{"id":105779,"date":"2018-03-27T09:51:20","date_gmt":"2018-03-27T09:51:20","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=105779"},"modified":"2018-09-24T14:38:31","modified_gmt":"2018-09-24T14:38:31","slug":"zenes-kepeskonyv-a-bibliahoz","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/zenes-kepeskonyv-a-bibliahoz\/","title":{"rendered":"Musical Picture Book to Accompany the Bible"},"content":{"rendered":"

After Joseph Haydn (1732-1809) had completed 30 years of service for the noble Esterh\u00e1zy family, he twice travelled to England to perform a series of concerts. The performances of his works were hugely successful and lucrative, but his musical discovery was even more significant: the centuries-old tradition of English choral music and the genre that had developed from it, the oratorio. Upon his return home, Haydn swiftly composed two oratorios of his own: The Creation and The Seasons. The text of The Creation tells the story of the Old Testament, with considerable detail added. The story and the music begins with a depiction of primordial chaos. How? Is it even possible to represent nothingness through music? Haydn pulled it off. The choir, soloists and orchestra tell us everything. They make us see the essence of the story: light and darkness, the sun, the moon, the stars, the seas and the land, the mountains and rivers, the plants, the animals and, finally, man, who is capable of love and offering praise to our Lord and Creator.<\/p>\n","protected":false},"template":"","class_list":["post-105779","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":"Non-season ticket concert","kiemelt_kep":{"ID":108079,"id":108079,"title":"Nemzeti \u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s Norbert_027","filename":"Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027.jpg","filesize":4110708,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/zenes-kepeskonyv-a-bibliahoz\/nemzeti-enekkar_2018-09-17mnf_csatlos-norbert_027\/","alt":"","author":"951582","description":"","caption":"","name":"nemzeti-enekkar_2018-09-17mnf_csatlos-norbert_027","status":"inherit","uploaded_to":105779,"date":"2018-09-24 14:37:37","modified":"2018-09-24 14:38:31","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":3543,"height":2362,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-768x512.jpg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-1024x683.jpg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027.jpg","1536x1536-width":1536,"1536x1536-height":1024,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027.jpg","2048x2048-width":2048,"2048x2048-height":1365,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027.jpg","person-size-2-width":165,"person-size-2-height":110,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/09\/Nemzeti-\u00c9nekkar_2018.09.17@MNF_Csatl\u00f3s-Norbert_027-1600x722.jpg","slider-size-width":1600,"slider-size-height":722}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20180929","esemeny_idopontja":"8 pm","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87540,"post_author":"1","post_date":"2016-09-08 08:02:37","post_date_gmt":"2016-09-08 08:02:37","post_content":"","post_title":"{:hu}M\u00e1ty\u00e1s-templom{:}{:en}Matthias Church{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"matyas-templom","to_ping":"","pinged":"","post_modified":"2017-05-31 07:18:30","post_modified_gmt":"2017-05-31 07:18:30","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/matyas-templom\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"Budapest","orszag":"Hungary","cim":"I. Szenth\u00e1roms\u00e1g t\u00e9r 2.","megjegyzes":"","weboldal":""},"helyszin_kategoria":"budapest","karmester":{"ID":101545,"post_author":"1","post_date":"2017-05-30 19:58:57","post_date_gmt":"2017-05-30 19:58:57","post_content":"{:hu}Fels\u0151fok\u00fa tanulm\u00e1nyait a Liszt Ferenc Zenem\u0171v\u00e9szeti F\u0151iskol\u00e1n folytatta, zeneszerz\u00e9s tan\u00e1ra Petrovics Emil, karmester tan\u00e1rai Luk\u00e1cs Ervin \u00e9s G\u00e1l Tam\u00e1s voltak. 1995-ben kit\u00fcntet\u00e9ssel diplom\u00e1zott.\r\n\r\nP\u00e1ly\u00e1ja a Magyar Telev\u00edzi\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n nyert 2. d\u00edjjal \u00e9s k\u00f6z\u00f6ns\u00e9gd\u00edjjal indult. 