{"id":103296,"date":"2017-09-19T13:26:15","date_gmt":"2017-09-19T13:26:15","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&#038;p=103296"},"modified":"2017-10-05T11:55:04","modified_gmt":"2017-10-05T11:55:04","slug":"nemzeti-filharmonikus-zenekar-gro%ce%b2es-festspielhaus-ban","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/nemzeti-filharmonikus-zenekar-gro%ce%b2es-festspielhaus-ban\/","title":{"rendered":"The Hungarian National Philharmonic Orchestra in the Gro\u03b2es Festspielhaus"},"content":{"rendered":"","protected":false},"template":"","class_list":["post-103296","concerts","type-concerts","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.5","language":"en","enabled_languages":["hu","en"],"languages":{"hu":{"title":true,"content":false,"excerpt":false},"en":{"title":true,"content":false,"excerpt":false}}},"acf":{"alcim":"","kiemelt_kep":null,"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20180117","esemeny_idopontja":"19.30","sajat_program":false,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87728,"post_author":"1","post_date":"2016-09-08 08:02:38","post_date_gmt":"2016-09-08 08:02:38","post_content":"","post_title":"{:hu}Grosses Festspielhaus{:}{:en}Grosses Festspielhaus{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"grosses-festspielhaus","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:38","post_modified_gmt":"2016-09-08 08:02:38","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/grosses-festspielhaus\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Salzburg{:}{:en}Salzburg{:}","orszag":"{:hu}Ausztria{:}{:en}Austria{:}","cim":"","megjegyzes":"","weboldal":""},"helyszin_kategoria":"kulfold","karmester":null,"hazigazda":null,"muvek":[{"ID":91066,"post_author":"1","post_date":"2016-09-08 08:57:47","post_date_gmt":"2016-09-08 08:57:47","post_content":"{:hu}M\u00e1r 1777 november\u00e9ben besz\u00e1mol apj\u00e1nak egy oboaversenyr\u0151l: \"Naponta Cannabich\u00e9kn\u00e1l vagyok... n\u00e9h\u00e1nyan a zenekarb\u00f3l \u00e9ppen ott voltak... az obo\u00e1s, akinek nem tudom a nev\u00e9t, azonban igen j\u00f3l j\u00e1tszik, \u00e9s sz\u00e9p finom t\u00f3nusa van. Megaj\u00e1nd\u00e9koztam az oboaversennyel, Cannabich\u00e9kn\u00e1l fogj\u00e1k lem\u00e1solni.\"\r\n\r\n<!--more-->\r\n\r\nAz oboaverseny keletkez\u00e9st\u00f6rt\u00e9nete k\u00f6r\u00fcl van n\u00e9mi bizonytalans\u00e1g. Mozart 1777 okt\u00f3ber\u00e9ben Mannheimbe \u00e9rkezett, ahol a vil\u00e1g akkori tal\u00e1n legjobb zenekara m\u0171k\u00f6d\u00f6tt. (Ezen k\u00edv\u00fcl is rendk\u00edv\u00fcl fontos m\u0171v\u00e9szi, s\u0151t \u00e9rzelmi benyom\u00e1sok \u00e9rt\u00e9k Mannheimben Mozartot.) M\u00e1r 1777 november\u00e9ben besz\u00e1mol apj\u00e1nak egy oboaversenyr\u0151l: \"Naponta Cannabich\u00e9kn\u00e1l vagyok... n\u00e9h\u00e1nyan a zenekarb\u00f3l \u00e9ppen ott voltak... az obo\u00e1s, akinek nem tudom a nev\u00e9t, azonban igen j\u00f3l j\u00e1tszik, \u00e9s sz\u00e9p finom t\u00f3nusa van. Megaj\u00e1nd\u00e9koztam az oboaversennyel, Cannabich\u00e9kn\u00e1l fogj\u00e1k lem\u00e1solni.