{"id":105992,"date":"2018-03-27T09:49:36","date_gmt":"2018-03-27T09:49:36","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&#038;p=105992"},"modified":"2018-10-09T15:12:54","modified_gmt":"2018-10-09T15:12:54","slug":"elet-es-halal","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/elet-es-halal\/","title":{"rendered":"Life and Death"},"content":{"rendered":"<p>The works of this &#8216;thematic&#8217; concert deal with loyalty and infidelity, life and death, with Haydn&#8217;s overture (1800) set in ancient times alongside its near-contemporary, a concert aria from Beethoven (1808). The title of the latter piece refers to the first vocal solo recital, where a jilted woman expresses her pain: <em>&#8220;Ah, perfido&#8230;&#8221;<\/em> (Ah! Faithless one<em>, <\/em>perjured, barbarous betrayer, do you leave?) Wagner&#8217;s Tristan Prelude (1859) is a physiologically and psychologically precise depiction of the ecstatic rapture of love, while Isolde&#8217;s music depicts the love death of the heroine. Richard Strauss&#8217;s &#8220;Death and Transfiguration&#8221;, written in 1889, was inspired by his fortunate recovery from serious illness, during which the composer had experienced<em>&#8220;&#8230;the thought that I am depicting the death of a man who has fought and struggled with the loftiest objectives \u2013 in my work, I outlined an artist with a clear soul.&#8221; <\/em>The soloist for the concert is the Finnish opera singer and bonafide star of the international opera scene, <strong>Karita Mattila<\/strong>\u00a0(b. 1960), who was chosen as one of the most important sopranos of our time by the BBC Music Magazine in 2007.<\/p>\n","protected":false},"template":"","class_list":["post-105992","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":"Ferencsik season ticket 3","kiemelt_kep":{"ID":105993,"id":105993,"title":"karita-mattila-esemeny","filename":"karita-mattila-esemeny.png","filesize":595052,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny.png","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/elet-es-halal\/karita-mattila-esemeny\/","alt":"","author":"1","description":"","caption":"","name":"karita-mattila-esemeny","status":"inherit","uploaded_to":105992,"date":"2018-03-26 14:47:00","modified":"2018-03-26 14:47:00","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\/karita-mattila-esemeny-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny-300x88.png","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny-768x224.png","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny-1024x299.png","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny.png","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny.png","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny-165x165.png","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny.png","person-size-2-width":165,"person-size-2-height":48,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny-263x263.png","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-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\/karita-mattila-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\/karita-mattila-esemeny-555x555.png","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/karita-mattila-esemeny-1600x560.png","slider-size-width":1600,"slider-size-height":560}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20181213","esemeny_idopontja":"7.30 pm","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87537,"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}Zeneakad\u00e9mia{:}{:en}Liszt Academy{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"zeneakademia","to_ping":"","pinged":"","post_modified":"2021-02-17 10:09:02","post_modified_gmt":"2021-02-17 10:09:02","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/zeneakademia\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"Budapest","orszag":"Hungary","cim":"VI. Liszt Ferenc t\u00e9r 8.","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<em>\u00a0<\/em>A Nemzeti Filharmonikus Zenekarral Liszt m\u0171veket, a Pannon Filharmonikusokkal Mahler I. szimf\u00f3ni\u00e1j\u00e1nak 1893-as weimari v\u00e1ltozat\u00e1t r\u00f6gz\u00edtette CD-re a Hungaroton kiad\u00e1s\u00e1ban.\r\n\r\n2011 j\u00fanius\u00e1ban sikeresen fejezte be habilit\u00e1ci\u00f3j\u00e1t a Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetemen. 2016 \u00f3ta a szombathelyi Nemzetk\u00f6zi Bart\u00f3k Szemin\u00e1rium \u00e9s Fesztiv\u00e1l karmesterkurzus\u00e1nak professzora.\r\n\r\n2017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig vezette a Nemzeti Filharmonikusok Zenekar\u00e1t.\r\n\r\nMunk\u00e1ss\u00e1ga elismer\u00e9sek\u00e9nt 2001-ben Liszt-d\u00edjat, 2006-ban a Magyar K\u00f6zt\u00e1rsas\u00e1gi \u00c9rdemrend Lovagkeresztj\u00e9t vehette \u00e1t, 2017-ben pedig \u00c9rdemes M\u0171v\u00e9sz d\u00edjban r\u00e9szes\u00fclt.