{"id":101859,"date":"2017-05-30T19:27:45","date_gmt":"2017-05-30T19:27:45","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&#038;p=101859"},"modified":"2018-03-09T15:36:17","modified_gmt":"2018-03-09T15:36:17","slug":"bizet-saint-saens-berlioz-2","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/bizet-saint-saens-berlioz-2\/","title":{"rendered":"Bizet, Saint-Sa\u00ebns, Berlioz"},"content":{"rendered":"<p><strong>BIZET: L\u2019Arl\u00e9sienne \u2013 excerpts from Suites 1 and 2 <\/strong><\/p>\n<p><strong>\u00a0<\/strong>As director of the Vaudevile Theatre in Paris, L\u00e9on Carvalho attempted to revive the genre of French melodrama. He asked Georges Bizet to compose music to accompany Alphonse Daudet&#8217;s play, <em>The Girl From Arles<\/em> (L&#8217;Arl\u00e9sienne). Following a disappointing premier, Bizet arranged an orchestral suite from fragments of the accompanying music, which we know today as <em>Suite No. 1<\/em> of <em>L&#8217;Arl\u00e9sienne<\/em>. <em>Suite No. 2<\/em> was arranged by Bizet&#8217;s friend, Ernest Giraud, after the composer&#8217;s death. Each suite contains four movements, which are often heard in orchestral concerts.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>SAINT-SA\u0401NS: Piano Concerto No. 5 in F major, \u201eThe Egyptian\u201d op. 103 <\/strong><\/p>\n<p>I. Allegro animato II. Andante III. Molto allegro<\/p>\n<p><strong>\u00a0<\/strong>An outstanding pianist and organist, Saint-Sa\u00ebns (1835\u20131921) travelled widely and was particularly fond of North Africa. His fifth piano concerto is often referred to as \u201cThe Egyptian\u201d, largely because of the eastern melodies found in its second movement. The first movement, sonata-like and embellished with unique French colour, recalls the influence of Beethoven and other early romantic masters. A challenge to the soloist&#8217;s technical skill, the finale invokes airy dancing music which, according to a contemporary observer, seems to evoke \u201ca happy return to the boulevards of Paris\u201d following a trip to Egypt.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>BERLIOZ: Symphonie Fantastique, op. 14<\/strong><\/p>\n<p>I. Reveries and Passions \u2013 Largo-Allegro II. The Ball \u2013 Valse. Allegro non troppo III.\u00a0 Scene from the Meadows \u2013 Adagio IV. March to the Scaffold \u2013 Allegretto non troppo V. Dream of the Witches\u2019 Sabbath \u2013 Larghetto-Allegro<\/p>\n<p>Berlioz gave no less than 14 different descriptions of the poetic programme behind his Symphonie Fantastique. There are no profound variations among the different versions: in each \u201eThe Artist\u201d as the principal player of the work, is tortured by a single obsession: love. In the first movement, after a lengthy introduction, we hear the \u201eid\u00e9e fixe\u201d, commencing with a break down of a C major chord. This is the melody of the obsession. In the second movement, our hero appears at an imaginary ball: here he sees the ideal of his dreams (and we also hear a Waltz that has been described as the finest that Tchaikovsky did not write!). The Scene from the Meadows then offers us some breathing space. The artist seems to seek oblivion in nature. We hear the sounds of shepherd\u2019s flutes and the approaching storm. But there is no escaping the obsession. The unhappy Artist elects to commit suicide by ingesting opium, but he takes too little and experiences two narcotic induced nightmares. In the first (the Fourth movement) he thinks he has murdered his love and is marched to the scaffold to be executed. In the fifth, he sees a Witches Sabbath, and his former ideal, the woman at the centre of his heart, is here espied among the hags \u2013 her melody now bizarrely distorted. And we also hear the music of the final judgement, the Dies irae melody (beloved by many composers such as Liszt and Rachmaninov) attributed to Thomas of Celano.