1996-ban a spanyolorsz\u00e1gi Cadaques-ben rendezett karmesterversenyen ugyancsak 2. d\u00edjat nyert, 1997-ben a Portug\u00e1l R\u00e1di\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n 1. helyezett lett, majd a Trent\u00f3i Antonio Pedrotti Versenyen szint\u00e9n az 1. helyen v\u00e9gzett.\r\n\r\n1997 \u0151sz\u00e9n Kocsis Zolt\u00e1n zeneigazgat\u00f3 javaslat\u00e1ra a Nemzeti Filharmonikusok els\u0151 \u00e1lland\u00f3 karmester\u00e9v\u00e9 nevezt\u00e9k ki. 1998-ben Lorin Maazel asszisztense a Salzburgi \u00dcnnepi J\u00e1t\u00e9kokon. 2000-t\u0151l 2009-ig a Pannon Filharmonikusok zeneigazgat\u00f3ja \u00e9s vezet\u0151 karmestere, ezzel p\u00e1rhuzamosan az Orchestra di Padova e del Veneto els\u0151 vend\u00e9gkarmestere.\r\n\r\nRendszeres vend\u00e9g Eur\u00f3pa, Jap\u00e1n \u00e9s az Egyes\u00fclt \u00c1llamok zenekarain\u00e1l \u00e9s koncerttermeiben. Fell\u00e9pett szinte minden magyar szimfonikus egy\u00fcttessel. 2001 \u00f3ta rendszeresen vez\u00e9nyel a Magyar \u00c1llami Operah\u00e1zban, sz\u00edvesen l\u00e1tott vend\u00e9g a k\u00fclf\u00f6ldi dalsz\u00ednh\u00e1zakban is. 2005 \u00e9s 2011 k\u00f6z\u00f6tt a Z\u00fcrichi Operah\u00e1zban dolgozott a vil\u00e1gh\u00edr\u0171 dalsz\u00ednh\u00e1z \u00e1lland\u00f3 karmesterek\u00e9nt. 2012-t\u0151l 2016-ig a Wiesbadeni Operah\u00e1z (Hessisches Staatstheater) f\u0151zeneigazgat\u00f3ja volt.\r\n\r\n\u00a0<\/em>A Nemzeti Filharmonikus Zenekarral Liszt m\u0171veket, a Pannon Filharmonikusokkal Mahler I. szimf\u00f3ni\u00e1j\u00e1nak 1893-as weimari v\u00e1ltozat\u00e1t r\u00f6gz\u00edtette CD-re a Hungaroton kiad\u00e1s\u00e1ban.\r\n\r\n2011 j\u00fanius\u00e1ban sikeresen fejezte be habilit\u00e1ci\u00f3j\u00e1t a Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetemen. 2016 \u00f3ta a szombathelyi Nemzetk\u00f6zi Bart\u00f3k Szemin\u00e1rium \u00e9s Fesztiv\u00e1l karmesterkurzus\u00e1nak professzora.\r\n\r\n2017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig vezette a Nemzeti Filharmonikusok Zenekar\u00e1t.\r\n\r\nMunk\u00e1ss\u00e1ga elismer\u00e9sek\u00e9nt 2001-ben Liszt-d\u00edjat, 2006-ban a Magyar K\u00f6zt\u00e1rsas\u00e1gi \u00c9rdemrend Lovagkeresztj\u00e9t vehette \u00e1t, 2017-ben pedig \u00c9rdemes M\u0171v\u00e9sz d\u00edjban r\u00e9szes\u00fclt.{:}{:en}Hamar pursued his advanced studies at Budapest\u2019s Franz Liszt Academy of Music, graduating with honours in 1995 after studying music composition under Emil Petrovics and conducting under Ervin Luk\u00e1cs and Tam\u00e1s G\u00e1l. He launched his career by taking second place and the audience prize at the Hungarian Television International Conducting Competition. He has also won prizes at several other international competitions (taking second place at the Cadaqu\u00e9s Orchestra International Conducting Competition in Spain and first place at both the Portuguese Radio Conducting Competition and the Antonio Pedrotti International Conducting Competition in Trento, Italy). In 1997, he was invited by Zolt\u00e1n Kocsis to serve as first permanent conductor of the Hungarian National Philharmonic Orchestra. After working as Lorin Maazel\u2019s assistant at the Salzburg Festival in 1998, he spent the years from 2000 to 2009 as the music director of the Pannon Philharmonic while simultaneously serving as first guest conductor of the Orchestra di Padova e del Veneto.\r\n\r\nA regular guest with orchestras and at concert halls around Europe, Japan and the USA, he has also appeared with nearly every symphonic ensemble in Hungary. Hamar has regularly conducted at the Hungarian State Opera since 2001 and is a welcome guest at opera houses in other countries as well. Between 2005 and 2011, he worked as a permanent conductor at the world-famous Opernhaus Z\u00fcrich. He has recorded works by Liszt together with the Hungarian National Philharmonic and Mahler\u2019s First Symphony<\/em> with the Pannon Philharmonic. From 2012 to 2016, he served as the chief music director of Wiesbaden\u2019s opera house.\r\n\r\nHe headed the Hungarian National Philharmonic as Musical Director from March 2017 to August 2020.{:}","post_title":"{:hu}Hamar Zsolt{:}{:en}Zsolt Hamar{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hamar-zsolt-3","to_ping":"","pinged":"","post_modified":"2020-08-10 08:31:17","post_modified_gmt":"2020-08-10 08:31:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=101545","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91308,"post_author":"1","post_date":"2016-09-08 08:57:50","post_date_gmt":"2016-09-08 08:57:50","post_content":"{:hu}

