.<\/p>\r\n

A m\u0171 azonban m\u00e9gsem sz\u00ednpadi, hanem zenekari v\u00e1ltozatban sz\u00f3lalt meg el\u0151sz\u00f6r. El\u0151fordult m\u00e1r kor\u00e1bban is Budapesten, hogy Bart\u00f3k-, Kod\u00e1ly- \u00e9s Dohn\u00e1nyi-m\u0171vek \u0151sbemutat\u00f3i egy\u00fctt hangzottak el, de ez m\u00e9gis k\u00fcl\u00f6nleges esem\u00e9nynek sz\u00e1m\u00edtott. 1933-ban, a Filharm\u00f3niai T\u00e1rsas\u00e1g Zenekar\u00e1nak 80. sz\u00fclet\u00e9snapj\u00e1t \u00fcnnepelt\u00e9k a h\u00e1rom legjelent\u0151sebbnek sz\u00e1m\u00edt\u00f3 magyar szerz\u0151 egy-egy m\u0171v\u00e9vel. Kod\u00e1ly a Gal\u00e1ntai t\u00e1ncokat, Bart\u00f3k \u00f6t zenekari k\u00eds\u00e9retes n\u00e9pdalfeldolgoz\u00e1st, Dohn\u00e1nyi pedig a Szimfonikus percek c\u00edm\u0171 m\u0171vet mutatta be ebb\u0151l az alkalomb\u00f3l. A kritika elismer\u00e9ssel fogadta az \u00faj m\u0171veket. \u201eMelyik nemzet tud ma egyszerre h\u00e1rom ilyen g\u00e9niuszt felmutatni? ... nemcsak a szellemet sz\u00f3rakoztatja, de fel\u00fcd\u00edti a lelket is. Lebilincsel \u00e9s felszabad\u00edt.\u201d \u2013 lelkesedett T\u00f3th Alad\u00e1r.\r\nA nyit\u00f3t\u00e9tel, a Capriccio faf\u00fav\u00f3sainak vill\u00f3dz\u00f3 futamai, suhan\u00e1sai a n\u00e9met romantika nagy zongoravirtu\u00f3zainak technik\u00e1j\u00e1t, vagy m\u00e9g ink\u00e1bb Mendelssohn t\u00fcnd\u00e9r-scherz\u00f3inak vil\u00e1g\u00e1t juttatj\u00e1k esz\u00fcnkbe A zenekar kezel\u00e9se, hangszerel\u00e9si gazdags\u00e1ga \u00e9s virtuozit\u00e1sa Richard Strauss m\u0171v\u00e9szet\u00e9t id\u00e9zi.\r\nA Rapsodia t\u00e9tel az angolk\u00fcrt szomork\u00e1s, szabadon csapong\u00f3 dallam\u00e1val indul, amire a klarin\u00e9t v\u00e1laszol. A k\u00e9sei romantika operazen\u00e9j\u00e9nek term\u00e9szeti k\u00e9pei \u2013 p\u00e9ld\u00e1ul Wagner p\u00e1sztorfi\u00faj\u00e1nak \u00e9neke (szinte sz\u00f3 szerinti Triszt\u00e1n-id\u00e9zetet is hallhatunk) \u2013 valamint a Bart\u00f3k \u00e9s Kod\u00e1ly m\u0171veiben felcsend\u00fcl\u0151, n\u00e9pzenei rokons\u00e1g\u00fa \u00e9jszakai monol\u00f3gok egyszerre jelennek meg ebben sugallatos zen\u00e9ben.\r\nA ciklus k\u00f6z\u00e9pponti t\u00e9tele, a Scherzo lend\u00fcletes, de vaskos hangszerel\u00e9s\u0171 t\u00e1nczene. A szilaj f\u0151r\u00e9szt ellenpontoz\u00f3 l\u00edrai dallam r\u00e9zf\u00fav\u00f3shangz\u00e1sai k\u00e9s\u0151romantikus jelleg\u0171ek. A 20. sz\u00e1zad k\u00f6zep\u00e9nek filmzen\u00e9iben is gyakran \u00e9lnek a szerz\u0151k az ilyesf\u00e9le \u00e9rzelmekre hat\u00f3 eszk\u00f6z\u00f6kkel.\r\nDohn\u00e1nyi a Szimfonikus percekben kihaszn\u00e1lja a sz\u00e1m\u00e1ra oly mag\u00e1t\u00f3l \u00e9rtet\u0151d\u0151 vari\u00e1ci\u00f3s form\u00e1t. A Tema con variazioni nemes egyszer\u0171s\u00e9g\u0171, 16. sz\u00e1zadi dallamot dolgoz f\u00f6l (\u201eTema del seicento\u201d). A v\u00e1ltozatok el\u0151sz\u00f6r l\u00e1gy, folyamatos mozg\u00e1ss\u00e1 oldj\u00e1k a t\u00e9ma ritmus\u00e1t, majd hat\u00e1rozottabb arc\u00e9lt \u00f6ltenek. Ez a hangv\u00e9tel Bart\u00f3k Concert\u00f3j\u00e1nak kor\u00e1lj\u00e1ban is visszat\u00e9r majd. Az utols\u00f3 el\u0151tti vari\u00e1ci\u00f3 kecses rajzolat\u00fa klarin\u00e9tdallama messzire rugaszkodik az eredeti t\u00e9m\u00e1t\u00f3l, de az utols\u00f3 v\u00e1ltozat h\u0171s\u00e9gesen visszat\u00e9r a t\u00e9ma els\u0151 alakj\u00e1hoz, s a cseleszta titokzatos hangz\u00e1sa emeli sohasem l\u00e1tott \u00e9teri vil\u00e1gba a zen\u00e9t.\r\nA z\u00e1r\u00f3t\u00e9tel (Rondo) sz\u00e1guld\u00e1s\u00e1ban ism\u00e9t megjelenik a virtu\u00f3z elem, de a t\u00fcnd\u00e9r-scherzo karakter itt m\u00e1r n\u00e9pi, v\u00e9rb\u0151 t\u00e9m\u00e1kk\u00e1 vastagodik. J\u00f3kedv\u0171, felh\u0151tlen\u00fcl vid\u00e1m zene, Brahms Magyar t\u00e1ncainak m\u00e9lt\u00f3 ut\u00f3da.\r\nJ\u00f3llehet Dohn\u00e1nyi m\u0171ve a zenet\u00f6rt\u00e9neti asszoci\u00e1ci\u00f3k t\u00e1rh\u00e1za, egy\u00fctt meghallgatva a t\u00e9teleket tiszt\u00e1n kirajzol\u00f3dik egy nagyszer\u0171 muzsikus \u00f6sszet\u00e9veszthetetlen egy\u00e9nis\u00e9ge.<\/p>{:}{:en}

