{"id":105991,"date":"2018-03-27T09:49:44","date_gmt":"2018-03-27T09:49:44","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=105991"},"modified":"2018-10-09T15:10:34","modified_gmt":"2018-10-09T15:10:34","slug":"becsi-klasszikus-mesterek-vilaghiru-eloadok-2","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/becsi-klasszikus-mesterek-vilaghiru-eloadok-2\/","title":{"rendered":"Classic Viennese Masters, World-famous Performers"},"content":{"rendered":"

Concerts are made special by the personalities of the performers. The world-famous Dutch organist and conductor Ton Koopman is one of the leading lights of a movement that promotes the authentic performance of early music. G\u00e1bor Tark\u00f6vi is the principal trumpet player of the Berlin Philharmonic Orchestra and a teacher at the Karajan Academy. Mozart composed Symphony No. 19 aged 16 and that work was also special for its use of four horns with a uniquely high pitch. Haydn’s trumpet concerto was the master’s final concerto. He composed the piece in 1796, when the valve trumpet was still considered an innovation. Haydn’s influence can be felt in Beethoven’s Symphony No. 2, though it also features the impressive power that would characterise Beethoven’s later work. It is music that shines with serenity and optimism, something made all the more remarkable by the knowledge that its creation coincided with the famous Heiligenstadt Testament, in which the composer bade farewell to the world and confessed his irreversible deafness.<\/p>\n","protected":false},"template":"","class_list":["post-105991","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":"Ervin Luk\u00e1cs season ticket 3","kiemelt_kep":{"ID":106324,"id":106324,"title":"tarkovi-gabor-esemeny","filename":"tarkovi-gabor-esemeny.png","filesize":1203057,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny.png","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/becsi-klasszikus-mesterek-vilaghiru-eloadok\/tarkovi-gabor-esemeny\/","alt":"","author":"1","description":"","caption":"","name":"tarkovi-gabor-esemeny","status":"inherit","uploaded_to":105990,"date":"2018-03-28 10:39:07","modified":"2018-03-28 10:39:07","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1920,"height":560,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-300x88.png","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-768x224.png","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-1024x299.png","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny.png","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny.png","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-165x165.png","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny.png","person-size-2-width":165,"person-size-2-height":48,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-263x263.png","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-360x203.png","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-359x450.png","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-555x555.png","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/tarkovi-gabor-esemeny-1600x560.png","slider-size-width":1600,"slider-size-height":560}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20181207","esemeny_idopontja":"7.30 pm","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87584,"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}Pesti Vigad\u00f3{:}{:en}Pesti Vigad\u00f3 Ceremonial Hall{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"pesti-vigado","to_ping":"","pinged":"","post_modified":"2021-10-22 