\"Itt a k\u00f6nyv, kezdje az elej\u00e9n!\" \u00c1ll\u00edt\u00f3lag ezekkel a szavakkal adta Haydn kez\u00e9be a Bibli\u00e1t egy londoni ismer\u0151se, amikor megtudta, a komponista orat\u00f3riumot szeretne alkotni a nagy H\u00e4ndel-m\u0171vek mint\u00e1j\u00e1ra, s ehhez megfelel\u0151 librett\u00f3t keres. Haydn pedig val\u00f3ban az elej\u00e9n kezdte, M\u00f3zes els\u0151 k\u00f6nyv\u00e9nek els\u0151 sorain\u00e1l, a vil\u00e1g teremt\u00e9s\u00e9n\u00e9l.<\/p>

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A dolog persze nem ment ennyire egyszer\u0171en. A Biblia veretes sz\u00f6vege arra nemigen alkalmas, hogy \u00e1ri\u00e1k k\u00e9sz\u00fcljenek r\u00e1 - az ilyesmi a 18-19. sz\u00e1zad fordul\u00f3j\u00e1n frivol \u00f6tletnek t\u0171nhetett. Sz\u00f6veg\u00edr\u00f3t kellet h\u00e1t tal\u00e1lni, aki v\u00e1llalja, hogy a megfelel\u0151 bibliai sorokhoz kapcsol\u00f3dva zen\u00e9be k\u00edv\u00e1nkoz\u00f3 l\u00edrai k\u00f6ltem\u00e9nyeket \u00edr. Haydn szerzett egy \"mintasz\u00f6veget\" angolul egy Lidley (vagy Linley?) nev\u0171 po\u00e9t\u00e1t\u00f3l, ezt Londonb\u00f3l B\u00e9csbe hazat\u00e9rve \u00e1tadta r\u00e9gi ismer\u0151s\u00e9nek, Gottfried van Swieten b\u00e1r\u00f3nak. Swieten pedig kegyeskedett meger\u0151ltetni k\u00f6lt\u0151i v\u00e9n\u00e1j\u00e1t a muzsika kedv\u00e9\u00e9rt. Nem el\u0151sz\u00f6r tette: Haydn h\u00edres, eredetileg von\u00f3sn\u00e9gyesre \u00edrt, ut\u00f3bb orat\u00f3riumm\u00e1 form\u00e1lt m\u0171v\u00e9nek a \"Krisztus h\u00e9t szava a keresztf\u00e1n\"-nak is \u0151 faragta r\u00edmekbe komment\u00e1l\u00f3 jelleg\u0171 sz\u00f6vegr\u00e9szeit. Amb\u00edci\u00f3ja \u00e9s tehets\u00e9ge enyh\u00e9n sz\u00f3lva nem \u00e1llt ar\u00e1nyban. De egy-k\u00e9t bugyutas\u00e1got lesz\u00e1m\u00edtva k\u00e9ts\u00e9gk\u00edv\u00fcl r\u00e1tal\u00e1lt arra a \"naiv\" hangv\u00e9telre, ami az id\u0151s komponist\u00e1t inspir\u00e1lhatta. Felt\u0171n\u0151en sok alkalmat k\u00edn\u00e1l p\u00e9ld\u00e1ul a sz\u00f6veg zenei illusztr\u00e1ci\u00f3kra. Olyan \u00f6tletekre, amelyek a muzik\u00e1lisan kev\u00e9sb\u00e9 k\u00e9pzett hallgat\u00f3knak is azonnal \u00e9rthet\u0151k, an\u00e9lk\u00fcl azonban, hogy azokat a k\u00f6z\u00f6ns\u00e9g  finomabb \u00edzl\u00e9s\u0171 r\u00e9sze primit\u00edvnek, vulg\u00e1risnak tarthatn\u00e1. Ez ut\u00f3bbiak sz\u00e1m\u00e1ra az ilyen apr\u00f3 effektusok ink\u00e1bb szellemes po\u00e9nnak, a zenei folyamat l\u00e9nyeg\u00e9hez ugyan nem tartoz\u00f3, de azt k\u00e9ts\u00e9gk\u00edv\u00fcl sz\u00ednez\u0151 elemnek t\u0171nhettek. Haydn egyetlen lehet\u0151s\u00e9get sem hagyott kihaszn\u00e1latlanul. A Teremt\u00e9s zen\u00e9je teli van hangut\u00e1nz\u00f3, hangulatfest\u0151, k\u00e9pszer\u0171 megold\u00e1sokkal \u00e9s rejtett, csak a szak\u00e9rt\u0151nek sz\u00f3l\u00f3 utal\u00e1ssal. \u00dagy is fogalmazhatn\u00e1nk: egyszerre demokratikus \u00e9s arisztokratikus. Demokratikus, mint a k\u00f6z\u00e9pkori, \u00edr\u00e1studatlanoknak sz\u00e1nt k\u00e9psorozatok, amelyeket joggal neveztek a \"szeg\u00e9nyek bibli\u00e1j\u00e1nak\", s ugyanakkor arisztokratikus, mert szinte minden illusztrat\u00edv eleme annyira szellemes, hogy az \u00ednyenceket leny\u0171g\u00f6zi a kompoz\u00edci\u00f3s virtuozit\u00e1s, a j\u00e1t\u00e9koss\u00e1g.<\/p>

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J\u00f3 p\u00e9lda minderre m\u00e1r a zenekari bevezet\u0151, az \u0151s-k\u00e1osz zenei k\u00e9pe. Muzsikus sz\u00e1m\u00e1ra ez alighanem a legnagyobb kih\u00edv\u00e1s. A zene l\u00e9nyege ugyanis a rend - a k\u00e1osz ellent\u00e9te. Kaotikus zene - ebben m\u00e9g a k\u00f6zelm\u00falt nagyjai is hittek - nincs. Haydn zene-k\u00e1osz\u00e1ban akadnak bizarr r\u00e9szletek. Olyan hangok cs\u00fasznak egym\u00e1sba, amelyek az \u00f6sszhangzattan szab\u00e1lyai szerint nem sz\u00f3lalhatn\u00e1nak meg egy\u00fctt. Felt\u0171nnek \"kiford\u00edtott\", halkan indul\u00f3 \u00e9s akcentussal megszakad\u00f3 harm\u00f3ni\u00e1k (mintha magn\u00f3ra r\u00f6gz\u00edtett zen\u00e9t \"visszafel\u00e9\" j\u00e1tszan\u00e1nk le). Alapj\u00e1ban v\u00e9ve azonban a hallgat\u00f3 nem \"rendetlens\u00e9get\" \u00e9rz\u00e9kel, hanem egyfajta rem\u00e9nytelens\u00e9get. Haydn maga jelentette ki egyszer: sz\u00e1m\u00e1ra a k\u00e1osz v\u00e9gtelen szomor\u00fas\u00e1g...<\/p>