\"\r\nAzut\u00e1n 1778. febru\u00e1r 14-\u00e9n keltezett level\u00e9ben eml\u00edt\u00e9st tesz t\u00f6bbek k\u00f6z\u00f6tt k\u00e9t fuvolaversenyr\u0151l, amelyeket a j\u00f3m\u00f3d\u00fa holland m\u0171kedvel\u0151, De Jean megb\u00edz\u00e1s\u00e1b\u00f3l kompon\u00e1lt. Ezek k\u00f6z\u00fcl az els\u0151 G-d\u00far hangnem\u0171 (K. 313), a m\u00e1sodik D-d\u00far. Ez viseli ma a 314-es K\u00f6chel sz\u00e1mot. Mozart egy m\u00e9g k\u00e9s\u0151bbi, 1778 okt\u00f3ber\u00e9ben kelt level\u00e9ben apj\u00e1nak csak egy ekkoriban \u00edrt fuvolaversenyr\u0151l tesz eml\u00edt\u00e9st, teh\u00e1t val\u00f3sz\u00edn\u0171s\u00edthet\u0151, hogy az egy \u00e9vvel kor\u00e1bbi oboaversenyt \u00edrta \u00e1t - id\u0151 hi\u00e1ny\u00e1ban - De Jean\u00e9k sz\u00e1m\u00e1ra fuvol\u00e1ra. Ez az \u00e1tirat v\u00e9lhet\u0151en csak transzpoz\u00edci\u00f3t jelentett.\r\nAz 1777-es oboaversenyr\u0151l tudjuk, hogy Salzburgban keletkezett, Giuseppe Ferlendi bresciai oboam\u0171v\u00e9sz sz\u00e1m\u00e1ra. Ezt a darabot jel\u00f6li a K\u00f6chel-jegyz\u00e9k 271k sz\u00e1mmal, \u00e9s elveszett m\u0171k\u00e9nt tartja sz\u00e1mon a zenet\u00f6rt\u00e9net.\r\nA meglehet\u0151sen konvencion\u00e1lis zenei nyelvet haszn\u00e1l\u00f3, de igen j\u00f3l form\u00e1lt oboa\/fuvolaverseny \u00e9rdekess\u00e9ge, hogy z\u00e1r\u00f3rond\u00f3j\u00e1nak t\u00e9m\u00e1j\u00e1t a Sz\u00f6ktet\u00e9sben hallhatjuk majd viszont, ahol Blonde szinte pontosan ugyanezt a dallamot \u00e9nekli. Az \u00e1tv\u00e9tel tudatoss\u00e1ga fel\u0151l nem lehet\u00fcnk bizonyosak, Mozart m\u0171v\u00e9szet\u00e9t \u00e1t- meg \u00e1tsz\u00f6vik a hasonl\u00f3 tematikus kapcsolatok.{:}{:en}I. Allegro aperto II. Andante ma non troppo III. Allegro\r\n\r\n&nbsp;\r\n\r\nThe circumstances surrounding the composition of Mozart's oboe concerto is shrouded in a degree of mystery. Mozart arrived in Mannheim in October 1777, where probably the finest orchestra in the world was then stationed. (Besides this, Mozart was touched by exceptionally important artistic and emotional impressions as well). In a letter from November 1777, Mozart told his father about an oboe concerto: \"Every day I am with the Cannabiches ... there were some people from the orchestra there\u00a0... the oboe player, whose name I don't know, actually plays well, and has a fine and attractive tone. I have given him my oboe concerto, and the Cannabiches will copy it.\"\r\nIn a letter from February 14th 1778, Mozart mentions two flute concertos, which he wrote to a commission from the well to do Dutch artistic patron, De Jean. These were the First in G major (K. 313) and the second in D major, which now bears the K\u00f6chel number 314. In a later letter still, from October 1778, Mozart mentions to his father a flute concerto written then, so it is possible that this was simply a transcription for De Jean of the earlier oboe concerto. Of the 1777 oboe concerto, we know that it was written in Salzburg for the oboist Gisuseppe Ferlendi from Brescia. In the K\u00f6chel catalogue this is known as 271k but has been lost.\r\nAn interesting aspect of the oboe\/flute concerto, which uses a fairly conventional musical language but is otherwise extremely well formed, is that its Rondo contains a theme we can hear in his Seraglio opera where Blonde sings this exact same melody. We don't know how conscious this borrowing was, since Mozart's art is an intimate web of similar thematic interrelations.