<\/p>\n<p>The Symphony was premiered in Paris on December 5th 1830. Berlioz\u2019s inspiration for composing this remarkable work was his own romantic obsession for the Irish actress Harriet Smithson, who initially rejected his advances. Several years later, however, after Berlioz had used this symphony to exorcise her ghost, so to speak, they met again and eventually did marry in 1834.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"template":"","class_list":["post-101859","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":"","kiemelt_kep":null,"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20180312","esemeny_idopontja":"19.00","sajat_program":false,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87805,"post_author":"1","post_date":"2016-09-08 08:02:39","post_date_gmt":"2016-09-08 08:02:39","post_content":"","post_title":"{:hu}Kod\u00e1ly K\u00f6zpont{:}{:en}Kod\u00e1ly Centre{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kodaly-kozpont-2","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:39","post_modified_gmt":"2016-09-08 08:02:39","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/kodaly-kozpont-2\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}P\u00e9cs{:}{:en}P\u00e9cs{:}","orszag":"{:hu}Magyarorsz\u00e1g{:}{:en}Hungary{:}","cim":"","megjegyzes":"","weboldal":""},"helyszin_kategoria":"videk","karmester":{"ID":101545,"post_author":"1","post_date":"2017-05-30 19:58:57","post_date_gmt":"2017-05-30 19:58:57","post_content":"{:hu}Fels\u0151fok\u00fa tanulm\u00e1nyait a Liszt Ferenc Zenem\u0171v\u00e9szeti F\u0151iskol\u00e1n folytatta, zeneszerz\u00e9s tan\u00e1ra Petrovics Emil, karmester tan\u00e1rai Luk\u00e1cs Ervin \u00e9s G\u00e1l Tam\u00e1s voltak. 1995-ben kit\u00fcntet\u00e9ssel diplom\u00e1zott.\r\n\r\nP\u00e1ly\u00e1ja a Magyar Telev\u00edzi\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n nyert 2. d\u00edjjal \u00e9s k\u00f6z\u00f6ns\u00e9gd\u00edjjal indult. 1996-ban a spanyolorsz\u00e1gi Cadaques-ben rendezett karmesterversenyen ugyancsak 2. d\u00edjat nyert, 1997-ben a Portug\u00e1l R\u00e1di\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n 1. helyezett lett, majd a Trent\u00f3i Antonio Pedrotti Versenyen szint\u00e9n az 1. helyen v\u00e9gzett.\r\n\r\n1997 \u0151sz\u00e9n Kocsis Zolt\u00e1n zeneigazgat\u00f3 javaslat\u00e1ra a Nemzeti Filharmonikusok els\u0151 \u00e1lland\u00f3 karmester\u00e9v\u00e9 nevezt\u00e9k ki. 1998-ben Lorin Maazel asszisztense a Salzburgi \u00dcnnepi J\u00e1t\u00e9kokon. 2000-t\u0151l 2009-ig a Pannon Filharmonikusok zeneigazgat\u00f3ja \u00e9s vezet\u0151 karmestere, ezzel p\u00e1rhuzamosan az Orchestra di Padova e del Veneto els\u0151 vend\u00e9gkarmestere.\r\n\r\nRendszeres vend\u00e9g Eur\u00f3pa, Jap\u00e1n \u00e9s az Egyes\u00fclt \u00c1llamok zenekarain\u00e1l \u00e9s koncerttermeiben. Fell\u00e9pett szinte minden magyar szimfonikus egy\u00fcttessel. 2001 \u00f3ta rendszeresen vez\u00e9nyel a Magyar \u00c1llami Operah\u00e1zban, sz\u00edvesen l\u00e1tott vend\u00e9g a k\u00fclf\u00f6ldi dalsz\u00ednh\u00e1zakban is. 2005 \u00e9s 2011 k\u00f6z\u00f6tt a Z\u00fcrichi Operah\u00e1zban dolgozott a vil\u00e1gh\u00edr\u0171 dalsz\u00ednh\u00e1z \u00e1lland\u00f3 karmesterek\u00e9nt. 2012-t\u0151l 2016-ig a Wiesbadeni Operah\u00e1z (Hessisches Staatstheater) f\u0151zeneigazgat\u00f3ja volt.\r\n\r\n<em>\u00a0<\/em>A Nemzeti Filharmonikus Zenekarral Liszt m\u0171veket, a Pannon Filharmonikusokkal Mahler I. szimf\u00f3ni\u00e1j\u00e1nak 1893-as weimari v\u00e1ltozat\u00e1t r\u00f6gz\u00edtette CD-re a Hungaroton kiad\u00e1s\u00e1ban.\r\n\r\n2011 j\u00fanius\u00e1ban sikeresen fejezte be habilit\u00e1ci\u00f3j\u00e1t a Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetemen. 2016 \u00f3ta a szombathelyi Nemzetk\u00f6zi Bart\u00f3k Szemin\u00e1rium \u00e9s Fesztiv\u00e1l karmesterkurzus\u00e1nak professzora.\r\n\r\n2017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig vezette a Nemzeti Filharmonikusok Zenekar\u00e1t.\r\n\r\nMunk\u00e1ss\u00e1ga elismer\u00e9sek\u00e9nt 2001-ben Liszt-d\u00edjat, 2006-ban a Magyar K\u00f6zt\u00e1rsas\u00e1gi \u00c9rdemrend Lovagkeresztj\u00e9t vehette \u00e1t, 2017-ben pedig \u00c9rdemes M\u0171v\u00e9sz d\u00edjban r\u00e9szes\u00fclt.