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A bevezet\u0151 ut\u00e1ni recitativ\u00f3ban a basszus sz\u00f3lista kezdi a Biblia id\u00e9z\u00e9s\u00e9vel a t\u00f6rt\u00e9netet (\u0151t Raphaelnek nevezi a sz\u00f6vegk\u00f6nyv, a tenorista \u00e9s a szopr\u00e1nsz\u00f3lista is arkangyalnevet kapott: Uriel, illetve Gabriel). Haydn szinte minden sz\u00f3t \"\u00e1br\u00e1zol\". Az els\u0151 mondat (\"Kezdetben teremtette Isten a mennyet \u00e9s f\u00f6ldet\") ut\u00e1n a von\u00f3sok \"mennyt\u0151l\" a \"f\u00f6ldig\" hajl\u00f3 dallamot j\u00e1tszanak.  Amikor ezt halljuk: \"a f\u00f6ld kietlen \u00e9s kop\u00e1r volt\" (\"ohne Form und leer\" - mondja a n\u00e9met sz\u00f6veg), harm\u00f3nia n\u00e9lk\u00fcli, \"\u00fcres\" unisono sz\u00f3l. A s\u00f6t\u00e9ts\u00e9get borzongat\u00f3 sz\u0171k\u00edtett akkord festi. A k\u00f6vetkez\u0151 mondatr\u00e9szn\u00e9l: \"de Isten lelke lebegett a vizek felett\", Esz-d\u00far akkord hangzik. Szak\u00e9rt\u0151, kott\u00e1t olvas\u00f3 zen\u00e9sz tudja, nem v\u00e9letlen\u00fcl \u00e9pp Esz-d\u00far, ezt ugyanis h\u00e1rom \"b\" el\u0151jegyz\u00e9se miatt hagyom\u00e1nyosan a Szenth\u00e1roms\u00e1g hangnem\u00e9nek tartott\u00e1k. A legszebb mind k\u00f6z\u00fcl a f\u00e9ny megjelen\u00edt\u00e9se. \"Akkor ezt mondta Isten: legyen vil\u00e1goss\u00e1g. \u00c9s lett vil\u00e1goss\u00e1g.\" A \"Licht\" sz\u00f3ra a fojtott pianissim\u00f3t harsog\u00f3 C-d\u00far fortissimo v\u00e1ltja fel. Mintha valaki bekapcsoln\u00e1 a vak\u00edt\u00f3 reflektorokat. Ezut\u00e1n Swieten komment\u00e1rja k\u00f6vetkezik, k\u00f3rusk\u00eds\u00e9retes tenor\u00e1ri\u00e1val - ez kerek\u00edti le a teremt\u00e9s els\u0151 \"napj\u00e1nak\" elbesz\u00e9l\u00e9s\u00e9t.<\/p>

 <\/p>

A m\u00e1sodik napot ar\u00e1nylag r\u00f6viden int\u00e9zi el a Mester, egy recitativ\u00f3t \u00e9s egy k\u00f3rusk\u00eds\u00e9retes, Istent dics\u0151\u00edt\u0151 \u00e1ri\u00e1t sz\u00e1n r\u00e1. A harmadik nap t\u00f6rt\u00e9n\u00e9sei r\u00e9szletesebbek. Kiemelkedik a t\u00e9telek k\u00f6z\u00fcl a partit\u00far\u00e1ban 7-es sz\u00e1mmal jel\u00f6lt basszus\u00e1ria, amely \"\u00f3ce\u00e1nt\u00f3l \u00e9rig\" k\u00f6veti a vizeket. A vadul hull\u00e1mz\u00f3 tengerb\u0151l meredeken emelkednek ki a szirtek, szigetek, kanyarog a foly\u00f3. Haydn sz\u00e1m\u00e1ra azonban nyilv\u00e1n a kis \u00e9r jelenti az otthont. A viharosnak indul\u00f3 zene itt meghitt\u00e9, idilliv\u00e9 v\u00e1lik.<\/p>

 <\/p>

A negyedik nap f\u0151 esem\u00e9nye az \u00e9gitestek teremt\u00e9se. Igazi napfelkelte-zen\u00e9t hallunk D-d\u00farban, amit a Hold titokzatos G-d\u00far, s a csillagok vibr\u00e1l\u00e1sa k\u00f6vet. Mint minden teremt\u00e9si aktus v\u00e9g\u00e9n, ez\u00fattal is ujjong\u00f3 hangulat\u00fa dics\u0151\u00edt\u0151 \u00e9nek k\u00f6vetkezik, k\u00f3russal, sz\u00f3list\u00e1kkal. Ez z\u00e1rja egyben az orat\u00f3rium els\u0151 r\u00e9sz\u00e9t.<\/p>