{:}","post_title":"{:hu}C-d\u00far oboaverseny K. 314 (285\/d){:}{:en}Oboe Concerto in C major K. 314 (285\/d){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"c-dur-oboaverseny-k-314-285d","to_ping":"","pinged":"","post_modified":"2017-05-30 06:32:34","post_modified_gmt":"2017-05-30 06:32:34","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/c-dur-oboaverseny-k-314-285d\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Mozart"]},{"ID":91113,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu}<p style=\"text-align: justify;\">A Les Pr\u00e9ludes Liszt egyik leggyakrabban el\u0151adott szimfonikus k\u00f6ltem\u00e9nye. A kompoz\u00edci\u00f3 genezise eg\u00e9szen 1844-ig vezethet\u0151 vissza. Az els\u0151 hall\u00e1sra furcs\u00e1nak t\u0171n\u0151 c\u00edmet (El\u0151j\u00e1t\u00e9kok) Alphonse de Lamartine (1790-1869) K\u00f6lt\u0151i elm\u00e9lked\u00e9sek c\u00edm\u0171 munk\u00e1ja ihlette. A darab k\u00f6lt\u0151i programj\u00e1t a vers alapj\u00e1n \u00edgy hat\u00e1rozta meg Liszt: &quot;Mi m\u00e1s az \u00e9let\u00fcnk, mint el\u0151j\u00e1t\u00e9kok sorozata ahhoz az ismeretlen \u00e9nekhez, amelynek els\u0151 hangj\u00e1t a hal\u00e1l csend\u00edti meg?&quot; Ma m\u00e1r tudjuk, hogy ezt a programot Liszt az utols\u00f3 pillanatban, a m\u0171 elk\u00e9sz\u00fclte ut\u00e1n illesztette a zenekari darabhoz, ezzel azt a l\u00e1tszatot keltette, mintha a Lamartine-sz\u00f6veg inspir\u00e1lta volna. A partit\u00far\u00e1hoz k\u00e9sz\u00fclt el\u0151sz\u00f3 t\u00f6bb v\u00e1ltozata is ismert, nyomtat\u00e1sban v\u00e9g\u00fcl egy Hans von B\u00fclow \u00e1ltal fogalmazott sz\u00f6veg jelent meg. Az 1854-ben, Weimarban bemutatott m\u0171 - a karmester maga Liszt Ferenc volt - tartalmilag ugyan laz\u00e1n kapcsol\u00f3dik Lamartine meditat\u00edv \u00edr\u00e1s\u00e1hoz (ebben is, abban is vannak pasztor\u00e1lis \u00e9s harcias r\u00e9szletek), de e laza kapcsolat is elegend\u0151 ahhoz, hogy Liszt szimfonikus k\u00f6ltem\u00e9ny\u00e9nek \u00e9rtelmez\u00e9s\u00e9t hossz\u00fa id\u0151n \u00e1t - s\u0151t m\u00e9g napjainkban is - alapvet\u0151en meghat\u00e1rozza. S b\u00e1r a m\u0171 keletkez\u00e9st\u00f6rt\u00e9nete egy eg\u00e9szen m\u00e1s interpret\u00e1ci\u00f3ra ad lehet\u0151s\u00e9get, nem szabad megfeledkezn\u00fcnk arr\u00f3l, hogy a Lamartine-hoz kapcsolhat\u00f3 gondolatot maga Liszt helyezte az \u00e9rtelmez\u00e9s el\u0151ter\u00e9be.<\/p>\n<p style=\"text-align: justify;\">&nbsp;<\/p>\n<p style=\"text-align: justify;\">A Les Pr\u00e9ludes zen\u00e9j\u00e9t eredetileg Joseph Autran (1813-1877) k\u00f6ltem\u00e9nyei inspir\u00e1lt\u00e1k. Liszt \u00e9s Autran 1844-ben ismerkedett meg egym\u00e1ssal Marseille-ben. Autran lelkesen m\u00e9ltatta a helyi \u00fajs\u00e1gban Liszt m\u0171v\u00e9szet\u00e9t, m\u00e9g alkalmi k\u00f6ltem\u00e9nnyel is kedveskedett a zongoram\u0171v\u00e9sznek. A vers - Les Aquilons (Az \u00e9szaki sz\u00e9l) - elnyerte Liszt tetsz\u00e9s\u00e9t, \u00e9s a sz\u00e1rnyal\u00f3 szabads\u00e1ghimnusz sz\u00f6veg\u00e9re k\u00f3rusm\u0171vet kompon\u00e1lt. Egy \u00e9vvel k\u00e9s\u0151bb, spanyolorsz\u00e1gi