{:}{:en}Hamar pursued his advanced studies at Budapest\u2019s Franz Liszt Academy of Music, graduating with honours in 1995 after studying music composition under Emil Petrovics and conducting under Ervin Luk\u00e1cs and Tam\u00e1s G\u00e1l. He launched his career by taking second place and the audience prize at the Hungarian Television International Conducting Competition. He has also won prizes at several other international competitions (taking second place at the Cadaqu\u00e9s Orchestra International Conducting Competition in Spain and first place at both the Portuguese Radio Conducting Competition and the Antonio Pedrotti International Conducting Competition in Trento, Italy). In 1997, he was invited by Zolt\u00e1n Kocsis to serve as first permanent conductor of the Hungarian National Philharmonic Orchestra. After working as Lorin Maazel\u2019s assistant at the Salzburg Festival in 1998, he spent the years from 2000 to 2009 as the music director of the Pannon Philharmonic while simultaneously serving as first guest conductor of the Orchestra di Padova e del Veneto.\r\n\r\nA regular guest with orchestras and at concert halls around Europe, Japan and the USA, he has also appeared with nearly every symphonic ensemble in Hungary. Hamar has regularly conducted at the Hungarian State Opera since 2001 and is a welcome guest at opera houses in other countries as well. Between 2005 and 2011, he worked as a permanent conductor at the world-famous Opernhaus Z\u00fcrich. He has recorded works by Liszt together with the Hungarian National Philharmonic and Mahler\u2019s <em>First Symphony<\/em> with the Pannon Philharmonic. From 2012 to 2016, he served as the chief music director of Wiesbaden\u2019s opera house.\r\n\r\nHe headed the Hungarian National Philharmonic as Musical Director from March 2017 to August 2020.{:}","post_title":"{:hu}Hamar Zsolt{:}{:en}Zsolt Hamar{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hamar-zsolt-3","to_ping":"","pinged":"","post_modified":"2020-08-10 08:31:17","post_modified_gmt":"2020-08-10 08:31:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=101545","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":101566,"post_author":"3","post_date":"2017-09-07 11:48:35","post_date_gmt":"2017-09-07 11:48:35","post_content":"{:hu}L\u00e9on Carvalho, a p\u00e1rizsi Vaudeville Sz\u00ednh\u00e1z igazgat\u00f3jak\u00e9nt k\u00eds\u00e9rletet tett a francia melodr\u00e1ma m\u0171faj\u00e1nak fel\u00e9leszt\u00e9s\u00e9re. Georges Bizet-t k\u00e9rte fel, hogy kompon\u00e1ljon k\u00eds\u00e9r\u0151zen\u00e9t Alphonse Daudet Az arles-i l\u00e1ny (L\u2019Arl\u00e9sienne) c\u00edm\u0171 sz\u00ednm\u0171v\u00e9hez. Bizet a nem t\u00fals\u00e1gosan sikeres bemutat\u00f3 ut\u00e1n a k\u00eds\u00e9r\u0151zene r\u00e9szleteib\u0151l egy nagyzenekari szvitet \u00e1ll\u00edtott \u00f6ssze, ezt ismerj\u00fck ma Az arles-i l\u00e1ny I. szvitjek\u00e9nt. Az arles-i l\u00e1ny II. szvitj\u00e9t a zeneszerz\u0151 hal\u00e1la ut\u00e1n bar\u00e1tja, Ernest Giraud \u00e1ll\u00edtotta \u00f6ssze. Mindk\u00e9t szvit n\u00e9gy t\u00e9telb\u0151l \u00e1ll, r\u00e9szletei gyakran felhangzanak zenekari hangversenyeken.\r\n\r\nA hangversenyen elhangzik:\r\n\r\nSzvit No. 1: Prelude, Minuetto, Adagietto\r\n\r\nSzvit No. 2: Farandole\r\n\r\n&nbsp;{:}{:en}As director of the Vaudevile Theatre in Paris, L\u00e9on Carvalho attempted to revive the genre of French melodrama. He asked Georges Bizet to compose music to accompany Alphonse Daudet's play, <em>The Girl From Arles<\/em> (L'Arl\u00e9sienne). Following a disappointing premier, Bizet arranged an orchestral suite from fragments of the accompanying music, which we know today as <em>Suite No. 1<\/em> of <em>L'Arl\u00e9sienne<\/em>. <em>Suite No. 2<\/em> was arranged by Bizet's friend, Ernest Giraud, after the composer's death. Each suite contains four movements, which are often heard in orchestral concerts.