 <\/p>

A m\u00e1sodik r\u00e9sz az \u00f6t\u00f6dik \u00e9s hatodik nap esem\u00e9nyeit mondja el. Vagyis a madarak, v\u00edzi l\u00e9nyek, majd a sz\u00e1razf\u00f6ldi \u00e1llatok \u00e9s az ember teremt\u00e9s\u00e9t. A sz\u00e1razf\u00f6ldi \u00e1llatok k\u00fcl\u00f6n\u00f6sen mulats\u00e1gos \u00e1br\u00e1zol\u00e1sokra ihlett\u00e9k a komponist\u00e1t. Halljuk az oroszl\u00e1n \u00fcv\u00f6lt\u00e9s\u00e9t, magunk el\u0151tt l\u00e1thatjuk a sz\u00e1guld\u00f3 tigrist, a szarvast a cakkos agancs\u00e1val. A b\u00fcszke parip\u00e1t kir\u00e1lyi pontozott ritmus, a szarvasmarh\u00e1kat (amelyeket Swieten szerint r\u00f6gt\u00f6n ny\u00e1jakba rendezve teremtett Isten) pasztor\u00e1lis muzsika jelk\u00e9pezi. Ezut\u00e1n k\u00f6vetkeznek a birk\u00e1k (nekik csak egy \"gyapjasabb\" akkordot juttat Haydn), a z\u00fcmm\u00f6g\u0151 rovarok \u00e9s a f\u00f6ld\u00f6n k\u00fasz\u00f3 f\u00e9rgek. Haydn m\u00e9g az ut\u00f3bbiaknak is tud \u00f6r\u00fclni...<\/p>

 <\/p>

Az els\u0151 ember megjelen\u00e9s\u00e9t r\u00f6vid recitativo ut\u00e1ni C-d\u00far \u00e1ria adja tudtunkra, majd minden kor\u00e1bbin\u00e1l nagyobb szab\u00e1s\u00fa h\u00e1laad\u00e1sra egyes\u00fclnek k\u00f3rustagok \u00e9s sz\u00f3list\u00e1k. Hogy a f\u00fagat\u00e9ma hasonl\u00edt Bach J\u00e1nos-passi\u00f3j\u00e1nak egyik k\u00f3rus\u00e1ra, feltehet\u0151en v\u00e9letlen - ebben az id\u0151ben a J\u00e1nos-passi\u00f3t sehol sem adt\u00e1k el\u0151, m\u00e9g a j\u00f3l \u00e9rtes\u00fclt Bach-rajong\u00f3 Swieten sem tudhatott r\u00f3la.<\/p>

 <\/p>

A teremt\u00e9s bibliai t\u00f6rt\u00e9nete itt v\u00e9get \u00e9r, Swieten \u00e9s Haydn Teremt\u00e9se azonban m\u00e9g folytat\u00f3dik egy, az el\u0151z\u0151 kett\u0151n\u00e9l r\u00f6videbb szakasszal, amely az els\u0151 emberp\u00e1r, \u00c1d\u00e1m \u00e9s \u00c9va paradicsomi boldogs\u00e1g\u00e1t hivatott a zene eszk\u00f6zeivel megjelen\u00edteni. Nincs k\u00edgy\u00f3, k\u00eds\u00e9rt\u00e9s, ki\u0171zet\u00e9s. Joseph Haydn, a szeg\u00e9ny sor\u00fa sz\u00fcl\u0151kt\u0151l sz\u00e1rmaz\u00f3, \u00e1m \u00e9lete v\u00e9g\u00e9re gazdagg\u00e1 v\u00e1lt egykori parasztfi\u00fa, aki a neve mell\u00e9 hivatalos pap\u00edrokra imm\u00e1r odakanyar\u00edthatja: \"oxfordi doktor\", csakis sz\u00e9pnek l\u00e1thatja az \u00e9letet.  A \"gonoszr\u00f3l\" majd \u00edrjanak a k\u00f6vetkez\u0151 gener\u00e1ci\u00f3 zen\u00e9szei.<\/p>

 <\/p>

1798-ban, z\u00e1rtk\u00f6r\u0171 hangversenyen volt a Teremt\u00e9s bemutat\u00f3ja. A k\u00f6vetkez\u0151 \u00e9vben nyilv\u00e1nos hangversenyen hallhatt\u00e1k az \u00e9rdekl\u0151d\u0151k. A darab kezdett\u0151l fogva \u00f3ri\u00e1si lelkesed\u00e9st v\u00e1ltott ki. Egy \u00edzben m\u00e9g Ferenc cs\u00e1sz\u00e1r feles\u00e9ge, M\u00e1ria Ter\u00e9zia cs\u00e1sz\u00e1rn\u00e9 is v\u00e1llalkozott a szopr\u00e1n\u00e1ri\u00e1k el\u0151ad\u00e1s\u00e1ra. (\u0150 nem azonos a sokat emlegetett uralkod\u00f3n\u0151vel.) Haydn szerint muzik\u00e1lisan, \u00e1m f\u00f6l\u00f6tt\u00e9bb v\u00e9kony hangon \u00e9nekelt. 1809-ben, r\u00f6viddel hal\u00e1la el\u0151tt pedig Haydnt k\u00fcl\u00f6nleges megtiszteltet\u00e9s \u00e9rte. B\u00e9cs r\u00f6vid francia megsz\u00e1ll\u00e1sa alatt Nap\u00f3leon egy tisztje kopogtatott. Mint kider\u00fclt, csak az\u00e9rt j\u00f6tt, hogy a Teremt\u00e9s egyik \u00e1ri\u00e1j\u00e1t el\u00e9nekelhesse a szerz\u0151 k\u00eds\u00e9ret\u00e9vel. Miut\u00e1n k\u00e9r\u00e9se teljes\u00fclt, tisztelgett, \u00e9s ment vissza l\u0151ni.<\/P>{:}{:en}