turn\u00e9ja k\u00f6zben, Autran tov\u00e1bbi h\u00e1rom vers\u00e9t is megzen\u00e9s\u00edtette: Les Flots (A hull\u00e1mok), Les Astres (A csillagok), La Terre (A f\u00f6ld). A n\u00e9gy k\u00f3rust cikluss\u00e1 szervezve Liszt a Les Quatre \u00c9l\u00e9ments (A n\u00e9gy elem) c\u00edmet adta volna a kompoz\u00edci\u00f3nak. A k\u00f3rusokat zenekari nyit\u00e1ny (Prel\u00fadium) vezette be, melyet el\u0151sz\u00f6r Conradi hangszerelt meg. Ezt 1850 k\u00f6r\u00fcl Raff \u00e1tdolgozta, majd Liszt az eg\u00e9sz hangszerel\u00e9st megv\u00e1ltoztatta (1852-1854). Ebben az alkot\u00f3i f\u00e1zisban sz\u00fcletett meg a kompoz\u00edci\u00f3 c\u00edme \u00e9s a Lamartine-ra val\u00f3 utal\u00e1s. A zene anyaga viszont tov\u00e1bbra is a N\u00e9gy elemb\u0151l k\u00e9sz\u00fclt. Az egyt\u00e9teles m\u0171 n\u00e9gy r\u00e9szre tagolhat\u00f3, az egyes r\u00e9szek \u00f6n\u00e1ll\u00f3 karakter\u0171 t\u00e9telekk\u00e9nt is \u00e9rtelmezhet\u0151k. Az els\u0151 r\u00e9sz (Andante - Andante maestoso) a darab k\u00e9t t\u00e9m\u00e1j\u00e1t (zenei gondolat\u00e1t) expon\u00e1lja. Az els\u0151 t\u00e9m\u00e1t a von\u00f3sok hull\u00e1mz\u00f3 k\u00eds\u00e9rete felett a r\u00e9zf\u00fav\u00f3sok mutatj\u00e1k be, a l\u00edrai m\u00e1sodik t\u00e9ma k\u00fcrt\u00f6k\u00f6n \u00e9s m\u00e9lyheged\u0171k\u00f6n (dolce, espressivo ma tranquillo) csend\u00fcl fel.<\/p>\n<p style=\"text-align: justify;\">&nbsp;<\/p>\n<p style=\"text-align: justify;\">Lisztre jellemz\u0151 m\u00f3don mindk\u00e9t t\u00e9m\u00e1t egy gy\u00f6k\u00e9rb\u0151l, egy h\u00e1rom hangb\u00f3l \u00e1ll\u00f3 mot\u00edvumcs\u00edr\u00e1b\u00f3l fejlesztette ki. A tov\u00e1bbi &quot;t\u00e9telekben&quot; is e cs\u00edra fejl\u0151dik tov\u00e1bb \u00faj \u00e9s \u00faj alakot \u00f6ltve. A m\u00e1sodik r\u00e9sz (Allegro ma non troppo) viharr\u00e1 duzzad\u00f3, mozgalmas zene. A harmadik epiz\u00f3dban (Allegretto pastorale) a k\u00e9t t\u00e9ma t\u00e1voli vari\u00e1nsait halljuk viszont. A t\u00e9telt z\u00e1r\u00f3 dr\u00e1mai fokoz\u00e1s a t\u00e9m\u00e1k eredeti alakj\u00e1t hozza vissza. A fin\u00e1l\u00e9 (Allegro marziale animato) harci riad\u00f3 \u00e9s gy\u0151zelmi fanf\u00e1r, melyben az eredetileg l\u00e1gy m\u00e1sodik dallam is kem\u00e9ny indul\u00f3 karakter\u0171v\u00e9 alakul \u00e1t. E metamorf\u00f3zis egy\u00e9rtelm\u0171en vil\u00e1g\u00edt r\u00e1 a szimfonikus k\u00f6ltem\u00e9ny k\u00e9t uralkod\u00f3 t\u00e9m\u00e1j\u00e1nak k\u00f6z\u00f6s gy\u00f6ker\u00e9re.<\/p>{:}{:en}<p style=\"text-align: justify;\">\n<meta content=\"text\/html; charset=utf-8\" http-equiv=\"Content-Type\">\n<meta content=\"Word.Document\" name=\"ProgId\">\n<meta content=\"Microsoft Word 12\" name=\"Generator\">\n<meta content=\"Microsoft Word 12\" name=\"Originator\">\n<link href=\"file:\/\/\/C:%5CUsers%5CHORVAT%7E1%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml\" rel=\"File-List\">\n<link href=\"file:\/\/\/C:%5CUsers%5CHORVAT%7E1%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx\" rel=\"themeData\">\n<link href=\"file:\/\/\/C:%5CUsers%5CHORVAT%7E1%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml\" rel=\"colorSchemeMapping\"><!