\r\n\r\nSzvit No. 1: Prelude, Minuetto, Adagietto\r\n\r\nSzvit No. 2: Farandole\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;{:}","post_title":"{:hu}Az arles-i l\u00e1ny - r\u00e9szletek az I. \u00e9s II. szvitb\u0151l{:}{:en} L'Arl\u00e9sienne{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"az-arles-lany-reszletesk-az-es-ii-szvitbol","to_ping":"","pinged":"","post_modified":"2018-03-09 15:27:34","post_modified_gmt":"2018-03-09 15:27:34","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=101566","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Bizet"]},{"ID":91195,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu}Saint-Sa\u00ebns(1835\u20131921) nev\u00e9r\u0151l bizony\u00e1ra <em>Az \u00e1llatok farsangja<\/em>, vagy esetleg a szerz\u0151 legismertebb oper\u00e1ja, a <em>S\u00e1mson \u00e9s Delila<\/em> jut esz\u00fcnkbe el\u0151sz\u00f6r. Pedig a francia mester szinte minden m\u0171fajban kompon\u00e1lt: sok egyh\u00e1zi m\u0171vet, k\u00f3rusokat, dalokat, zongora- \u00e9s orgonam\u0171veket, szimf\u00f3ni\u00e1kat \u00e9s versenym\u0171veket \u2013 k\u00f6zt\u00fck \u00f6t zongoraversenyt is \u00edrt. P\u00e1ly\u00e1j\u00e1t csodagyermekk\u00e9nt kezdte; h\u00e1rom \u00e9vesen m\u00e1r zongor\u00e1zni tanult, t\u00edz \u00e9ves kor\u00e1ban Mozart- \u00e9s Beethoven-zongoraversenyt adott el\u0151nyilv\u00e1nosan. Kiv\u00e1l\u00f3 billenty\u0171s j\u00e1t\u00e9kos volt; a Conservatoire elv\u00e9gz\u00e9se ut\u00e1n orgonista-\u00e1ll\u00e1st v\u00e1llalt P\u00e1rizsban, s a templom abb\u00e9j\u00e1t elk\u00eds\u00e9rhette it\u00e1liai \u00fatj\u00e1ra. Ez az \u00e9lm\u00e9ny egy \u00e9leten \u00e1t az utaz\u00e1s szerelmes\u00e9v\u00e9 tette: r\u00e9szben koncertk\u00f6r\u00fatjai r\u00e9v\u00e9n, virtu\u00f3z zongoristak\u00e9nt, r\u00e9szben kedvtel\u00e9sb\u0151l bej\u00e1rta nem csak Eur\u00f3p\u00e1t, de eljutott Afrik\u00e1ba, D\u00e9l-Amerik\u00e1ba \u00e9s Kelet-\u00c1zsi\u00e1ba is. K\u00fcl\u00f6n\u00f6sen kedvelte Afrika \u00e9szaki r\u00e9sz\u00e9t: gyakran t\u00f6lt\u00f6tt hosszabb-r\u00f6videbb id\u0151t Egyiptomban \u00e9s Alg\u00e9ri\u00e1ban (az Alg\u00edri v\u00e1rosi sz\u00ednh\u00e1z p\u00e9ld\u00e1ul 1910-11-ben \u00f6t oper\u00e1j\u00e1t mutatta be sorozatban, s a komponista ebben a v\u00e1rosban halt meg 86 \u00e9ves kor\u00e1ban). Kort\u00e1rsai elismer\u00e9ssel ad\u00f3ztak Saint-Sa\u00ebns sokoldal\u00fa muzsikus-egy\u00e9nis\u00e9g\u00e9nek: Liszt Ferenc egyenesen a vil\u00e1g legnagyobb orgonist\u00e1j\u00e1nak tartotta, Gounod, zongoram\u0171v\u00e9szi l\u00e9pess\u00e9geit m\u00e9ltatva \u201ea francia Beethoven\u201d-nek nevezte, brili\u00e1ns zeneszez\u00e9s-tud\u00e1s\u00e1t pedig Rossini \u00e9s Berlioz is nagyra \u00e9rt\u00e9kelte. Saint-Sa\u00ebns sz\u00edvesen p\u00e1rtfogolta \u00e9s n\u00e9pszer\u0171s\u00edtette m\u00e1s szerz\u0151km\u0171veit: az els\u0151k k\u00f6z\u00f6tt volt, akik felismert\u00e9k Wagner zsenialit\u00e1s\u00e1t, \u00e9s Franciaorsz\u00e1gban els\u0151k\u00e9nt dirig\u00e1lta Liszt szimfonikus k\u00f6ltem\u00e9nyeit. De \u00e9l\u00e9nken \u00e9rdekl\u0151d\u00f6tt a 18. sz\u00e1zad zen\u00e9jeir\u00e1nt is: jelent\u0151sen hozz\u00e1j\u00e1rult Bach \u00fajrafelfedez\u00e9s\u00e9hez, 1894-ben \u0151t b\u00edzt\u00e1k meg az els\u0151 Rameau-\u00f6sszkiad\u00e1s k\u00f6zread\u00e1s\u00e1val, s a barokk korszakkal val\u00f3 intenz\u00edv foglalkoz\u00e1s term\u00e9szetesen a saj\u00e1t m\u0171vein is nyomot hagyott.