08:33:35","post_modified_gmt":"2021-10-22 08:33:35","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/pesti-vigado\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"Budapest","orszag":"Magyarorsz\u00e1g","cim":"1051. Vigad\u00f3 t\u00e9r 2.","megjegyzes":"","weboldal":""},"helyszin_kategoria":"budapest","karmester":{"ID":105904,"post_author":"1","post_date":"2018-03-26 09:28:24","post_date_gmt":"2018-03-26 09:28:24","post_content":"","post_title":"{:hu}Ton Koopman{:}{:en}Ton Koopman{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ton-koopman","to_ping":"","pinged":"","post_modified":"2018-05-21 16:18:17","post_modified_gmt":"2018-05-21 16:18:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105904","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":108150,"post_author":"951582","post_date":"2018-10-09 15:06:04","post_date_gmt":"2018-10-09 15:06:04","post_content":"Az 1772. \u00e9v igen term\u00e9kenynek bizonyult a m\u00e9g Salzburgban \u00e9l\u0151 W. A. Mozart (1756\u20131791) p\u00e1ly\u00e1j\u00e1n: egyebek mellett nyolc szimf\u00f3ni\u00e1t, tov\u00e1bbi hangszeres darabok \u00e9s egyh\u00e1zi m\u0171vek sor\u00e1t alkotta meg akkor az ifj\u00fa g\u00e9niusz. Ezek k\u00f6z\u00fcl val\u00f3 az \u00f6sszetett st\u00edlusvil\u00e1g\u00fa Esz-d\u00far szimf\u00f3nia<\/em> (K. 132.), melyben az \u00e1ltal\u00e1nos olasz, francia \u00e9s d\u00e9ln\u00e9met\u2013osztr\u00e1k hagyom\u00e1ny nyomain t\u00fal Johann Christian Bach, Matthias Georg Monn \u00e9s Joseph Haydn hat\u00e1sa is \u00e9rv\u00e9nyre jut, de az \u00e9rett Mozart nagys\u00e1grendje is megmutatkozik m\u00e1r. N\u00e9gyt\u00e9teles szimf\u00f3ni\u00e1j\u00e1hoz k\u00e9t obo\u00e1t, n\u00e9gy k\u00fcrt\u00f6t \u00e9s von\u00f3sokat \u00edrt el\u0151 a komponista. A kor zen\u00e9j\u00e9nek alaptulajdons\u00e1gai k\u00f6z\u00e9 tartoztak a hangnemekhez k\u00f6t\u0151d\u0151, t\u00f6bb\u00e9-kev\u00e9sb\u00e9 \u00e1lland\u00f3 karaktert\u00edpusok. Jellegzetes p\u00e9ld\u00e1ja ennek, ahogy az Esz-d\u00far szimf\u00f3nia<\/em> zenei folyamat\u00e1nak megannyi rokon\u00e1ra ismerhet\u00fcnk Mozart k\u00e9s\u0151bbi, azonos tonalit\u00e1s\u00fa m\u0171veiben; a hat\u00e1rozott nyit\u00f3 gesztus konkr\u00e9tan vissza is t\u00e9r majd a K. 297b<\/sup> Sinfonia concertante<\/em>, valamint a K. 482. Zongoraverseny<\/em> \u00e9l\u00e9n. Szellemess\u00e9gekben, sz\u00ednpademl\u00e9k\u0171 buffo<\/em>-elemekben gazdag kezdet az olaszos, nyit\u00f3 Allegro<\/em>. K\u00e9tfajta lass\u00fat\u00e9telt kompon\u00e1lt Mozart a darabhoz, egyar\u00e1nt B-d\u00farban, Andante grazioso<\/em> \u00e9s Andante<\/em> feliratokkal; a mai hangversenyen mindkett\u0151 f\u00f6lhangzik. Az ism\u00e9t Esz-d\u00far hangnem\u0171, visszat\u00e9r\u00e9ses Menuetto<\/em> sz\u00e9ls\u0151 szakaszai imit\u00e1ci\u00f3l\u00e1nc nyom\u00e1n, kamarazeneszer\u0171en bontakoznak ki. \u00dctemeiket m\u00e9gis osztr\u00e1kos-n\u00e9pies hang uralja el fokozatosan, majd ennek kontrasztjak\u00e9ppen a csak von\u00f3sok \u00e1ltal j\u00e1tszott, m\u00e9g kamarazeneibb hat\u00e1s\u00fa, k\u00f6z\u00e9ps\u0151 Trio<\/em> bens\u0151s\u00e9ges, m\u00e9ly \u00e9rtelm\u0171 muzsika. S hab\u00e1r t\u00edpusa szerint francia hagyom\u00e1nyra tekint\u0151 \u2013 gavotte<\/em>-l\u00fcktet\u00e9s\u0171 \u2013 t\u00e1nct\u00e9m\u00e1ra \u00e9p\u00fcl a rond\u00f3szerkezet\u0171 Allegro<\/em>-fin\u00e1l\u00e9, zen\u00e9je szint\u00fagy f\u00e9lrehallhatatlanul b\u00e9csies ked\u00e9llyel \u00e1ramlik tova.