Ern\u0151 Dohn\u00e1nyi's composition Symphonic Minutes comprises of five short movements, each only a couple of minutes long. It has undoubtedly become one of the composer's most popular works, a popularity that predates the more recent renaissance in the composer's fortunes. Indeed for the past few decades, it has been performed regularly in Hungary and could frequently be heard on the radio.<\/p>\r\n

We can thank Doh\u00e1nyi's second wife, Elza Galafr?s for the work's inception. Elza was a Berlin born actress and from 1912 Dohn\u00e1niy regarded her as a collaborative partner for his own stage music creations. It was she who successfully mounted Dohn\u00e1nyi's pantomime Pierette in Vienna, where earlier it had been a failure.<\/p>\r\n

Dohn\u00e1nyi had long been preoccupied with the thought of turning his successful Ruralia Hungarica composition into theatre music, but the work was self evidently too short. The Symphonic Minutes are, then, a supplement to the Ruralia movements, and the two cycles combined became the dance legend Holy Torch. This was premiered at the Hungarian State Opera House on December 6th 1934, with choreography by Elza Galafr?s, who devised an entirely novel system of notation for the work, writing essentially a dance score. She had long sensed that the traditional method of notating dance steps was both cumbersome and misleading, and so taking the five line system of music as her starting point, she wrote her instructions, which thus became readily comprehensible to even a layman, between five lines, each a few centimetres apart. This contained the music, a textual description of the action, precise movements of the dancers, the placing of the dance groups on the stage and even instructions for the lighting. In the choreography, she endeavoured for the placing of the dancers in each group scene to evoke a Hungarian folk motif. (This remarkable \"score\" is now on display at the Paris Museum of Dance.)<\/p>\r\n

The composition however was premiered not in its stage version but in an orchestral guise. Earlier of course, there had been occasions when new works by Bart\u00f3k, Kod\u00e1ly and Dohn\u00e1nyi were premiered together, but this still counted as a very special occasion. The first occasion was the legendary concert marking the 50th anniversary of the unification of Pest, Buda and \u00d3buda into modern day Budapest, in which Kod\u00e1ly's Psalmus Hungaricus, Bart\u00f3k's Dance Suite and Dohn\u00e1nyi's Festival Overture were all given their world premieres. Ten years later in 1933, the Orchestra of the Philharmonic Society celebrated its eightieth birthday with a concert that gave the first performances of Kod\u00e1ly's Galantian Dances, Bart\u00f3k's Five Folk Songs with Orchestral Accompaniment, and Dohn\u00e1nyi's Symphonic Minutes. The critics were enthusiastic - Alad\u00e1r T\u00f3th wrote appreciatively: \"What nation could present three such geniuses at the same time?\" He had this to say about Dohn\u00e1nyi's work: \"This little bagatelle is all harmony, form and lightness, which frolics in one place, is capricious in another, and pure song elsewhere; when it is witty it is also wild, in other words, a divertimento which not only entertains the mind but also raises the soul. It transfixes and liberates.\"<\/p>\r\n

We think of Dohn\u00e1nyi's artistry in terms of its light handed composition, its virtuosity, its remarkable craftsmanship and its largely unclouded, upbeat charm. The score of Symphonic Minutes matches these expectations perfectly.<\/p>\r\n

The opening moment, marked Capriccio, is awash with filigree woodwind passages which evoke the technique of German Romantic piano virtuosity, although perhaps we ought rather to think in terms of Mendelssohn's fairy music. The handling of the orchestra and the richness and virtuosity of the orchestration evokes the art of Richard Strauss.<\/p>\r\n