--[if gte mso 9]><xml>\n \n  Normal\n  0\n  \n  \n  \n  21\n  \n  \n  false\n  false\n  false\n  \n  HU\n  X-NONE\n  X-NONE\n  \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n  \n  MicrosoftInternetExplorer4\n  \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n  \n<\/xml><![endif]--><!--[if gte mso 9]><![endif]--><!--[if !mso]>\n<style>\nst1:*{behavior:url(#ieooui) }\n<\/style>\n<![endif]--><style type=\"text\/css\">\n<!--\n \/* Font Definitions *\/\n @font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;}\n@font-face\n\t{font-family:Verdana;\n\tpanose-1:2 11 6 4 3 5 4 4 2 4;}\n \/* Style Definitions *\/\n p.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{\n\tmso-style-parent:\"\";\n\tmargin:0cm;\n\tmargin-bottom:.0001pt;\n\tfont-size:12.0pt;\n\tfont-family:\"Times New Roman\",\"serif\";\n\tmso-fareast-font-family:\"Times New Roman\";}\np\n\t{\n\tmargin-right:0cm;\n\tmargin-left:0cm;\n\tfont-size:12.0pt;\n\tfont-family:\"Times New Roman\",\"serif\";\n\tmso-fareast-font-family:\"Times New Roman\";}\n.MsoChpDefault\n\t{\n\tfont-size:10.0pt;}\n@page Section1\n\t{size:612.0pt 792.0pt;\n\tmargin:70.85pt 70.85pt 70.85pt 70.85pt;}\ndiv.Section1\n\t{page:Section1;}\n-->\n<\/style><!--[if gte mso 10]>\n<style>\n \/* Style Definitions *\/\n table.MsoNormalTable\n\t{mso-style-name:\"Norm\u00e1l t\u00e1bl\u00e1zat\";\n\tmso-style-parent:\"\";\n\tfont-size:11.0pt;\n\tfont-family:\"Calibri\",\"sans-serif\";\n\tmso-fareast-font-family:\"Times New Roman\";\n\tmso-bidi-font-family:\"Times New Roman\";}\n<\/style>\n<![endif]--><span>Les Pr\u00e9ludes is one the most frequently performed of Liszt&rsquo;s symphonic poems. We can trace the genesis of this work back to 1844. At first hearing, its title is distinctly odd: it bears no resembles to the preludes of Bach or Chopin. The explanation can be found in the work of the poet Alphone de Lamartine (1790-1869.) Liszt defined the programme of Les Pr\u00e9ludes by referring to the following Lamartine lines: &bdquo;What else is our life except a series of preludes to an unknown song, the first note of which is extinguished by death?&rdquo; We now know however, that Liszt only appended this explanation at the very last moment, once the composition was complete, creating the misleading impression that it was the Larmartine text that inspired it. We know of a number of earlier versions for the frontispiece to the score, but the final printed version used words by Hans von B\u00fclow. In 1854, the symphonic poem was premiered in Weimar, conducted by Franz Liszt himself, and although it was loosely linked to Lamartine&rsquo;s meditative writing (in the sense that there are pastoral and military sections), this loose relationship was enough to fundamentally influence the interpretation of Liszt&rsquo;s symphonic poem for many decades. Although the origin of the work offers a quite different interpretation, we should not lose sight of the fact that Liszt himself chose the Lamartine poem as the centre of interpretation.