\r\n\r\n ","post_title":"Esz-d\u00far szimf\u00f3nia K. 132","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"esz-dur-szimfonia-k-132-2","to_ping":"","pinged":"","post_modified":"2018-10-09 15:06:04","post_modified_gmt":"2018-10-09 15:06:04","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=108150","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Mozart"]},{"ID":91359,"post_author":"1","post_date":"2016-09-08 08:57:51","post_date_gmt":"2016-09-08 08:57:51","post_content":"{:hu}I. Allegro II. Andante III. Finale. Allegro\r\n\r\nV\u00e1ltoznak az id\u0151k, \u00e9s vel\u00fck v\u00e1ltoznak a hangszerek is. Vegy\u00fck p\u00e9ld\u00e1ul a trombit\u00e1t, amely eredetileg csak a term\u00e9szetes felhangsor hangjait tudta j\u00e1tszani. A barokk korban speci\u00e1lis technik\u00e1t fejlesztettek ki, hogy ebb\u0151l a sz\u00fcks\u00e9gb\u0151l er\u00e9nyt csin\u00e1ljanak. A felhangok a m\u00e1sodik okt\u00e1vban k\u00f6zelebb vannak egym\u00e1shoz, mint az els\u0151ben; a hetedik felhangt\u00f3l kezdve sorozatuk szinte teljes sk\u00e1l\u00e1t ad ki. Ezt a fels\u0151 regisztert, az \u00fan. clarino-regisztert tanult\u00e1k meg virtu\u00f3z m\u00f3don kezelni a trombit\u00e1sok. A klasszikus peri\u00f3dusban azonban ez m\u00e1r nem bizonyult elegend\u0151nek; felt\u00e1madt az ig\u00e9ny, hogy a hangszert k\u00e9pess\u00e9 tegy\u00e9k a reperto\u00e1rj\u00e1b\u00f3l m\u00e9g hi\u00e1nyz\u00f3 hangok, \u00e9s k\u00fcl\u00f6n\u00f6sen a kromatikus f\u00e9lhangok elj\u00e1tsz\u00e1s\u00e1ra.\r\n\r\nT\u00f6bb k\u00fcl\u00f6nb\u00f6z\u0151 m\u00f3dszert tal\u00e1ltak ki erre; egyik sem v\u00e1lt be t\u00f6k\u00e9letesen, am\u00edg a szelepes trombit\u00e1t be nem vezett\u00e9k a XIX. sz\u00e1zad elej\u00e9n. A hangszer fejl\u0151d\u00e9s\u00e9nek egyik \u00e1tmeneti st\u00e1diuma volt az \u00fan. billenty\u0171s trombita, melynek f\u0151 bajnoka Anton Weidinger osztr\u00e1k trombit\u00e1s (1767-1852) volt. Weidinger hangszer\u00e9r\u0151l (organisirte Trompete) \u00edgy \u00edr a specialista, Reine Dahlqvist: \"A billenty\u0171k mind a hangszernek ugyanazon az oldal\u00e1n helyezkednek el, hogy mindegyiket a jobb k\u00e9z kezelhesse; a bal k\u00e9z csak tartja a hangszert... A billenty\u0171k hanglyukakat fednek le, \u00e9s seg\u00edts\u00e9g\u00fckkel v\u00e1ltoztathat\u00f3 a hangmagass\u00e1g: a t\u00f6lcs\u00e9rhez legk\u00f6zelebb es\u0151 billenty\u0171 egy f\u00e9lhanggal, a k\u00f6vetkez\u0151 egy eg\u00e9szhanggal stb. m\u00f3dos\u00edtja.\"\r\n\r\nWeidinger 1792-t\u0151l volt a b\u00e9csi udvari opera tagja. Val\u00f3sz\u00edn\u0171leg akkor ismerkedett meg Haydnnal, amikor a zeneszerz\u0151 visszat\u00e9rt m\u00e1sodik londoni \u00fatj\u00e1r\u00f3l. Ekkor \u00edrta Haydn a jelen versenym\u0171vet, amely k\u00e9sei st\u00edlus\u00e1nak egyik pomp\u00e1s p\u00e9ld\u00e1ja lett.\r\nA trombit\u00e1sok \u00e1ltal\u00e1ban nincsenek elk\u00e9nyeztetve nagy mesterek \u00e1ltal \u00edrt versenym\u0171vekkel; ez\u00e9rt igen meglep\u0151, hogy Haydn trombitaversenye a XX. sz\u00e1zadig majdnem teljesen ismeretlen maradt. Csak 1931-ben jelent meg el\u0151sz\u00f6r nyomtat\u00e1sban, \u00e9s az \u00f6tvenes \u00e9vekben kezdett n\u00e9pszer\u0171v\u00e9 v\u00e1lni.\r\n\r\nA klasszikus versenym\u0171vek \u00e1ltal\u00e1ban zenekari bevezet\u00e9ssel kezd\u0151dnek, mely alatt a sz\u00f3lista sz\u00fcnetel. Haydn trombitaverseny\u00e9ben azonban a sz\u00f3lista egyetlen er\u0151teljes hangot \u00e9s k\u00e9t fanf\u00e1rmot\u00edvumot f\u00faj a tutti-szakasz alatt - val\u00f3sz\u00edn\u0171leg az\u00e9rt, hogy a sz\u00f3lista felmeleg\u00edtse hangszer\u00e9t a sz\u00f3l\u00f3bel\u00e9p\u00e9sre.