There is a delightful story that a London acquaintance of Haydn, learning that the great composer wished to write an oratorio in the Handel fashion and needed a suitable libretto, thrust the Bible into his hands and said \"Here's the book, start at the beginning!\" Haydn did indeed begin at the beginning with the first lines of the first Book of Genesis, which describes the creation of the world.<\/p>

 <\/p>

Needless to say, it wasn't that simple. The language of the Bible was not exactly suitable as aria material and would have seemed a frivolous idea at the turn of the 18th and 19th centuries. Haydn thus had to find a librettist who would undertake to write lyrical verse based on Biblical lines which lent themselves to music. Haydn acquired a \"trial text\" from an undistinguished poetaster called Lidley (or possibly Linley), and handed it over when he arrived back in Vienna to his old friend Baron Gottfried van Swieten. Swieten agreed to crank his poetic gifts into action for the sake of music. This was not the first time he had done so: it was van Swieten who wrote the rhyming commentaries of Haydn's oratorio \"The Seven Last Words of Christ on the Cross\" that was originally conceived for string quartet. To be brutally honest, Baron van Swieten's ambition far outstripped his literary talents. But discounting a few idiocies, he undoubtedly discovered the na%u010Fve mood which served to inspire the elderly composer. For example, he offered Haydn a remarkable number of opportunities for musical illustrations of the text: ideas which even less musically educated listeners understand immediately, but which do not offend sophisticated listeners by appearing vulgar or primitive. Indeed, these illustrations strike the more discerning members of the audience as refined jokes, which while not belonging to the essence of the musical process have the effect of colour. Haydn did not leave any possibility unexploited. The music of The Creation is full of musical onomatopoeia and mood painting, in addition to more recherch\u00e9 jokes aimed at more acute ears. The Creation is at once democratic and aristocratic. It is democratic in the sense of the medieval cartoons produced for the illiterate and which were rightfully called \"the bible of the poor.\" But it is also aristocratic because every illustrative element is imbued with such wit that their compositional virtuosity and playfulness overwhelms the connoisseur.<\/p>

 <\/p>

An excellent example of this is the orchestral introduction which is a musical depiction of primordial chaos. For a musician, this is hardly the greatest of challenges. The essence of music is of course order - the opposite of chaos. There is no such thing as chaotic music - something that even recent 20th century masters would agree with. However, there are bizarre details in Haydn's chaos music. Notes slide past each other which according to the rules of harmony, should never be heard together. The impression this music creates, which starts softly and is broke up by unexpected accents, is almost of listening to music played backwards on a tape recorder. Strangely, the listener senses not \"disorder\" but rather a sense of hopelessness. Haydn himself once remarked that for him, chaos meant infinite sadness...<\/p>

 <\/p>

In the recitative following the introduction, the bass soloist begins the story with a Biblical quotation (the libretto christens him Raphael, while the tenor and soprano soloists are called archangels: Uriel and Gabriel.) Haydn illustrates virtually every word. The first sentence \"In the Beginning God created the Heaven and the Earth\", the strings play a melody that stretches from \"heaven\" down to \"earth.\" When we hear: \"the world was without form and void,\" (\"(\"ohne Form und leer\" in the original German), we hear an empty unison  rather than four part harmony. A jangling diminished chord depicts darkness. In the next sentence: \"the Spirit of God moved upon the face of the waters\", we hear an E flat major chord. There is general agreement that the choice of E flat is not coincidental, since the use of three flats traditionally symbolises the Holy Trinity. The most beautiful moment of all comes when God says \"Let there be light: and there was light.\" On the sounding of the word light which is enunciated in a strangled pianissimo, a fortissimo C major triad bursts forth. It is an irresistible moment and we feel literally dazzled. This is followed by Swieten's commentary, with a tenor aria and choral accompaniment - and this rounds off the narration of the first day of creation.<\/p>

 <\/p>

Haydn disposes of the second day relatively briskly and devotes an aria accompanied by the choir to singing God's praises. The events of the third day are more detailed. Prominent among the movements is the bass aria, indicated with the number 7 in the score, which follows the waters \"from the ocean to the trickling stream.\" The rocks and islands jut out bravely from the wildly swelling sea, while the river meanders. For Haydn, it is clear that the little trickling stream signifies home. The stormy music here becomes intimate and idyllic.<\/p>

 <\/p>

The principal activity of day four is the creation of the firmament. We hear true sunrise music in D major, which is followed by the moon in a mysterious G major, and then we are witness to the shimmering of the stars. As with every act of creation, there is a new song of praise to the almighty with choruses and soloists. This completes the first section of the oratorio.<\/p>

 <\/p>

The second half tells the tale of the fifth and sixth days, the creation of birds and sea creatures, then the land animals and man. The land animals inspired Haydn to some particularly amusing depictions. We hear the roaring of the lion, watch the rushing tiger, and see the majestic antlers of a stag. A proud steed is indicated by a regal pointed rhythm, while the highland cattle (which according to Swieten, God soon ordered into herds) are portrayed with pastoral music. These are followed by sheep (Haydn only gives them a fleece like chord), humming insects and worms wriggling on the ground. Charmingly, Haydn could derive great pleasure depicting worms!<\/p>

 <\/p>

We learn of the first appearance of man with a C major aria after a brief recitative, which is followed by the largest song of  praise yet from the assembled choir and soloists. The resemblance of the fugue theme to one of the choruses from Bach's St John's Passion seems to be coincidental, since this work was unknown to Haydn and even Swieten, who was an admirer of Bach, could not have known it.<\/p>