<\/span>      <\/meta>\n<\/meta>\n<\/meta>\n<\/meta>\n<\/p>\n<p>\n<meta content=\"text\/html; charset=utf-8\" http-equiv=\"Content-Type\">\n<meta content=\"Word.Document\" name=\"ProgId\">\n<meta content=\"Microsoft Word 12\" name=\"Generator\">\n<meta content=\"Microsoft Word 12\" name=\"Originator\"> <\/meta>\n<\/meta>\n<\/meta>\n<\/meta>\n<\/p>\n<p style=\"text-align: justify;\"><span>The music of Les Pr\u00e9ludes was originally inspired by the poems of Joseph Autran (1813-1877). Liszt first became acquainted with Autran in 1844 in Marseille. Autran enthusiastically praised Liszt&rsquo;s work in the local newspaper and broke into verse for the occasion. The verse &ndash; Les Aquilons (the North Wind) &ndash; won Liszt&rsquo;s approval and he composed a choral work to the text which was an expansive hymn to freedom. A year later, during a Spanish tour, Liszt set a further three Autran verses to music: Les Flots (The Waves), Les Astres (The Stars), La Terre (The Eearth). Liszt intended to create a choral cycle from these works which he called Les Quatre \u00c9l\u00e9ments (The Four Elements.) A choruses were prefaced with an orchestral introduction (Prel\u00fadium) which first Conradi orchestrated. Around 1850. Raff was asked to rework it and then Liszt himself altered the entire orchestration between 1852 and 1854. It was only in this final phase of creative work that Liszt came up with the work&rsquo;s title and the allusion to Lamartine. The musical material however, continued to be mined from the Four Elements. The finished one movement work can be subdivided into four sections, each one being interpretable as an independent movement. The first part (Andante - Andante maestoso) presents the work&rsquo;s two themes (its musical thought.) The first theme is introduced by the brass instruments above an undulating string accompaniment. The lyrical second theme (dolce, espressivo ma tranquillo) is heard on viola and the horns.<\/span><\/p>\n<p style=\"text-align: justify;\"><span>Typical of Liszt, both themes derive from an embryonic three note motif. In the subsequent &bdquo;movements&rdquo;, this embryo develops, taking on further guises. The second section (Allegro ma non troppo) is stormy music. In the third episode (Allegretto pastorale) we hear two distant variations of the themes. In the dramatic climax of the movement, these themes are brought back in their original form. The finale (Allegro marziale animato) is a triumphant military fanfare in which the originally soft second melody is transformed into a tune with a harsh march character. This metamorphosis unmistakably illuminates the mutual roots of the two prevailing themes.<\/span><\/p>\n<p>&nbsp;<\/p>{:}","post_title":"{:hu}Les Pr\u00e9ludes{:}{:en}Les Pr\u00e9ludes{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"les-preludes","to_ping":"","pinged":"","post_modified":"2016-09-08 08:57:48","post_modified_gmt":"2016-09-08 08:57:48","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/les-preludes\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Liszt"]},{"ID":101513,"post_author":"3","post_date":"2017-05-30 06:34:08","post_date_gmt":"2017-05-30 06:34:08","post_content":"{:hu}A m\u00e1r h\u00e9t-nyolc \u00e9ves kor\u00e1t\u00f3l kompon\u00e1l\u00f3 Franz Schubert \u00e9let\u00e9ben meghat\u00e1roz\u00f3 szerepet j\u00e1tszott, hogy 11 \u00e9vesen felv\u00e9telt nyert a b\u00e9csi udvari k\u00e1polna k\u00f3rus\u00e1ba, s emellett a v\u00e1ros egyik legjobb