\r\n\r\nA sz\u00f3l\u00f3expoz\u00edci\u00f3 alkalmat adott Weidingernek, hogy megmutassa, mit tud az \u00faj hangszer. Haydn azonban nemcsak lehet\u0151s\u00e9geket akart bemutatni: a billenty\u0171s trombita kromatikus hangjaival \u00e9rz\u00e9keny, l\u00edrai dallamokat alak\u00edtott, melyek v\u00e1ltakoznak a hagyom\u00e1nyos, fanf\u00e1rszer\u0171 trombitast\u00edlussal.\r\n\r\nAz Andante l\u00edrai dallam\u00e1t a trombita a heged\u0171kt\u0151l \u00e9s az els\u0151 fuvol\u00e1t\u00f3l veszi \u00e1t; az a feladata, hogy utol\u00e9rje ezeket az \u00e9nekl\u0151 dallamhangszereket l\u00edrais\u00e1g \u00e9s kifejez\u0151er\u0151 dolg\u00e1ban. A trombita kromatikus hangjai \u00e9s mozg\u00e9konys\u00e1ga j\u00f3l \u00e9rv\u00e9nyes\u00fclnek ebben a r\u00f6vid, de eml\u00e9kezetes t\u00e9telben.\r\n\r\nAz utols\u00f3 t\u00e9tel tipikus haydni kontrat\u00e1nc-fin\u00e1l\u00e9 rond\u00f3 form\u00e1ban, melynek t\u00e9m\u00e1i a kor n\u00e9pszer\u0171 t\u00e1nct\u00edpus\u00e1ra eml\u00e9keztetnek, \u00e9s ism\u00e9t megcsillogtatj\u00e1k a sz\u00f3lista virtuozit\u00e1s\u00e1t \u00e9s azokat a szenz\u00e1ci\u00f3s kromatikus hangokat.{:}{:en}Times change and musical instruments change with them. The trumpet, for instance, had originally been able to play only notes of the natural overtone series. In the Baroque era, a special technique existed to make the most of this situation. The overtones are closer together in the second octave than they are in the first; in fact, after the seventh overtone, they more or less add up to a complete scale. The special technique consisted in developing the player's skills at playing in the high register (known as the \"clarino\") register. Yet in the Classical period this was no longer sufficient; in fact, the need arose to fill out the gaps in the instrument's lower range and to provide it with a full chromatic scale in all registers.\r\n\r\nSeveral methods were devised to accomplish this, but none was entirely satisfactory until the first valve trumpets were constructed in the early 19th century. A transitional stage in the instrument's evolution was represented by the keyed trumpet championed by the Austrian virtuoso Anton Weidinger (1767-1852). About Weidinger's instrument, known as the organisirte Trompete, specialist Reine Dahlqvist has written: \"The keys are brought together on one side of the instrument so as to be operated by one hand only; the other hand merely holds the instrument... The keys cover soundholes, and when opened raised the pitch: the key nearest the bell a semitone, the next by a tone, etc.\"\r\n\r\nWeidinger had been a member of the court opera in Vienna since 1792. He probably met Haydn when the latter returned from his second trip to London. Haydn agreed to write a concerto for this instrument, and produced a work that stands as a splendid example of his late style. Trumpet players are certainly not oversupplied with concertos by major composers; it is therefore all the more curious that Haydn's trumpet concerto remained virtually unknown until the 20th century. It wasn't published until 1931, and it was only in the 1950s that it began to attain the popularity it deserved.