The Rhapsody movement begins with a sad, discursive melody on the cor anglais to which the clarinet responds. In this evocative music, we encounter both the nature music of late Romanic opera - for example Wagner's shepherd boy's melody (and we also hear a near verbatim quotation from Tristan) - coupled with a night monologue closely related to folk music that occurs often in the works of Kod\u00e1ly and Wagner.\r\nAt the centre of the work is the Scherzo which is momentous robustly orchestrated dance music. We could be forgiven for thinking we can hear the influence of Prokofiev. The brass sonorities of the emotional, lyrical\u00a0 melody that counterpoints the boisterous principal section is late Romantic in character, although we can find similar emotional devices employed by film composers in the mid 1950s.<\/p>\r\n

Dohn\u00e1nyi's Symphonic Minutes also employs a self-explanatory variation form. The Tema con variazioni takes as its subject matter a nobly simple 16th century melody (\"Tema del seicento\"). The variations initially resolve the rhythm of the theme into soft, constant motion, but then the music takes on a more steely edge. The mood of this music was to return in the chorale of Bart\u00f3k's Concerto. The gracefully shaped clarinet melody of the penultimate variation seems very distant from the original theme, but the final variation faithfully returns to the theme, whereupon a celesta joins in, and its secretive sonority raises the music into a hitherto unsuspected ethereal world.<\/p>\r\n

The closing movement (Rondo) is full of energy and again, we find the virtuosity of the opening fairy scherzo music. But here the music takes on folk music character: it is good humoured, cloudless and joyful, a fitting successor to Brahms' Hungarian Dances.<\/p>\r\n

Although Dohn\u00e1nyi's composition is a treasure trove of musical historical associations, when we hear the five movements performed together, we derive an unmistakeable impression of a first rate musical personality.<\/p>{:}","post_title":"{:hu}Szimfonikus percek, op. 36{:}{:en}Symphonic Minutes, op. 36{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"szimfonikus-percek-op-36","to_ping":"","pinged":"","post_modified":"2019-04-29 13:31:45","post_modified_gmt":"2019-04-29 13:31:45","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/szimfonikus-percek-op-36\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":101518,"post_author":"3","post_date":"2017-05-30 06:39:00","post_date_gmt":"2017-05-30 06:39:00","post_content":"{:hu}Durk\u00f3 Zsolt (1934\u20131997) hazai \u00e9s nemzetk\u00f6zi d\u00edjak sor\u00e1nak birtokosa volt, s m\u00e1r a hatvanas \u00e9vtized m\u00e1sodik fel\u00e9t\u0151l a leggyakrabban j\u00e1tszott kort\u00e1rs magyar zeneszerz\u0151nek sz\u00e1m\u00edtott k\u00fclf\u00f6ldi f\u00f3rumokon. M\u0171v\u00e9szet\u00e9vel egyszerre k\u00edv\u00e1nt egyetemes \u00e9s magyar \u00e9rt\u00e9kek k\u00f6zvet\u00edt\u0151je lenni: ezt a t\u00f6rekv\u00e9s\u00e9t t\u00fckr\u00f6zi k\u00e9sei, \u00f6sszefoglal\u00f3 jelleg\u0171 Heged\u0171verseny<\/em>e (1993) is. Ez imm\u00e1r a negyedik darabja volt a szerz\u0151nek, amely sz\u00f3l\u00f3heged\u0171re \u00e9s zenekarra keletkezett, \u00e1m k\u00f6z\u00fcl\u00fck egyetlenk\u00e9nt visel c\u00edm\u00e9ben is verseny<\/em>m\u0171 megjel\u00f6l\u00e9st (a kor\u00e1bbiak: Organismi<\/em>, 1964; Turner illusztr\u00e1ci\u00f3k<\/em>, 1976; Refr\u00e9nek<\/em>, 1979). \u0150sbemutat\u00f3j\u00e1ra a Zeneakad\u00e9mi\u00e1n ker\u00fclt sor 1993 \u0151sz\u00e9n, Szecs\u0151di Ferenc sz\u00f3l\u00f3j\u00e1val \u2013 akinek a m\u0171 aj\u00e1nl\u00e1sa is sz\u00f3l.