\r\n\r\nSaint-Sa\u00ebns 5. zongoraverseny\u00e9t az \u201eEgyiptomi\u201d mell\u00e9kn\u00e9vvel szokt\u00e1k emlegetni, r\u00e9szben az\u00e9rt, mert a m\u0171 1896-ban Egyiptomban keletkezett, r\u00e9szben pedig k\u00f6z\u00e9ps\u0151, Andante t\u00e9tel\u00e9nek keleties hangz\u00e1s\u00fa dallamai miatt. (A d-mollban megkompon\u00e1lt, \u201eegzotikus\u201d t\u00e9tel egyik t\u00e9m\u00e1ja,a szerz\u0151 visszaeml\u00e9kez\u00e9se szerint egy n\u00edlusi haj\u00f3\u00fat sor\u00e1n hallott n\u00fabiai szerelmes dalt id\u00e9z.) A m\u0171 vil\u00e1gosan tagolt, szon\u00e1taform\u00e1j\u00fa nyit\u00f3t\u00e9tel\u00e9n Beethoven, illetve a korai romantikus mesterek (Mendelssohn, Schumann) hat\u00e1sa \u00e9rz\u0151dik, saj\u00e1tosan francia sz\u00ednekkel-\u00edzekkel f\u0171szerezve. A sz\u00f3lista technikai felk\u00e9sz\u00fclts\u00e9g\u00e9t igencsak pr\u00f3b\u00e1ra tev\u0151, par\u00e1d\u00e9s finale m\u00e1r-m\u00e1r a sz\u00f3rakoztat\u00f3 m\u0171fajok fel\u00e9 kacsintgat: k\u00f6nnyed, t\u00e1ncos zene, amely \u2013 egy kort\u00e1rs jellemz\u00e9se szerint \u2013 mintha az egyiptomi utaz\u00e1s v\u00e9g\u00e9n \u201ea p\u00e1rizsi bulv\u00e1rokra val\u00f3 boldog visszat\u00e9r\u00e9st\u201d jelen\u00edten\u00e9 meg. Saint-Sa\u00ebns sokf\u00e9le hat\u00e1st mutat\u00f3, sokf\u00e9le elemb\u0151l \u00f6tv\u00f6z\u0151d\u0151 st\u00edlus\u00e1t maga a szerz\u0151 jellemezte a legtal\u00e1l\u00f3bban: \u201eEklektikus l\u00e9lek vagyok. Ez lehet, hogy nagy hiba, de nem tudok v\u00e1ltoztatni rajta: az ember nem tudja megv\u00e1ltoztatni a saj\u00e1t szem\u00e9lyis\u00e9g\u00e9t.\u201d{:}{:en}An outstanding pianist and organist, Saint-Sa\u00ebns (1835\u20131921) travelled widely and was particularly fond of North Africa. His fifth piano concerto is often referred to as \u201cThe Egyptian\u201d, largely because of the eastern melodies found in its second movement. The first movement, sonata-like and embellished with unique French colour, recalls the influence of Beethoven and other early romantic masters. A challenge to the soloist's technical skill, the finale invokes airy dancing music which, according to a contemporary observer, seems to evoke \u201ca happy return to the boulevards of Paris\u201d following a trip to Egypt.{:}","post_title":"{:hu}V.  zongoraverseny, F-d\u00far, \u201eEgyiptomi\u201d,  op. 103{:}{:en}Piano Concerto in F major 'Egyptian', Op. 103{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"v-zongoraverseny-f-dur-egyiptom-op-103","to_ping":"","pinged":"","post_modified":"2018-03-09 15:29:41","post_modified_gmt":"2018-03-09 15:29:41","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/v-zongoraverseny-f-dur-egyiptom-op-103\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Saint-Sa\u00ebns"]},{"ID":91270,"post_author":"1","post_date":"2016-09-08 08:57:49","post_date_gmt":"2016-09-08 08:57:49","post_content":"{:hu}I. \u00c1lmok, szenved\u00e9lyek \u2013 Largo-Allegro II. A b\u00e1l \u2013 Valse. Allegro non troppo III. Jelenet a mez\u0151n \u2013 Adagio IV. Menet a veszt\u0151helyre \u2013 Allegretto non troppo V. Boszork\u00e1nyszombat \u2013 Larghetto-Allegro\r\n\r\nNem kevesebb, mint 14 v\u00e1ltozatban fogalmazta meg Berlioz Fantasztikus szimf\u00f3ni\u00e1j\u00e1nak k\u00f6lt\u0151i programj\u00e1t. A v\u00e1ltozatok k\u00f6zt persze jelent\u0151s elt\u00e9r\u00e9s nincs: a \u201em\u0171v\u00e9sz\u201d mindegyikben a m\u0171 k\u00e9pzeletbeli f\u0151h\u0151se, akit egyetlen r\u00f6geszme \u2013 a szerelem \u2013 gy\u00f6t\u00f6r. Az els\u0151 t\u00e9telben hossz\u00fa bevezet\u0151 ut\u00e1n jeleneik meg a C-d\u00far akkordfelbont\u00e1ssal kezd\u0151d\u0151 \u201eid\u00e9e fixe\u201d, azaz r\u00f6geszme-dallam. A m\u00e1sodikban h\u0151s\u00fcnk egy k\u00e9pzeletbeli b\u00e1lon t\u0171nik fel: itt l\u00e1tja viszont \u00e1lmai ide\u00e1lj\u00e1t. A jelenet a mez\u0151n egyfajta pihen\u0151. A m\u0171v\u00e9sz mintha feled\u00e9st keresne a term\u00e9szetben. P\u00e1sztorok s\u00edpj\u00e1t, a k\u00f6zelg\u0151 vihar hangjait hallja. De nincs menek\u00fcl\u00e9s a r\u00f6geszme el\u0151l. A csal\u00f3dott szerelmes \u00f6ngyilkos akar lenni, \u00e1m t\u00fal kev\u00e9s \u00f3piumot vesz be. Ez\u00e9rt csak elk\u00e1bul \u00e9s k\u00e9pzel\u0151dik. Azt k\u00e9pzeli, meg\u00f6lte szerelm\u00e9t, s most a veszt\u0151helyre viszik. V\u00e9g\u00fcl az \u00f6t\u00f6dik t\u00e9tel egy boszork\u00e1nyszombat l\u00e1tom\u00e1sa. Az egykori ide\u00e1l, a m\u0171v\u00e9sz sz\u00edv\u00e9nek h\u00f6lgye itt is felt\u0171nik \u2013 dallama bizarr m\u00f3don eltorzul. S felhangzik az utols\u00f3 \u00edt\u00e9let