\r\n\r\nClassical concertos usually start with an orchestral exposition during which the soloist is silent. In this case, however, the soloist plays a single loud note and two short fanfare motifs during the tutti section. This was probably to allow the soloist to warm up in preparation for the solo. The solo exposition gave Weidinger the opportunity to demonstrate what his new-fangled instrument could do. But Haydn was evidently concerned with more than demonstrating: he used the chromatic notes of the keyed trumpet to shape melodies of great sensitivity that alternate with more typical, fanfare-like trumpet writing. The second-movement Andante has a gentle lyrical tune that the solo trumpet takes over from the violins and the first flute; it has to match these traditional \"singing\" instruments in gentleness and expressivity. The chromatic notes of the trumpet, as well as its ability to play fast-moving ornaments, are put to good use in this brief but memorable movement. The last movement is a typical Haydnesque contredanse finale, with themes reminiscent of a popular dance type of the period woven into a brilliant rondo that displays the virtuosity of the soloist along with (one more time) his sensational chromatic notes.{:}","post_title":"{:hu}Esz-d\u00far trombitaverseny{:}{:en}Trumpet concerto in E flat major{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"esz-dur-trombitaverseny-hob-viie-1","to_ping":"","pinged":"","post_modified":"2018-05-30 09:48:13","post_modified_gmt":"2018-05-30 09:48:13","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/esz-dur-trombitaverseny-hob-viie-1\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Haydn"]},{"ID":90995,"post_author":"1","post_date":"2016-09-08 08:57:46","post_date_gmt":"2016-09-08 08:57:46","post_content":"{:hu}

I. Adagio molto - Allegro con brio II. Larghetto III. Scherzo. Allegro IV. Finale. Allegro molto<\/p>\r\n

Beethoven II. szimf\u00f3ni\u00e1ja 1801-1802-ben k\u00e9sz\u00fclt. Bemutat\u00f3j\u00e1ra 1803. \u00e1prilis 5-\u00e9n ker\u00fclt sor, a szerz\u0151 m\u00e1sodik, nagy szerz\u0151i estj\u00e9n, a Theater an der Wien-ben. A koncerten maga Beethoven vez\u00e9nyelt. \"A szimf\u00f3ni\u00e1val kapcsolatban minden\u00fctt hivatkoznak az 1802. okt\u00f3ber 6-\u00e1n kelt h\u00edres Heiligenstadti Testamentumra \u00e9s az abban megnyilv\u00e1nul\u00f3 k\u00e9ts\u00e9gbeesett hangulatra. A szimf\u00f3nia zen\u00e9je azonban val\u00f3s\u00e1ggal sz\u00f6ges ellent\u00e9te mindenfajta k\u00e9ts\u00e9gbees\u00e9snek: fiatalos, t\u00fczes er\u0151 \u00e9s \u00e9letvid\u00e1m energia jellemzi. Hogyan magyar\u00e1zhatjuk ezt az ellentmond\u00e1st? Lehets\u00e9ges-e, hogy ugyanaz a Beethoven kompon\u00e1lta a II. szimf\u00f3nia fiatalos er\u0151t\u0151l \u00e9s vid\u00e1ms\u00e1gt\u00f3l duzzad\u00f3 zen\u00e9j\u00e9t, mint aki 1802 okt\u00f3ber\u00e9ben - az \u00f6ngyilkoss\u00e1g hat\u00e1r\u00e1n \u00e1llva - pap\u00edrra vetette a Heiligensadti Testamentum k\u00e9ts\u00e9gbeesett gondolatait?<\/em>\" A k\u00e9rd\u00e9st Bartha D\u00e9nes fogalmazta meg. \u0150t nem el\u00e9g\u00edtette ki az a magyar\u00e1zat, hogy a II. szimf\u00f3nia aff\u00e9le \"h\u0151sies hazugs\u00e1g\", a testamentum eleven c\u00e1folata, melyben Beethoven \"k\u00e9ts\u00e9gbeesett er\u0151fesz\u00edt\u00e9ssel legy\u0171ri a s\u00fckets\u00e9ge okozta depresszi\u00f3t\". A betegs\u00e9g d\u00e9mon\u00e1nak h\u0151sies legy\u0151z\u00e9s\u00e9re ugyanis nem a II. szimf\u00f3ni\u00e1ban v\u00e1llalkozik Beethoven - v\u00e9li Bartha D\u00e9nes -, hanem a mindj\u00e1rt ut\u00e1na megkezdett Eroica szimf\u00f3ni\u00e1ban.<\/p>\r\n