\r\n\r\nA Heged\u0171verseny<\/em> n\u00e9gyt\u00e9teles, szimfonikus ig\u00e9ny\u0171 \u00e9s koncepci\u00f3j\u00fa alkot\u00e1s, sz\u00ednpomp\u00e1s nagyzenekari hangszerel\u00e9sben. K\u00f6t\u00f6tt, valamint aleatorikus (a v\u00e9letlen szerep\u00e9t is kihaszn\u00e1l\u00f3) szakaszokat egyar\u00e1nt tartalmaz; egyes r\u00e9szei az improviz\u00e1ci\u00f3 benyom\u00e1s\u00e1t keltik. A hangok alapvet\u0151en tizenk\u00e9tfok\u00fa rendszere mellett id\u0151nk\u00e9nt a negyedhangok tartom\u00e1ny\u00e1t is birtokba veszi m\u0171v\u00e9ben a szerz\u0151.\r\n\r\nA m\u00e9rs\u00e9kelt iram\u00fa (Allegretto<\/em> kezd\u0151temp\u00f3j\u00fa) nyit\u00f3t\u00e9tel kiegyens\u00falyozott, egys\u00e9ges muzsika; dallamoss\u00e1ga apr\u00f3 sejtekb\u0151l fejl\u0151dik ki organikus eg\u00e9ssz\u00e9. Hangszerel\u00e9se t\u00f6bbsz\u00f6r is \u00e1tt\u00f6rt, szinte kamarazenei fogantat\u00e1s\u00fa, benne a l\u00edra sz\u00edn\u00e9rz\u00e9keny \u2013 olykor webernien finom \u2013 pillanataival; v\u00e9g\u00fcl maga a t\u00e9tel is \u00edgy illan tova. De m\u00e1sfajta eml\u00e9kk\u00e9peket is f\u00f6l-f\u00f6lcsillant a zenei folyamat: Bart\u00f3k\u00e9t, s a helyenk\u00e9nti kvartmotivika \u00e9s egy\u00e9b jellegzetes dallamfordulatok r\u00e9v\u00e9n konkr\u00e9tan a II. heged\u0171verseny\u00e9t<\/em>; ugyan\u00fagy a hangv\u00e9tel szempontj\u00e1b\u00f3l fogalomm\u00e1 v\u00e1lt Alban Berg-Heged\u0171verseny<\/em>\u00e9t, s vele a b\u00facs\u00fa\u00e9t. Sz\u00ednhat\u00e1s tekintet\u00e9ben k\u00fcl\u00f6nleges szerep jut a cseng\u0151-bong\u00f3, l\u00e1gy zeng\u00e9s\u0171 hangszereknek, \u00edgy mindj\u00e1rt a k\u00e9t h\u00e1rf\u00e1nak a t\u00e9tel kezdet\u00e9n, k\u00e9s\u0151bb a zongor\u00e1nak \u00e9s az \u00fct\u0151k ilyen fajt\u00e1j\u00fa csoportj\u00e1nak is. A l\u00edra f\u00e9nyteljes pillanatait dr\u00e1mai, m\u00e1r-m\u00e1r v\u00e9gzetszer\u0171s\u00e9get sejtet\u0151 s\u00f6t\u00e9t akkordt\u00f6mb\u00f6k s \u00edvek ellens\u00falyozz\u00e1k a t\u00e9tel k\u00f6zep\u00e9n.\r\n\r\nA ciklikus nagyforma-hagyom\u00e1ny szempontj\u00e1b\u00f3l scherzo<\/em>-szerepet t\u00f6lt be az els\u0151n\u00e9l mozgalmasabb (Vivo; agitato<\/em> kezd\u0151megjel\u00f6l\u00e9s\u0171) II. t\u00e9tel. \u00c1ltala m\u00e1r kiterjedt dr\u00e1mai fel\u00fcletek jelennek meg a darabban, s a szenved\u0151 felki\u00e1lt\u00e1sok, d\u00f6r\u00f6mb\u00f6l\u00e9sek expresszivit\u00e1sa ism\u00e9t egyar\u00e1nt eml\u00e9keztethet Bart\u00f3kra \u00e9s Bergre, s\u0151t: ak\u00e1r a Hat zenekari darab<\/em> (Op. 6) Webernj\u00e9re is. Mint a nyit\u00f3 Allegretto<\/em> befejez\u00e9sekor, a sz\u00f3l\u00f3heged\u0171 e t\u00e9tel v\u00e9g\u00e9n is mag\u00e1nyosan \u201edalol\u201d; a k\u00f6zrem\u0171k\u00f6d\u0151 hangszerek csup\u00e1n a vallom\u00e1stev\u0151 egyed\u00fcll\u00e9t\u00e9t hivatottak kiemelni.\r\n\r\nLehetetlen nem gondolnunk a bart\u00f3ki \u201e\u00e9jszaka\u201d-lass\u00fak po\u00e9zis\u00e9re \u2013 azok foltszer\u0171 hangz\u00e1saira, sirat\u00f3 jelleg\u0171 t\u00f6red\u00e9k-dallamaira, titokzatos neszeire \u2013 a III. t\u00e9tel (Adagio molto<\/em>) indul\u00e1sakor. Majd a k\u00f6z\u00e9ps\u0151 formaszakasz kezdete egy aszimmetrikus ostinato-mot\u00edvummal szinte konkr\u00e9tan f\u00fcl\u00fcnkbe is id\u00e9zi a Zene h\u00faros hangszerekre, \u00fct\u0151kre \u00e9s cseleszt\u00e1ra<\/em> lass\u00faj\u00e1nak centr\u00e1lis \u2013 mark\u00e1ns, k\u00f6rben forg\u00f3 \u2013 k\u00e9plet\u00e9t. \u00c1m n\u00e9h\u00e1ny pillanat m\u00falt\u00e1n \u2013 gy\u00f6keres kontraszt gyan\u00e1nt \u2013 hangot v\u00e1lt a folyamat, mellyel imm\u00e1r nem csup\u00e1n a trag\u00e9dia szel\u00e9t sejtet\u0151 dr\u00e1ma<\/em>, hanem az elidegen\u00edtett Bart\u00f3k-id\u00e9zet tov\u00e1bbsz\u00f6v\u00e9sek\u00e9nt \u00e9s szerz\u0151i utas\u00edt\u00e1ssal nyomat\u00e9kos\u00edtva (Brutale, bestiale<\/em>), az agresszi\u00f3<\/em> is zenei megfogalmaz\u00e1st nyer; mondhatjuk, korunk egyfajta t\u00fck\u00f6rk\u00e9p\u00e9v\u00e9 v\u00e1lnak ezek az \u00fctemek. T\u00edpus\u00e1ban j\u00f3 ideig XX. sz\u00e1zad v\u00e9gi