 <\/p>

The biblical story of creation ends here, although Swieten and Haydn's creation continues with a further section which is shorter than the two previous, in which the heavenly happiness of Adam and Eve is depicted through musical means. There is no snake, temptation or expulsion. Joseph Haydn was born a peasant boy to poor parents, and although he became rich by the end of his life and even the recipient of an honorary degree from the University of Oxford, he could only see the world as being beautiful. He left the next generation of musicians to write about \"evil.\"<\/p>

 <\/p>

The Creation was premiered at a private concert in 1798. The masses could hear it in public performances the following year. The composition enjoyed immediate favour. On one occasion, Emperor Franz's wife, Maria Theresa, undertook the soprano arias. According to Haydn, she sang musically but with a rather weak voice in her upper registers. In 1809, shortly before his death, Haydn received a very special honour for this work. During the brief French occupation of Vienna, one of Napoleon's officers knocked on his door. It transpired that the officer had come so he could sing one of the arias from The Creation accompanied by the composer. Once his wish was granted, he paid his respects and returned to battle.<\/P>{:}","post_title":"{:hu}A Teremt\u00e9s{:}{:en}The Creation{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"a-teremtes","to_ping":"","pinged":"","post_modified":"2016-09-08 08:57:50","post_modified_gmt":"2016-09-08 08:57:50","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/a-teremtes\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Haydn"]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":null,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[{"ID":105832,"post_author":"1","post_date":"2018-03-26 08:08:54","post_date_gmt":"2018-03-26 08:08:54","post_content":"","post_title":"{:hu}Bar\u00e1th Em\u0151ke{:}{:en}Em\u0151ke Bar\u00e1th{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"barath-emoke","to_ping":"","pinged":"","post_modified":"2018-03-26 08:08:54","post_modified_gmt":"2018-03-26 08:08:54","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105832","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"},{"ID":86984,"post_author":"1","post_date":"2018-03-26 08:09:41","post_date_gmt":"2018-03-26 08:09:41","post_content":"