A II. szimf\u00f3nia \u00f3ri\u00e1si el\u0151rel\u00e9p\u00e9s. Az I. szimf\u00f3ni\u00e1hoz k\u00e9pest mer\u00e9sz \u00e9s k\u00eds\u00e9rletez\u0151. Beethoven az els\u0151 t\u00e9telt most is lass\u00fa bevezet\u0151vel ind\u00edtja, de a megel\u0151z\u0151 szimf\u00f3ni\u00e1hoz k\u00e9pest ez az Adagio j\u00f3val jelent\u00e9kenyebb \u00e9s s\u00falyosabb. Az expon\u00e1lt t\u00e9m\u00e1k k\u00f6z\u00f6tt v\u00e1ratlanul felbukkan egy jellegzetes moll-t\u00e9ma, mely a IX. szimf\u00f3nia nyit\u00f3t\u00e9tel\u00e9t vet\u00edti el\u0151re. Ez a t\u00e9ma\u00f6tlet azt\u00e1n a t\u00e9tel f\u0151r\u00e9sz\u00e9ben t\u00f6bbsz\u00f6r felbukkan: Beethoven az expoz\u00edci\u00f3 z\u00e1r\u00f3t\u00e9m\u00e1j\u00e1t alak\u00edtja ki bel\u0151le oly m\u00f3don, hogy \u00f6sszekapcsolja a f\u0151t\u00e9m\u00e1val; ezenk\u00edv\u00fcl fontos szerepet j\u00e1tszik a kidolgoz\u00e1sban is. A t\u00e9tel koncentr\u00e1lts\u00e1ga \u00e9s dimenzi\u00f3ja az Eroica szimf\u00f3nia vil\u00e1g\u00e1t vet\u00edti el\u0151re.<\/p>\r\n

A Larghetto felirat\u00fa lass\u00fa t\u00e9tel Beethoven egyik leghosszabb, legpo\u00e9tikusabb, mel\u00f3di\u00e1it m\u00e1r-m\u00e1r pazarl\u00f3 b\u0151kez\u0171s\u00e9ggel felvonultat\u00f3 kompoz\u00edci\u00f3ja. \"Els\u0151 munk\u00e1im nem \u00fagy jelentek meg, mint ahogy el\u0151sz\u00f6r le\u00edrtam azokat; amikor n\u00e9h\u00e1ny \u00e9vvel a kompon\u00e1l\u00e1s ut\u00e1n \u00e1tn\u00e9ztem els\u0151 k\u00e9zirataimat, azt k\u00e9rdeztem magamt\u00f3l, nem voltam-e \u0151r\u00fclt, hogy annyit beles\u0171r\u00edtettem egyetlen darabba, amennyi 20 darab kompoz\u00edci\u00f3j\u00e1hoz is el\u00e9g lett volna.<\/em>\" Lehets\u00e9ges, hogy a II. szimf\u00f3nia lass\u00faja ennek az ifj\u00fakori \"pazarl\u00e1snak\" a nyomait viseli?<\/p>\r\n

A III. t\u00e9tel Beethoven e korszakban \u00edrt legmer\u00e9szebb munk\u00e1i k\u00f6z\u00e9 tartozik. Jelent\u0151s\u00e9g\u00e9t az is n\u00f6veli, hogy ez a szerz\u0151 els\u0151, c\u00edm\u00e9ben is jelzett zenekari scherz\u00f3ja. A legszokatlanabb \u00e9s a kort\u00e1rsak sz\u00e1m\u00e1ra a legt\u00f6bb fejt\u00f6r\u00e9st okoz\u00f3 t\u00e9tel a kompoz\u00edci\u00f3 fin\u00e1l\u00e9ja, egy korabeli \u00fajs\u00e1g\u00edr\u00f3 szerint \"az eg\u00e9sz szimf\u00f3nia olyan, mint valami megsebes\u00edtett, g\u00f6rcs\u00f6sen vonagl\u00f3 s\u00e1rk\u00e1ny, mely nem akar megd\u00f6gleni \u00e9s utols\u00f3 vonagl\u00e1s\u00e1ban, a fin\u00e1l\u00e9ban, \u0151r\u00fclten csapkod a fark\u00e1val maga k\u00f6r\u00fcl<\/em>\".<\/p>{:}{:en}

I. Adagio molto - Allegro con brio II. Larghetto III. Scherzo. Allegro IV. Finale. Allegro molto<\/p>\r\n \r\n

Beethoven composed his Symphony no. 2 in 1801-1802. It was premiered at the Theater an der Wien on April 5th 1803 at Beethoven's second major \"composer's evening.\". Beethoven himself conducted. \"Everywhere, we see the second symphony linked to the famous Heiligenstad Testament completed on October 6th 1802, that documention of an outburst of personal despair. And yet the music of the symphony is diametrically opposed to every kind of desperation: it is characterised by youthful fiery power and life affirming energy. How can we explain this contradiction? Is it possible that it was the same Beethoven who composed the Second Symphony and yet in October 1802, was on the brink of suicide as he put his desperate thoughts down on paper?<\/em>\" The question was framed by D\u00e9nes Bartha. He was not satisfied with the explanation that the Second Symphony is a kind of heroic lie, a denial of the testament in which Beethoven overcomes the depression caused by his deafness through a desperate effort. In the opinion of Bartha, Beethoven does not undertake the heroic triumph over the demons of illness in the Symphony no. 2 but in the next work, the Eroica.<\/p>\r\n