zen\u00e9je: a k\u00f6z\u00e9pkori, Celan\u00f3i Tam\u00e1snak tulajdon\u00edtott \u00fan. \u201esequentia\u201d f\u00e9lelmetesen \u00f3don dallama, a Dies irae\u2026\r\n\r\n1830.december 5-\u00e9n mutatt\u00e1k be P\u00e1rizsban a szimf\u00f3ni\u00e1t. Hogy a programnak \u00f6n\u00e9letrajzi vonatkoz\u00e1sai vannak, azt t\u00f6bb\u00e9-kev\u00e9sb\u00e9 mindenki sejtette. Harriet Smithson kisasszony is, akinek Berlioz n\u00e9h\u00e1ny \u00e9vvel kor\u00e1bban szerelmet vallott, hi\u00e1ba. A sz\u0151ke angol sz\u00edn\u00e9szn\u0151 v\u00e9g\u00fcl is nemes bossz\u00fat \u00e1llt a boszork\u00e1nyszombat-zen\u00e9\u00e9rt. S\u00fcrg\u0151sen f\u00e9rjhez ment --Berliozhoz.{:}{:en}I. Reveries and Passions - Largo-Allegro II. The Ball - Valse. Allegro non troppo III.\u00a0 Scene from the Meadows - Adagio IV. March to the Scaffold - Allegretto non troppo V. Dream of the Witches' Sabbath - Larghetto-Allegro\r\n\r\nBerlioz gave no less than 14 different descriptions of the poetic programme behind his Symphonie Fantastique. There are no profound variations among the different versions: in each \"The Artist\" as the principal player of the work, is tortured by a single obsession: love. In the first movement, after a lengthy introduction, we hear the \"id\u00e9e fixe\", commencing with a break down of a C major chord. This is the melody of the obsession. In the second movement, our hero appears at an imaginary ball: here he sees the ideal of his dreams (and we also hear a Waltz that has been described as the finest that Tchaikovsky did not write!). The Scene from the Meadows then offers us some breathing space. The artist seems to seek oblivion in nature. We hear the sounds of shepherd's flutes and the approaching storm. But there is no escaping the obsession. The unhappy Artist elects to commit suicide by ingesting opium, but he takes too little and experiences two narcotic induced nightmares. In the first (the Fourth movement) he thinks he has murdered his love and is marched to the scaffold to be executed. In the fifth, he sees a Witches Sabbath, and his former ideal, the woman at the centre of his heart, is here espied among the hags - her melody now bizarrely distorted. And we also hear the music of the final judgement, the Dies irae melody (beloved by many composers such as Liszt and Rachmaninov) attributed to Thomas of Celano.\r\n\r\nThe Symphony was premiered in Paris on December 5th 1830. Berlioz's inspiration for composing this remarkable work was his own romantic obsession for the Irish actress Harriet Smithson, who initially rejected his advances. Several years later, however, after Berlioz had used this symphony to exorcise her ghost, so to speak, they met again and eventually did marry in 1834.{:}","post_title":"{:hu}Fantasztikus szimf\u00f3nia{:}{:en}Symphonie Fantastique{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"fantasztikus-szimfonia-op-14","to_ping":"","pinged":"","post_modified":"2018-02-26 14:20:12","post_modified_gmt":"2018-02-26 14:20:12","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/fantasztikus-szimfonia-op-14\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Berlioz"]}],"muvekrol_reszletesen":true,"kozr_szemelyek":[{"ID":101856,"post_author":"1","post_date":"2017-05-30 19:26:04","post_date_gmt":"2017-05-30 19:26:04","post_content":"{:hu}Polina Charnetckaia 1991-ben sz\u00fcletett az oroszorsz\u00e1gi Mitiscsiben. Hat \u00e9ves kor\u00e1ban kezdett el zongor\u00e1zni, tanulm\u00e1nyait vezet\u0151 moszkvai zeneiskol\u00e1kban v\u00e9gezte. Sz\u00e1mos zenei fesztiv\u00e1lon vett r\u00e9szt, ahol gazdag tapasztalatokra tehetett szert k\u00fcl\u00f6nf\u00e9le kamarazenei egy\u00fcttesekben \u00e9s \u00e9nekm\u0171v\u00e9szek k\u00eds\u00e9r\u0151jek\u00e9nt. Polina sok nemzetk\u00f6zi zenei versenyen gy\u0171jt\u00f6tt be elismer\u00e9seket, d\u00edjakat. Eur\u00f3pa t\u00f6bb orsz\u00e1g\u00e1ban l\u00e9pett fel sikerrel. A z\u00fcrichi m\u0171v\u00e9szeti akad\u00e9mia mesterk\u00e9pz\u00e9s\u00e9n 2014-ben oklevelet szerzett, \u00e9s Konstantin Scserbakov ir\u00e1ny\u00edt\u00e1s\u00e1val jelenleg is ott k\u00e9sz\u00fcl az \u00fajabb diploma megszerz\u00e9s\u00e9re.