muzsik\u00e1t hallunk ezut\u00e1n, melynek \u00fajabb, szem\u00e9lytelen-embertelen hat\u00e1s\u00fa glissando<\/em> r\u00e9tege f\u00f6l\u00f6tt \u00fatj\u00e1ra indulva, n\u00e9pdalszer\u0171 sorokat \u201e\u00e9nekel\u201d a sz\u00f3l\u00f3heged\u0171. Benn\u00fck az el\u0151z\u0151 t\u00e9teleket kicsend\u00edt\u0151 mag\u00e1nyl\u00edra t\u00f3nusainak megfelel\u0151it is f\u00f6lfedezhetj\u00fck, \u00e1mde \u00e1ltaluk az el\u0151zm\u00e9nyekn\u00e9l sokkalta elm\u00e9ly\u00fcltebb, igaz\u00e1n a m\u00e1hoz int\u00e9zett \u201e\u00fczenet\u201d \u00e9rt\u00e9k\u0171 hangot \u00fct meg a szerz\u0151. A teljes m\u0171 kiv\u00e9teles erej\u0171 pillanatai ezek. Majd a t\u00e9tel v\u00e9gs\u0151 szakasz\u00e1ban \u2013 az oldottabb\u00e1 v\u00e1l\u00f3 kicseng\u00e9s r\u00e9szek\u00e9nt \u2013 visszat\u00e9rnek a bart\u00f3kos fr\u00e1zisok is.\r\n\r\nKarakterek szempontj\u00e1b\u00f3l valamennyi t\u00e9tel k\u00f6z\u00fcl a fin\u00e1l\u00e9 a leg\u00f6sszetettebb. Lass\u00fa (Andante sostenuto<\/em>) bevezet\u0151j\u00e9t k\u00f6vet\u0151en \u2013 melynek \u201eb\u00facs\u00fa\u201d-t\u00f3nusa egyar\u00e1nt eml\u00e9keztethet Bart\u00f3k VI. von\u00f3sn\u00e9gyes<\/em>\u00e9re \u00e9s Alban Berg zenei vil\u00e1g\u00e1ra \u2013 mozgalmass\u00e1got hoz mag\u00e1val az Allegretto<\/em> kezd\u0151felirat\u00fa gyors szakasz, de val\u00f3di felszabadult \u00f6r\u00f6m\u00f6t nem. \u00cdgy a kompoz\u00edci\u00f3 befejez\u00e9sekor \u2013 az addigi t\u00e9telek megold\u00e1saihoz hasonl\u00f3an \u2013 \u201ekonkl\u00fazi\u00f3k\u00e9nt\u201d f\u00f6lcsend\u00fcl\u0151 heged\u0171sz\u00f3l\u00f3 is hevesen deklam\u00e1l, tiltakozik \u00e9s ki\u00e1lt a tal\u00e1nyos \u00e9rtelm\u0171, nyitott z\u00e1r\u00e1st hordoz\u00f3 v\u00e9gs\u0151 \u00fctemek el\u0151k\u00e9sz\u00edt\u00e9sek\u00e9ppen. Nincs optimista j\u00f6v\u0151v\u00edzi\u00f3: a m\u0171 v\u00e9get \u00e9r, de a kor, melyhez sz\u00f3l, marad.{:}{:en}From the second half of the 1960s Zsolt Durk\u00f3 (1934\u20131997) was considered abroad to be the most often performed contemporary Hungarian composer. He sought to meld universal and Hungarian values in his music, an effort reflected, among other works of his, by his four-movement Violin Concerto (1933), which betrays an influence of Bart\u00f3k, Berg and Webern. Durk\u00f3 composed the work in Budapest and Velem, a village that provided idyllic circumstances for work. It received its world premi\u00e8re at the Music Academy in the autumn of 1993, with Ferenc Szecs\u0151di playing solo, to whom the work is dedicated. Although it is Durk\u00f3\u2019s fourth work for solo violin and orchestra, it is the only one designated as a concerto in the title. Each of the movements are a different musical world. The opening Allegretto develops from a tiny musical germ; the more energetic second movement allows for the development of a prolonged dramatic fabric; the third would be unimaginable without the backdrop of Bart\u00f3kian \u201cnight slow movements\u201d; and the finale is the richest in character.{:}","post_title":"{:hu}Heged\u0171verseny{:}{:en}Violin Concerto{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hegeduverseny-3","to_ping":"","pinged":"","post_modified":"2017-12-16 15:37:15","post_modified_gmt":"2017-12-16 15:37:15","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=101518","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Durk\u00f3 Zsolt"]},{"ID":91725,"post_author":"1","post_date":"2016-09-08 08:57:56","post_date_gmt":"2016-09-08 08:57:56","post_content":"{:hu}Liszt Ferenc az 1830-as \u00e9vek m\u00e1sodik fel\u00e9ben, it\u00e1liai utaz\u00e1sai sor\u00e1n ismerte meg Dante Isteni sz\u00ednj\u00e1t\u00e9k<\/em>\u00e1t. A nagy l\u00e9legzet\u0171 elbesz\u00e9l\u0151 k\u00f6ltem\u00e9ny egy zongoraszon\u00e1ta \u00e9s egy szimf\u00f3nia meg\u00edr\u00e1s\u00e1ra ihlette; ez ut\u00f3bbi m\u0171 terv\u00e9t 1939-ben, a Faust-szimf\u00f3ni\u00e1<\/em>\u00e9val