The Second Symphony is a giant step forward. By contrast with the First Symphony, Beethoven is bold and experimental, he again launches the first movement with a slow introduction but by contrast with the earlier work, this Adagio is much more significant and weighty. Among the themes expounded is a characteristic one in the minor which foreshadows the opening movement of the Ninth Symphony. This thematic idea crops up several times in the principal section of the movement: Beethoven creates the closing theme of the exposition from it in such a way as to link with the principal theme; besides this it also plays an important role in the development. The concentration and dimensions of the movement anticipate the world of the Eroica.<\/p>\r\n

The slow movement, marked Larghetto, presents one of the longest and most poetic of Beethoven's melodies and is prodigal in its supply of material. \"My first works were not printed for some time after I wrote them; when I looked at my first manuscripts a few years later, I asked myself if I wasn't perhaps mad, having boiled down so much into a single work which would have been sufficient for 20 different pieces.<\/em>\"<\/p>\r\n

The Third Movement is one of the most daring works Beethoven wrote in this period. Its importance is multiplied because it is the first such work he labels as a scherzo. The finale was the least traditional and for his contemporaries, the hardest to grasp of all the movements. According to a journalist at the time \"the entire symphony is like a wounded convulsing dragon which does not want to die and in the finale, in its final throes, lashes out madly with its tail.<\/em>\"<\/p>{:}","post_title":"{:hu}II. (D-d\u00far) szimf\u00f3nia, op. 36{:}{:en}Symphony no. 2 in D major, op. 36{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ii-d-dur-szimfonia-op-36","to_ping":"","pinged":"","post_modified":"2020-03-04 12:44:44","post_modified_gmt":"2020-03-04 12:44:44","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/ii-d-dur-szimfonia-op-36\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":true,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[{"ID":105902,"post_author":"1","post_date":"2018-03-26 09:27:18","post_date_gmt":"2018-03-26 09:27:18","post_content":"","post_title":"{:hu}Tark\u00f6vi G\u00e1bor{:}{:en}G\u00e1bor Tark\u00f6vi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"tarkovi-gabor","to_ping":"","pinged":"","post_modified":"2018-03-26 09:27:18","post_modified_gmt":"2018-03-26 09:27:18","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=105902","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}trombita{:}{:en}trumpet{:}"}],"muveszekrol_reszletesen":null,"is_muveszekrol_reszletesen_en":false,"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}\"\"\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":"3.500 Ft - 2.500 Ft","jegyvasarlas_gomb":"https:\/\/nfz.jegy.hu\/program\/lukacs-ervin-berlet-3-vezenyel-ton-koopman-90112\/421675?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\/105991","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=105991"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}