\r\n\r\n&nbsp;{:}{:en}Born in Mytischi in 1991. She started playing the piano at the age of six, first taking lessons with Marina Illina awas t the Scriabin Music School in Moscow, where she also studied flute in the class of Elena Ostafieva.\r\nIn 2007 she continued her training at the Chopin Music College in Moscow under the guidance of Vera Nosina. Between 2011 and 2012 she studied with Vera Nosina at the Gnessin Academy in Moscow.\r\n\r\nAs a soloist she has received invaluable impulses from such distinguished pedagogues as Dmitri Bashkirov, Konstantin Sherbakov, Victor Merzhanov, Zoltan Koscis, Arie Vardi, Sergey Senkov and Alexey Skavronsky. As a participant in numerous chamber music festivals, Ms. Charnetckaia has gained extensive experience playing in piano trios, piano quartets and duos with various instruments, and has worked with such notable artists as Ulrich Koella and Evgeny Sinaiski.\r\n\r\nHer commitment to chamber music also includes frequent performances in duo with singers.\r\n\r\nMs. Charnetckaia has won numerous prizes in national and international competitions, among others First Prize in the Duttweiler-Hug Competition, Second Prize at the Swiss Competition for Contemporary Music Interpretation, the Grand Prix at \u00ab Music without Limits \u00bb in Lithuania, a Special Prize at \u00ab World Delphic Games \u00bb in Russia, a Special Prize at \u00ab Art of the 21st Century \u00bb in Ukraine and Third Prize at the P. Serebriakov International Piano Competition in Russia.\r\n\r\nHer performances as a soloist, recitalist and chamber musician have taken her to many countries of Europe, including Germany, Italy, Lithuania, Bulgaria, Switzerland and Russia.\r\n\r\nShe began studying with Konstantin Sherbakov at the Hochschule der K\u00fcnste in Zurich in 2012, earning her Master\u2019s degree in Performance with top marks in 2014. She is currently preparing for her Master of Arts in Specialized Music Performance with Konstantin Sherbakov.{:}","post_title":"{:hu}Polina Charnetckaia{:}{:en}Polina Charnetckaia{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"polina-charnetckaia","to_ping":"","pinged":"","post_modified":"2018-03-09 15:24:20","post_modified_gmt":"2018-03-09 15:24:20","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=101856","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}zongora{:}{:en}piano{:}"}],"muveszekrol_reszletesen":true,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[{"ID":87472,"post_author":"1","post_date":"2016-09-08 07:58:44","post_date_gmt":"2016-09-08 07:58:44","post_content":"{:hu}<img class=\"size-medium wp-image-115524 alignnone\" src=\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/>\r\n\r\nA Nemzeti Filharmonikus Zenekar Magyarorsz\u00e1g egyik vezet\u0151 szimfonikus zenekara t\u00f6bb mint kilencven \u00e9ve. Ferencsik J\u00e1nos, Kobayashi Ken-Ichiro ut\u00e1n 1997-ben Kocsis Zolt\u00e1n f\u0151zeneigazgat\u00f3 ir\u00e1ny\u00edt\u00e1sa alatt a zenekar meg\u00fajult, a nemzeti szimfonikus egy\u00fctteshez m\u00e9lt\u00f3 sokoldal\u00fas\u00e1ggal nemcsak a klasszikus m\u0171veket, hanem ezek mellett a megszokott reperto\u00e1rr\u00f3l hi\u00e1nyz\u00f3 fontos alkot\u00e1sokat is megsz\u00f3laltatott, tov\u00e1bb\u00e1 a k\u00f6zelm\u00falt \u00e9s napjaink magyar zen\u00e9j\u00e9t is megismerteti k\u00f6z\u00f6ns\u00e9g\u00e9vel, valamint n\u00e9pszer\u0171ek kamarazenei \u00e9s ifj\u00fas\u00e1gi sorozatai is. \u00a02017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig a a zenekarn\u00e1l kor\u00e1bban \u00e9veken \u00e1t els\u0151 \u00e1lland\u00f3 karmesterk\u00e9nt k\u00f6zrem\u0171k\u00f6d\u0151, komoly nemzetk\u00f6zi karriert maga m\u00f6g\u00f6tt tudhat\u00f3, Liszt Ferenc-d\u00edjas Hamar Zsolt t\u00f6lt\u00f6tte be a Nemzeti Filharmonikusok zeneigazgat\u00f3i posztj\u00e1t.