egy\u00fctt eml\u00edtette el\u0151sz\u00f6r. A Dante-t\u00e9m\u00e1j\u00fa zenekari darab \u00f6tlete sok\u00e1ig form\u00e1l\u00f3dott a fej\u00e9ben: el\u0151sz\u00f6r szimfonikus, majd sz\u00ednpadi m\u0171nek tervezte, k\u00e9s\u0151bb dior\u00e1m\u00e1s vet\u00edt\u00e9ssel, Bonaventura Genellinek az Isteni sz\u00ednj\u00e1t\u00e9k<\/em>hoz k\u00e9sz\u00edtett illusztr\u00e1ci\u00f3ival szerette volna k\u00eds\u00e9rni. A \u201emultim\u00e9di\u00e1s\u201d elk\u00e9pzel\u00e9sb\u0151l v\u00e9g\u00fcl nem lett semmi, a zeneszerz\u0151 f\u00e9lretette a m\u00e1r megl\u00e9v\u0151 v\u00e1zlatokat, s csak 1855 tavasz\u00e1n kezdett hozz\u00e1 a m\u0171 kidolgoz\u00e1s\u00e1hoz. A szimf\u00f3ni\u00e1t eredetileg, Dante m\u0171v\u00e9nek tagol\u00e1s\u00e1t k\u00f6vetve, h\u00e1rom t\u00e9telesre tervezte: \u201ePokol\u201d \u2013 \u201ePurgat\u00f3rium\u201d \u2013 \u201eParadicsom\u201d (k\u00f3russal), \u00e1m Wagner lebesz\u00e9lte a 3. t\u00e9telr\u0151l, mondv\u00e1n, hogy a Paradicsomot k\u00e9ptelens\u00e9g zen\u00e9ben megkompon\u00e1lni. Liszt v\u00e9g\u00fcl a m\u00e1sodik t\u00e9telt egy Magnificattal eg\u00e9sz\u00edtette ki, amelyhez k\u00e9tf\u00e9le befejez\u00e9si lehet\u0151s\u00e9get adott: egy \u00e9teri, h\u00e1romszoros pian\u00f3ban elhal\u00f3t, s ut\u00e1na egy diadalmas, h\u00e1romszoros fort\u00e9val v\u00e9gz\u0151d\u0151t. A Dante-szimf\u00f3nia<\/em> \u0151sbemutat\u00f3j\u00e1ra 1857 november\u00e9ben ker\u00fclt sor Drezd\u00e1ban, a szerz\u0151 vez\u00e9nylet\u00e9vel. Az egyetlen pr\u00f3b\u00e1val, sebt\u00e9ben el\u0151k\u00e9sz\u00edtett el\u0151ad\u00e1s hatalmas buk\u00e1st hozott. A pr\u00f3b\u00e1k hi\u00e1nya mellett a legnagyobb probl\u00e9m\u00e1t a zen\u00e9szeknek val\u00f3sz\u00edn\u0171leg a m\u0171 hangszerel\u00e9si, harm\u00f3niai \u00e9s ritmikai \u00fajszer\u0171s\u00e9ge (szokatlan \u00fctemfajt\u00e1k, a temp\u00f3 hull\u00e1mz\u00e1sai, mer\u00e9sz harm\u00f3niav\u00e1lt\u00e1sok, ton\u00e1lisan bizonytalan szakaszok, sok sz\u00f3l\u00f3, illetve kamarazenei hangszerel\u00e9s\u0171 r\u00e9szlet) okozta. Egy level\u00e9ben k\u00e9s\u0151bb maga Liszt h\u00edvta fel a figyelmet egyik harm\u00f3niai \u00faj\u00edt\u00e1s\u00e1ra, a Magnificat z\u00e1r\u00f3 szakasz\u00e1nak eg\u00e9szhang\u00fa sk\u00e1l\u00e1ra \u00e9p\u00fcl\u0151 akkordsor\u00e1ra, amelyet (legal\u00e1bbis tudom\u00e1sa szerint) teljes terjedelm\u00e9ben addig m\u00e9g senki nem alkalmazott.\r\n\r\nA szimf\u00f3nia 1. t\u00e9tele (\u201ePokol\u201d) lassan indul\u00f3, majd fokozatosan gyorsul\u00f3 bevezet\u00e9ssel kezd\u0151dik. A pokol kapuj\u00e1nak felirat\u00e1b\u00f3l n\u00e9gy verssor hangszeres recitativ\u00f3k\u00e9nt hangzik el a m\u00e9lyvon\u00f3sokon (az olasz sz\u00f6veget a zeneszerz\u0151 be\u00edrta a br\u00e1csasz\u00f3lam al\u00e1): \u201e\u00c9n rajtam jutsz a k\u00ednnal telt haz\u00e1ba, \u00e9n rajtam \u00e1t oda, hol nincs vigass\u00e1g \/ rajtam a k\u00e1rhozott n\u00e9p v\u00e1ros\u00e1ba. \/ \u2026Ki itt bel\u00e9psz, hagyj fel minden rem\u00e9nnyel.\u201d (Ez az utols\u00f3, h\u00edres sor mintegy mott\u00f3k\u00e9nt, formatagol\u00f3 funkci\u00f3ban t\u00f6bbsz\u00f6r visszat\u00e9r majd.) A t\u00e9tel k\u00f6z\u00e9pr\u00e9sz\u00e9ben h\u00e1rfa-glissand\u00f3k, basszusklarin\u00e9t-sz\u00f3l\u00f3 \u00e9s k\u00e9t klarin\u00e9t \u00e9rz\u00e9ki duettje jelzi az Isteni sz\u00ednj\u00e1t\u00e9k<\/em> \u00d6t\u00f6dik \u00e9nek\u00e9b\u0151l a Francesca da Rimini epiz\u00f3d kezdet\u00e9t. A s\u00f3gor\u00e1val b\u0171n\u00f6s szerelembe esett Francesc\u00e1nak a kott\u00e1ba be\u00edrt szavait angolk\u00fcrt tolm\u00e1csolja h\u00e1rfak\u00eds\u00e9rettel: \u201eNincs semmi szomor\u00edt\u00f3bb, mint eml\u00e9kezni r\u00e9gi sz\u00e9p id\u0151re nyomorban\u2026\u201d. A r\u00e1k\u00f6vetkez\u0151 7\/4-es \u00fctem\u0171 \u201eAndante amoroso\u201d szakasz nyilv\u00e1nval\u00f3an ezt a r\u00e9gi sz\u00e9p