iskol\u00e1j\u00e1ba, a Cs\u00e1sz\u00e1ri \u00e9s Kir\u00e1lyi V\u00e1rosi Konviktusba, ahol \u00f6t \u00e9vig tanult. \u00a0Ebben a kiv\u00e1l\u00f3 oktat\u00e1st biztos\u00edt\u00f3 int\u00e9zm\u00e9nyben a zen\u00e9nek is fontos szerep jutott: az iskola els\u0151rang\u00fa zenekar\u00e1ban Schubert heged\u0171sk\u00e9nt m\u00e1r kor\u00e1n megismerkedhetett Haydn, Mozart \u00e9s a fiatal Beethoven szimfonikus zen\u00e9j\u00e9vel. (Egy iskolat\u00e1rs\u00e1nak visszaeml\u00e9kez\u00e9se szerint k\u00fcl\u00f6n\u00f6sen Mozart \u201enagy\u201d g-moll szimf\u00f3ni\u00e1ja \u00e9s Beethoven 2. szimf\u00f3ni\u00e1ja tett r\u00e1 nagy hat\u00e1st.) Minden Schubertr\u0151l sz\u00f3l\u00f3 k\u00f6nyv hangs\u00falyozza, hogy a komponista els\u0151 hat szimf\u00f3ni\u00e1ja milyen sok sz\u00e1llal k\u00f6t\u0151dik a b\u00e9csi klasszika nagymestereinek st\u00edlus\u00e1hoz \u2013 s hogy ezzel egy\u00fctt m\u00e1r a legels\u0151 darabban megsz\u00f3lal az ekkor m\u00e9g csak 16 \u00e9ves szerz\u0151 egy\u00e9ni hangja is. \u201eSchubert ugyanazt a nyelvet besz\u00e9lte (m\u00e9ghozz\u00e1 nagyon meggy\u0151z\u0151en), mint \u0151k, de annyira m\u00e1st mondott ezen a nyelven, hogy ez a hat m\u0171 m\u00e9gis a fiatal zeneszerz\u0151re, \u00e9s csakis r\u00e1 jellemz\u0151.\u201d \u2013 \u00edrja egyik m\u00e9ltat\u00f3ja.\r\n\r\nAz 1816 \u00e1prilis\u00e1ban, 19 \u00e9vesen befejezett 4. szimf\u00f3nia saj\u00e1tkez\u0171 partit\u00far\u00e1j\u00e1ba Schubert csak k\u00e9s\u0151bb \u00edrta be a \u201eTragikus\u201d mell\u00e9knevet. Ez a mell\u00e9kn\u00e9v meglehet\u0151sen f\u00e9lrevezet\u0151: m\u00edg a m\u0171 k\u00e9ts\u00e9gtelen\u00fcl komolyabb, s helyenk\u00e9nt szenved\u00e9lyesebb hangv\u00e9tel\u0171, mint el\u0151dei, tragikusnak m\u00e9gsem nevezhet\u0151. Ez a szenved\u00e9ly nem Beethoven 5. szimf\u00f3ni\u00e1j\u00e1t, hanem sokkal ink\u00e1bb az 1770-es \u00e9vek els\u0151 fel\u00e9nek \u201eviharos\u201d irodalmi \u00e9s zenei \u00e1ramlat\u00e1t, a \u201eSturm und Drang\u201d-ot, Joseph Haydnnak \u00e9s kort\u00e1rsainak ekkor keletkezett szimf\u00f3ni\u00e1it id\u00e9zi fel, r\u00f6gt\u00f6n a nyit\u00f3t\u00e9tel gyors f\u0151t\u00e9m\u00e1j\u00e1ban. A t\u00e9tel lass\u00fa bevezet\u00e9se egyeseknek Mozart h\u00edres \u201eDissonanzen\u201d von\u00f3sn\u00e9gyes\u00e9nek els\u0151 \u00fctemeit, m\u00e1soknak Haydn <em>Teremt\u00e9s<\/em> c\u00edm\u0171 orat\u00f3riuma szint\u00e9n c-mollban, eg\u00e9szen hasonl\u00f3an indul\u00f3 zenekari bevezet\u0151j\u00e9t juttatja esz\u00e9be. A gyors f\u0151t\u00e9ma hevess\u00e9g\u00e9vel dallamos, l\u00edrai, d\u00far mell\u00e9kt\u00e9ma kontraszt\u00e1l, s a visszat\u00e9r\u00e9sben a mell\u00e9kt\u00e9ma ut\u00e1n a zene m\u00e1r a t\u00e9tel v\u00e9g\u00e9ig d\u00farban marad. Az Andante t\u00e9telben a bens\u0151s\u00e9ges, beethoveni sz\u00e9ps\u00e9g\u0171 Asz-d\u00far kezd\u0151 dallammal egy el\u0151sz\u00f6r f-mollban, m\u00e1sodszor b-mollban megjelen\u0151, szinte groteszken sz\u00f6gletes t\u00e9ma \u00e1ll szemben. A 3. t\u00e9tel rendhagy\u00f3 m\u00f3don nem a c-moll alaphangnemben, hanem Esz-d\u00farban \u00e1ll. Schubert ugyan Men\u00fcettnek nevezi, de Allegro vivace temp\u00f3j\u00e1n\u00e1l \u00e9s