\r\n\r\nAz egy\u00fcttes reperto\u00e1rj\u00e1n hangs\u00falyosan szerepel a Bart\u00f3k-\u00e9letm\u0171; m\u00e9rt\u00e9kad\u00f3 interpret\u00e1ci\u00f3i 2006 \u00f3ta a Bart\u00f3k \u00daj Sorozatban jelennek meg, de sz\u00ednfoltot k\u00e9pviselnek reperto\u00e1rj\u00e1n Kocsis Zolt\u00e1n Debussy, Rachmaninov, Bart\u00f3k m\u0171veib\u0151l k\u00e9sz\u00edtett \u00e1tiratai is. Hangversenyb\u00e9rleti el\u0151ad\u00e1sain vil\u00e1gh\u00edr\u0171 vend\u00e9gm\u0171v\u00e9szek \u00e9s vend\u00e9gkarmesterek l\u00e9pnek fel, valamint feladat\u00e1nak tekinti a kiemelked\u0151 p\u00e1lyakezd\u0151 magyar muzsikusok megh\u00edv\u00e1s\u00e1t is. Olyan neves helysz\u00edneken \u00e9s fesztiv\u00e1lokon l\u00e9pett fel az ut\u00f3bbi \u00e9vtizedekben, mint a New York-i Avery Fisher Hall, a toki\u00f3i Suntory Hall, a birminghami Symphony Hall, az ath\u00e9ni Megaron, a br\u00fcsszeli Bozar K\u00f6zpont, a bukaresti Enescu Fesztiv\u00e1l, a Colmari \u00e9s a Kan\u00e1ri-szigeteki Fesztiv\u00e1l. Az elm\u00falt 15 \u00e9vben mintegy 40 orsz\u00e1gban t\u00f6bb mint 330 k\u00fclf\u00f6ldi turn\u00e9koncertet adott.{:}{:en}<img class=\"size-medium wp-image-115524 alignnone\" src=\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/>\r\nThe Hungarian National Philharmonic Orchestra has been one of Hungary\u2019s leading symphony orchestras for over ninety years. The era marked by the name of J\u00e1nos Ferencsik and Kobayashi Ken-Ichiro was followed by a new chapter in the history of the orchestra when in 1997 Zolt\u00e1n Kocsis became general music director until his death. In almost two decades the National Philharmonic Orchestra underwent renewal. After the death of Zolt\u00e1n Kocsis, the Ferenc Liszt Award-winning Zsolt Hamar held the post of Musical Director at the Hungarian National Philharmonic from March 2017 to August 2020. He previously worked with the orchestra as its first permanent conductor and built up an impressive international career.\r\n\r\nThe Orchestra is one of the top interpreters of the work of B\u00e9la Bart\u00f3k, and the albums of the <em>Bart\u00f3k New Series<\/em> have won numerous accolades in Hungary and abroad. The orchestra perform not only classics but also numerous other important works previously missing from the repertoire, many of which require a large orchestral apparatus. It attaches great importance to introducing contemporary Hungarian works to the audiences. It has given many popular chamber music concerts and hosted events for young people.\r\n\r\nThe orchestra\u2019s concerts have featured world-famous soloists and conductors. It supports young musicians recently embarked on an international career. In recent decades, the National Philharmonic Orchestra has appeared in the greatest venues and festivals around the world, including the Avery Fisher Hall in New York, the Suntory Hall in Tokyo, the Birmingham Symphony Hall, the Megaron in Athens, Bozar Centre in Brussels, the Enescu Festival in Bucharest, the Beethoven Festival in Bogot\u00e1, as well as the Colmar and Canary Island Festivals. In the past two decades, the National Philharmonic Orchestra has given more than 330 concerts in some 40 countries.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;{:}","post_title":"{:hu}Nemzeti Filharmonikus Zenekar{:}{:en}Hungarian National Philharmonic Orchestra{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nemzeti-filharmonikus-zenekar","to_ping":"","pinged":"","post_modified":"2020-08-10 08:27:54","post_modified_gmt":"2020-08-10 08:27:54","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/institutions\/nemzeti-filharmonikus-zenekar\/","menu_order":0,"post_type":"institutions","post_mime_type":"","comment_count":"0","filter":"raw"}],"gombtipus":"link","jegyarak":"6.000 Ft, 4.500 Ft, 3.000 Ft","hivatkozas_gomb_szovege":"Tov\u00e1bb","hivatkozas_gomg_url-je":"","youtube_id":"","old_id":"","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\/101859","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=101859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}