id\u0151t id\u00e9zi fel. A szenved\u00e9lyes szerelmi jelenetnek a \u201eKi itt bel\u00e9psz\u201d verssor megjelen\u00e9se vet v\u00e9get, visszaz\u00f6kkentv\u00e9n a hallgat\u00f3t a pokol rideg val\u00f3s\u00e1g\u00e1ba. A t\u00e9tel els\u0151 r\u00e9sz\u00e9nek r\u00f6vid\u00edtett visszat\u00e9r\u00e9s\u00e9hez s\u00f6t\u00e9ten groteszk zene vezet \u00e1t, melynek klarin\u00e9t-br\u00e1csa trillamot\u00edvuma Liszt komment\u00e1rja szerint \u201eistenk\u00e1roml\u00f3, g\u00fanyos r\u00f6h\u00f6g\u00e9st\u201d jelen\u00edt meg. A 2. t\u00e9tel (\u201ePurgat\u00f3rium\u201d) var\u00e1zslatos zen\u00e9j\u00e9nek a komponista eredetileg a \u201eL\u00e1tom\u00e1s\u201d (Vision) c\u00edmet adta. A t\u00e9tel k\u00f6z\u00e9pr\u00e9sz\u00e9ben \u00f6tsz\u00f3lam\u00fa f\u00fagaexpoz\u00edci\u00f3 bontakozik ki, amely nagy fokoz\u00e1s ut\u00e1n grandioso <\/em>cs\u00facspontba torkollik. A \u201ePurgat\u00f3rium\u201d ut\u00e1n sz\u00fcnet n\u00e9lk\u00fcl k\u00f6vetkez\u0151 Magnificat kezdet\u00e9n a n\u0151i vagy fi\u00fakar az egyik gregori\u00e1n Magnificat-dallamot inton\u00e1lja M\u00e1ria h\u00e1la\u00e9nek\u00e9nek els\u0151 k\u00e9t sor\u00e1ra: \u201eMagasztalja lelkem az Urat, \u00e9s sz\u00edvem ujjong \u00fcdv\u00f6z\u00edt\u0151 Istenemben.\u201d (A szerz\u0151 k\u00edv\u00e1ns\u00e1ga szerint a k\u00f3rust \u00fagy kell elhelyezni, hogy a k\u00f6z\u00f6ns\u00e9g sz\u00e1m\u00e1ra l\u00e1thatatlan legyen.) A z\u00e1r\u00f3 szakaszban az eg\u00e9szhang\u00fa sk\u00e1l\u00e1ra \u00e9p\u00edtett, \u201ef\u00f6ld\u00f6nt\u00fali\u201d harm\u00f3niasort hallgatva \u00fagy \u00e9rezhetj\u00fck, mintha Lisztnek m\u00e9gis csak siker\u00fclt volna a Paradicsomot megkompon\u00e1lnia\u2026\r\n\r\n \r\n\r\n {:}{:en}Liszt had intended to compose his symphony, based on Dante\u2019s Divine Comedy<\/em>, in three movements, Hell, Purgatory and Paradise. Wagner, however, persuaded him to do away with the third movement, arguing that Paradise was impossible to render in music. Eventually, Liszt added to the second movement a setting of Magnificat<\/em> for female or boys\u2019 choir. The work comprises numerous innovations in harmony, rhythm and orchestration well ahead of his age. In a letter, the composer actually points out the whole-tone scale employed in the closing passage of his setting.\r\n\r\nIn the first movement, Liszt renders Dante\u2019s Hell in a chillingly unsettling character, with the episode of Francesca da Rimini falling in sinful love with her brother-in-law as the middle section. The original title of the second movement (Purgatory) was Vision. The setting of the Magnificat begins with the choir intoning the first two lines of the canticle of the Song of Mary: \u201cMy soul doth magnify the Lord. \/ And my spirit hath rejoiced in God my Saviour.\u201d{:}","post_title":"{:hu}Dante-szimf\u00f3nia{:}{:en}Dante-symphony{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"dante-szimfonia","to_ping":"","pinged":"","post_modified":"2017-12-16 15:29:23","post_modified_gmt":"2017-12-16 15:29:23","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/dante-szimfonia\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Liszt"]}],"muvekrol_reszletesen":true,"kozr_szemelyek":[{"ID":87286,"post_author":"1","post_date":"2017-05-31 06:47:43","post_date_gmt":"2017-05-31 06:47:43","post_content":"{:hu}