\"\"1978-ban sz\u00fcletett Nagyv\u00e1radon. Zenei tanulm\u00e1nyait trombita, majd \u00e9nek szakon kezdte. 1996-ban nyert felv\u00e9telt a Kolozsv\u00e1ri Zeneakad\u00e9mi\u00e1ra, k\u00e9t \u00e9v m\u00falva a budapesti Bart\u00f3k B\u00e9la Zenem\u0171v\u00e9szeti Szakiskola mag\u00e1n\u00e9nek szak\u00e1ra iratkozott be. 2000-t\u0151l 2005-ig a Zeneakad\u00e9mia hallgat\u00f3ja, tan\u00e1ra Andor \u00c9va. Orat\u00f3rium koncertek sz\u00edvesen l\u00e1tott sz\u00f3list\u00e1ja. Az Operah\u00e1zban 2002 okt\u00f3ber\u00e9ben - m\u00e9g f\u0151iskol\u00e1sk\u00e9nt - deb\u00fct\u00e1lt, Fekete Gyula A megmentett v\u00e1ros c\u00edm\u0171 egyfelvon\u00e1sos\u00e1nak \u0151sbemutat\u00f3j\u00e1n, a Poroszl\u00f3 szerep\u00e9ben.<\/p>","post_title":"{:hu}Szappanos Tibor{:}{:en}Tibor Szappanos{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"szappanos-tibor","to_ping":"","pinged":"","post_modified":"2019-04-26 11:33:37","post_modified_gmt":"2019-04-26 11:33:37","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86984","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}tenor{:}{:en}tenor{:}"},{"ID":86446,"post_author":"1","post_date":"2017-05-31 06:17:47","post_date_gmt":"2017-05-31 06:17:47","post_content":"{:hu}Kov\u00e1cs Istv\u00e1n a Magyar \u00c1llami Operah\u00e1zban t\u00f6bbek k\u00f6zt Walter, Raimondo, Sarastro, A k\u00e9kszak\u00e1ll\u00fa herceg \u00e9s Don Giovanni szerep\u00e9t alak\u00edtotta.\u00a0 Vend\u00e9gm\u0171v\u00e9szk\u00e9nt a Berlini \u00c1llami Operah\u00e1zban, valamint a frankfurti, a torin\u00f3i, a palerm\u00f3i, a nizzai, a bordeaux-i \u00e9s a toulouse-i operah\u00e1zban l\u00e9pett fel. Orat\u00f3rium\u00e9nekesk\u00e9nt olyan egy\u00fcttesekkel szerepelt, mint A lipcsei Gewandhaus Zenekara, az Internationale Bachakademie Stuttgart, az Izraeli Szimfonikus Zenekar \u00e9s a New Japan Philharmonic.{:}{:en}He has also taken the stage as a guest artist at Staatsoper Berlin as well as the opera houses of Frankfurt, Turin, Palermo, Nice, Bordeaux and Toulouse. As an oratorio singer, he has appeared with orchestras like Leipzig\u2019s Gewandhaus Orchestra, the Internationale Bachakademie Stuttgart, the Israel Symphony Orchestra and the New Japan Philharmonic.{:}","post_title":"{:hu}Kov\u00e1cs Istv\u00e1n{:}{:en}Istv\u00e1n Kov\u00e1cs{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kovacs-istvan-2","to_ping":"","pinged":"","post_modified":"2020-10-01 14:28:59","post_modified_gmt":"2020-10-01 14:28:59","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86446","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}basszus{:}{:en}bass{:}"}],"muveszekrol_reszletesen":null,"is_muveszekrol_reszletesen_en":false,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[{"ID":103834,"post_author":"1","post_date":"2017-10-05 12:07:03","post_date_gmt":"2017-10-05 12:07:03","post_content":"{:hu}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 first great era in the ensemble\u2019s history began in 1990, when the founding choirmaster\u2019s death led to M\u00e1tyas Antal taking up the post, which he held until 31 March 2016. Over the course of that more than a quarter of a century, the ensemble became Hungary\u2019s leading professional choir, known for its performances of vocal compositions accompanied by orchestra, oratorios and a cappella works.\r\n\r\nAccordingly, its repertoire is extremely rich and open in every direction, encompassing the early Baroque composer Heinrich Sch\u00fctz, Bach, the Viennese Classical School, and the composers of the 19th and 20th centuries and of today, without prejudice to genre.\r\n\r\nCsaba Somos has served as the ensemble\u2019s artistic director since 1 January 2016.\r\n\r\nIn addition to performing concerts in Hungary, the ensemble regularly accepts invitations to appear abroad, having sung in numerous nations in Europe, as well as in Israel and Japan. They also regularly visit communities with ethnic Hungarian populations in the countries that neighbour Hungary.\r\n\r\nThe Hungarian National Choir places great emphasis on performing contemporary works, along with the 19th-century oratorios that are so prominent in their repertoire. They have been credited with numerous world and Hungarian premi\u00e8res, including those of Zolt\u00e1n Jeney\u2019s oratorio Funeral Rite and Gy\u00f6rgy Kurt\u00e1g\u2019s composition Songs of Despair and Sorrow \u2013 the latter of which is considered by many to be one of the most difficult pieces in the choral literature. However, their repertoire also extends to works by Tam\u00e1s Beischer-Maty\u00f3, Zsolt Durk\u00f3, Kamill\u00f3 Lendvay, Gy\u00f6rgy Ligeti, Gy\u00f6rgy Orb\u00e1n, Emil Petrovics, J\u00f3zsef Soproni, S\u00e1ndor Szokolay, P\u00e9ter T\u00f3th and J\u00e1nos Vajda. In conjunction with this, the ensemble have also sung on recordings of works by several contemporary composers, such as Lajos Husz\u00e1r, Mikl\u00f3s Csemiczky, Attila Bozay, L\u00e1szl\u00f3 Kir\u00e1ly, M\u00e1t\u00e9 Holl\u00f3s and J\u00f3zsef S\u00e1ri.\r\n\r\nThe choir regularly collaborates on the Hungarian National Philharmonic\u2019s summer Beethoven series in Martonv\u00e1s\u00e1r and plays a prominent role in the orchestra\u2019s family matinee concert series, as well as in the Bart\u00f3k New Series that first began development in 2006 under the artistic leadership of Zolt\u00e1n Kocsis. \u00a0The Hungarian National Choir is also a reliable partner to the Hungarian National Philharmonic Orchestra in its artistic efforts to bring works that are undeservedly absent from the established repertoire to the audience. This category includes compositions by Britten, Debussy, Enescu, Jan\u00e1\u010dek and Ravel. Not only did the choir serve as the chorus in the Hungarian National Philharmonic\u2019s highly acclaimed series of productions of the operas of Richard Strauss, several of its members also took the stage as soloists. Another of the choir\u2019s notable accomplishments of recent years was its participation in the production of Schoenberg\u2019s\u00a0Moses und Aron<\/em>\u00a0that was conducted by Kocsis, who also completed the score. In addition to performing the traditional oratorio repertoire, they have also sung in such important but rarely heard works as the immense choral symphonies of Mahler, Bruckner\u2019s\u00a0Te Deum\u00a0<\/em>and Liszt\u2019s\u00a0Christus\u00a0<\/em>oratorio and\u00a0The Legend of St. Elizabeth<\/em>. The Hungarian National Choir is also regularly invited to participate in the massive Budapest Wagner Days festival that is organised at M\u00fcpa Budapest each year.\r\n\r\nOver the past 30 years, the choir has worked with such excellent conductors as Antal Dor\u00e1ti, P\u00e9ter E\u00f6tv\u00f6s, \u00c1d\u00e1m Fischer, Lionel Friend, J\u00e1nos F\u00fcrst, Lamberto Gardelli, Zsolt Hamar, Sebastian Weigle, J\u00e1nos Kov\u00e1cs, Gy\u00f6rgy Lehel, Andr\u00e1s Ligeti, Ervin Luk\u00e1cs, Ken-Ichiro Kobayashi, Bertrand de Billy, Rico Saccani, Yuri Simonov, Carlo Montanaro, Krzysztof Penderecki, Tam\u00e1s V\u00e1s\u00e1ry and Zolt\u00e1n Kocsis.{:}","post_title":"{:hu}Nemzeti \u00c9nekkar (karigazgat\u00f3: Somos Csaba){:}{:en}Hungarian National Choir (choir master: Csaba Somos){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nemzeti-enekkar-karigazgato-somos-csaba-2","to_ping":"","pinged":"","post_modified":"2020-07-22 09:57:07","post_modified_gmt":"2020-07-22 09:57:07","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=institutions&p=103834","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":"jegy","jegyarak":"2.500 Ft - seats upon arrival","jegyvasarlas_gomb":"https:\/\/nfz.jegy.hu\/program\/haydn-a-teremtes-vezenyel-hamar-zsolt-90135\/421696?event_disabler=274","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\/105779","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=105779"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}