karakter\u00e9n\u00e9l fogva m\u00e1r-m\u00e1r scherzo, amely r\u00f6gt\u00f6n a kezdet\u00e9n a h\u00e1rom negyedet k\u00e9t negyedd\u00e9 alak\u00edt\u00f3 hangs\u00falyoz\u00e1s\u00e1val lepi meg a hallgat\u00f3t. Itt a hangulati v\u00e1lt\u00e1st a finoman n\u00e9pies hangv\u00e9tel\u0171 dallamos k\u00f6z\u00e9pr\u00e9sz (tri\u00f3) hozza. Szon\u00e1ta-form\u00e1j\u00fa, nagy l\u00e9legzet\u0171, jelent\u0151s t\u00e9tel a finale: t\u00e1g teret bej\u00e1r\u00f3, mer\u00e9sz harm\u00f3niai terve, \u00e9p\u00edtkez\u00e9sm\u00f3dja \u00e9s zenei anyaga is egy\u00e9rtelm\u0171en a sz\u00fclet\u0151ben l\u00e9v\u0151 romantika jegyeit hordozza mag\u00e1n. Az egyetlen gesztusb\u00f3l kibontott f\u0151t\u00e9ma, a lend\u00fcletes \u00e1tvezet\u0151 r\u00e9sz, melynek zakatol\u00e1sa a d\u00far mell\u00e9kt\u00e9ma alatt is folytat\u00f3dik, s a diadalmas, szinte h\u0151si hangv\u00e9tel\u0171 z\u00e1r\u00f3t\u00e9ma egym\u00e1sut\u00e1nja a k\u00e9s\u0151bbi Schubert-szimf\u00f3ni\u00e1kat vet\u00edti el\u0151re. A visszat\u00e9r\u00e9s\u2013 mintha csak a m\u0171 mell\u00e9knev\u00e9t c\u00e1foln\u00e1 \u2013 m\u00e1r a kezdet\u00e9t\u0151l C-d\u00farban sz\u00f3lal meg.{:}{:en}The first six symphonies of Schubert have many ties to Haydn, Mozart and the young Beethoven, and yet they are in every way characteristically Schubertian works. Schubert, who was 19 when he completed the work in 1816, added the title \u201cTragic\u201d. This is rather misleading in that the fast main theme of the first movement is evocative of not Beethoven\u2019s Fifth Symphony, but rather. the \u201ctempestuous\u201d trend of the early 1770s, the \u201cSturm und Drang\u201d. The intimate starting melody of Beethovenian beauty in the A-flat-major Andante is contrasted with an almost grotesquely awkward minor theme, which appears twice. Schubert calls the third movement a minuet; however, it is more a scherzo if anything else on account of its tempo and character. Right at the start it surprises the listener by the accentuation converting 3\/4 time to 2\/4 time. The finale is a sweeping, important movement. Its extensive harmonic scheme and musical fabric clearly betrays the features of nascent Romanticism.\r\n\r\n&nbsp;{:}","post_title":"{:hu}IV. szimf\u00f3nia c-moll \"Tragikus\", D. 417{:}{:en}Symphony No. 4, C minor \u2019Tragic\u2019, D. 417{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iv-szimfonia-c-moll-tragikus-d-417","to_ping":"","pinged":"","post_modified":"2017-12-16 15:06:41","post_modified_gmt":"2017-12-16 15:06:41","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=101513","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Schubert"]}],"muvekrol_reszletesen":null,"kozr_szemelyek":[],"muveszekrol_reszletesen":null,"kozr_szemelyek_feluldefinialasa":"<p><strong>Francois Leleux\u00a0<\/strong><i>sz\u00f3lista \u00e9s karmester<\/i><\/p>\n","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":"jegy","jegyarak":"","jegyvasarlas_gomb":"","elkeltek_a_jegyek":false,"youtube_id":"","old_id":""},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/103296","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=103296"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}