1986-ban sz\u00fcletett Balassagyarmaton, nyolc\u00e9ves kor\u00e1t\u00f3l heged\u00fcl. Kor\u00e1n nyert felv\u00e9telt a Budapesti Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetem rendk\u00edv\u00fcli tehets\u00e9geinek oszt\u00e1ly\u00e1ba. Tan\u00e1ra a von\u00f3s tansz\u00e9k vezet\u0151je, Per\u00e9nyi Eszter volt. 1998 \u00e9s 2003 k\u00f6z\u00f6tt Magyarorsz\u00e1gon h\u00e1rom orsz\u00e1gos versenyen nyert els\u0151 d\u00edjat. 2001-ben Hal\u00e1sz Ferenc-d\u00edjban r\u00e9szes\u00fclt, 2003-ban a Carl Flesch Nemzetk\u00f6zi Heged\u0171versenyen lett els\u0151 helyezett. 2004-ben Pro Eur\u00f3pa-d\u00edjat kapott, 2005-ben Dubaiban a Nemzetk\u00f6zi heged\u0171verseny kiemelt 1. d\u00edjasa lett. 2006-ban 2. d\u00edjat kapott a moszkvai Yampolsky Nemzetk\u00f6zi Heged\u0171versenyen, ugyanitt elnyerte a zs\u0171ri k\u00fcl\u00f6nd\u00edj\u00e1t. 2007 szeptember\u00e9ben a budapesti Szigeti-Hubay Nemzetk\u00f6zi Heged\u0171verseny 1. d\u00edj\u00e1t nyerte el \u00e9s neki \u00edt\u00e9lt\u00e9k a Hubay-k\u00fcl\u00f6nd\u00edjat is. 2009-ben \"M\u00e1rciusi Ifjak D\u00edjjal\" jutalmazt\u00e1k, mely d\u00edjat 35 \u00e9v alatti fiatalok kaphatnak, \"akik tev\u00e9kenys\u00e9g\u00fckkel el\u0151seg\u00edtett\u00e9k Magyarorsz\u00e1g kultur\u00e1lis gyarapod\u00e1s\u00e1t\". 2012-ben Magyar Bronz \u00c9rdemkereszttel t\u00fcntett\u00e9k ki. Fiatal kora ellen\u00e9re haz\u00e1j\u00e1n k\u00edv\u00fcl is sok helyen koncertezett m\u00e1r, t\u00f6bbek k\u00f6z\u00f6tt Kanad\u00e1ban, az Amerikai Egyes\u00fclt \u00c1llamokban, az Arab Emir\u00e1tusokban, Oroszorsz\u00e1gban, K\u00edn\u00e1ban \u00e9s Eur\u00f3pa sz\u00e1mos orsz\u00e1g\u00e1ban. (fot\u00f3: Schiller Kata)<\/p>{:}{:en}\u00c1d\u00e1m Banda was born in 1986 in a small Hungarian town, Balassagyarmat. He started to play the violin at the age of eight. He was admitted to the special talents\u00a0 class of the Ferenc Liszt\u00a0 Academy of Music in Budapest at an early age, his Professor being Eszter Per\u00e9nyi. Between 1998 and 2003 he won three national competition in Hungary. In 2001 he was awarded the Ferenc Hal\u00e1sz prize and in 2003 he won the Carl Flesch International Violin Competition. In 2004 he was chosen for the Pro Europe award and in 2005 he was the absolute winner of the Dubai International Violin Competition.\r\n\r\n {:}","post_title":"{:hu}Banda \u00c1d\u00e1m{:}{:en}\u00c1d\u00e1m Banda{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"banda-adam","to_ping":"","pinged":"","post_modified":"2017-12-16 15:34:56","post_modified_gmt":"2017-12-16 15:34:56","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=87286","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}heged\u0171{:}{:en}violin{:}"}],"muveszekrol_reszletesen":true,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[{"ID":87498,"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, 1990 \u00e9s 2016 k\u00f6z\u00f6tt Antal M\u00e1ty\u00e1s vezette, 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. A 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}The 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 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 National Choir attaches great importance to performing contemporary music. Numerous world and national premi\u00e8res are linked with its name. The National Choir is a returning guest at the 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 National Choir is a regular participant of large-scale events at the Palace of Art, such as the Wagner Days.{:}","post_title":"{:hu}a Nemzeti \u00c9nekkar N\u0151ikara (karigazgat\u00f3: Somos Csaba){:}{:en}Women's Choir of Hungarian National Choir (chorus master: Csaba Somos){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"a-nemzeti-enekkar-noikara-karigazgato-somos-csaba","to_ping":"","pinged":"","post_modified":"2017-12-16 15:43:02","post_modified_gmt":"2017-12-16 15:43:02","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/institutions\/a-nemzeti-enekkar-noikara-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":"3.500 Ft, 2.500 Ft","jegyvasarlas_gomb":"","elkeltek_a_jegyek":false,"youtube_id":"","old_id":"","hivatkozas_gomb_szovege":"Tov\u00e1bb","hivatkozas_gomg_url-je":"https:\/\/nfz.jegy.hu\/program\/lukacs-ervin-berlet-1-banda-adam-hegedu-hamar-zsolt-karmester-80742\/382505","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\/101781","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=101781"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}