{:}{:en}Hamar pursued his advanced studies at Budapest\u2019s Franz Liszt Academy of Music, graduating with honours in 1995 after studying music composition under Emil Petrovics and conducting under Ervin Luk\u00e1cs and Tam\u00e1s G\u00e1l. He launched his career by taking second place and the audience prize at the Hungarian Television International Conducting Competition. He has also won prizes at several other international competitions (taking second place at the Cadaqu\u00e9s Orchestra International Conducting Competition in Spain and first place at both the Portuguese Radio Conducting Competition and the Antonio Pedrotti International Conducting Competition in Trento, Italy). In 1997, he was invited by Zolt\u00e1n Kocsis to serve as first permanent conductor of the Hungarian National Philharmonic Orchestra. After working as Lorin Maazel\u2019s assistant at the Salzburg Festival in 1998, he spent the years from 2000 to 2009 as the music director of the Pannon Philharmonic while simultaneously serving as first guest conductor of the Orchestra di Padova e del Veneto.\r\n\r\nA regular guest with orchestras and at concert halls around Europe, Japan and the USA, he has also appeared with nearly every symphonic ensemble in Hungary. Hamar has regularly conducted at the Hungarian State Opera since 2001 and is a welcome guest at opera houses in other countries as well. Between 2005 and 2011, he worked as a permanent conductor at the world-famous Opernhaus Z\u00fcrich. He has recorded works by Liszt together with the Hungarian National Philharmonic and Mahler\u2019s <em>First Symphony<\/em> with the Pannon Philharmonic. From 2012 to 2016, he served as the chief music director of Wiesbaden\u2019s opera house.\r\n\r\nHe headed the Hungarian National Philharmonic as Musical Director from March 2017 to August 2020.{:}","post_title":"{:hu}Hamar Zsolt{:}{:en}Zsolt Hamar{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hamar-zsolt-3","to_ping":"","pinged":"","post_modified":"2020-08-10 08:31:17","post_modified_gmt":"2020-08-10 08:31:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=101545","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":105908,"post_author":"1","post_date":"2018-03-26 09:36:58","post_date_gmt":"2018-03-26 09:36:58","post_content":"<em>La fedelt\u00e0 premiata<\/em> (= <em>A megjutalmazott h\u0171s\u00e9g<\/em> vagy <em>A h\u0171s\u00e9g jutalma<\/em>) c\u00edmmel mutatt\u00e1k be Eszterh\u00e1z\u00e1n (a mai Fert\u0151d\u00f6n) az \u00e9vtizedeken \u00e1t a hercegi udvar zenei vezet\u0151jek\u00e9nt tev\u00e9kenyked\u0151 Joseph Haydn (1732\u20121809) h\u00e1romfelvon\u00e1sos oper\u00e1j\u00e1t. M\u00e9g 1779 november\u00e9ben le\u00e9gett a kast\u00e9lyhoz tartoz\u00f3 operah\u00e1z, melyet \u00fajj\u00e1\u00e9p\u00edtve Haydn friss alkot\u00e1s\u00e1val avattak f\u00f6l 1781. febru\u00e1r 25-\u00e9n. A siker nyom\u00e1n \u00e9vekig tov\u00e1bb j\u00e1tszott\u00e1k a darabot, a zeneszerz\u0151 \u00e1t is dolgozta; az \u00fajabb verzi\u00f3 B\u00e9csben \u00e9s Pozsonyban is sz\u00ednre ker\u00fclt. Sz\u0171kebb m\u0171faja szerint <em>dramma pastorale giocoso<\/em> (j\u00e1t\u00e9kos p\u00e1sztordr\u00e1ma), melyben az <em>opera seria<\/em> (komoly opera) heroikus \u00e9s az <em>opera buffa<\/em> (v\u00edgopera) komikus elemei keverednek. G. B. Lorenzi darabja nyom\u00e1n keletkezett az antik id\u0151kben j\u00e1tsz\u00f3d\u00f3, mes\u00e9s elemekkel \u2012 t\u00f3ban lak\u00f3 sz\u00f6rnnyel, nimf\u00e1kkal, Diana istenn\u0151vel \u00e9s kultusz\u00e1hoz kapcsol\u00f3d\u00f3 vad\u00e1szattal \u2012 tark\u00edtott sz\u00f6vegk\u00f6nyv, amelyet Domenico Cimarosa zen\u00e9s\u00edtett meg els\u0151k\u00e9nt <em>L'infedelt\u00e0 fedele<\/em> c\u00edmmel (1779). Haydn zen\u00e9je a librett\u00f3 jelleg\u00e9nek megfelel\u0151en \u00f6sszetett st\u00edlusvil\u00e1g\u00fa, \u00e9s v\u00e9gigk\u00eds\u00e9ri a humoros\u2012komoly kett\u0151ss\u00e9g. \u00cdgy mindj\u00e1rt a nyit\u00e1ny kezdete Diana istenn\u0151 III. felvon\u00e1sbeli sz\u00ednrel\u00e9p\u00e9s\u00e9nek m\u00e9lt\u00f3s\u00e1gteljes k\u00eds\u00e9r\u0151mot\u00edvumait el\u0151legezi \u2013 \u00e1mde k\u00f6nnyed-tr\u00e9f\u00e1s hangv\u00e9tellel. E kezd\u0151t\u00e9m\u00e1val r\u00e1ad\u00e1sul egy k\u00f6zismert, XVIII. sz\u00e1zad eleji francia vad\u00e1szfanf\u00e1rt id\u00e9zett Haydn. A mindv\u00e9gig lend\u00fcletes \u00e9s szellemes nyit\u00e1nymuzsika l\u00e1tsz\u00f3lagos lez\u00e1r\u00e1st kap a 218. \u00fctemben: annak idej\u00e9n a f\u00fav\u00f3st\u00e9ma v\u00e1ratlan \u00fajraindul\u00e1sakor h\u00fazhatt\u00e1k sz\u00e9t a sz\u00ednpadi f\u00fcgg\u00f6nyt. A tr\u00e9f\u00e1s megold\u00e1s logikus k\u00f6vetkezm\u00e9nyek\u00e9nt a nyit\u00e1ny elhal\u00f3 befejez\u00e9sbe torkollik.\r\n\r\nHaydn sz\u00e1mos hangszeres m\u0171v\u00e9nek keletkez\u00e9se k\u00f6t\u0151d\u00f6tt a komponista kor\u00e1bbi \u2013 els\u0151sorban sz\u00ednpadi \u2013 alkot\u00e1saihoz. <em>A megjutalmazott h\u0171s\u00e9g<\/em> nyit\u00e1nyzen\u00e9j\u00e9t az azonos hangnem\u0171, 73. sorsz\u00e1m\u00fa <em>D-d\u00far szimf\u00f3nia<\/em> fin\u00e1l\u00e9jak\u00e9nt haszn\u00e1lta fel \u00fajb\u00f3l a zeneszerz\u0151 (1781 k\u00f6r\u00fcl), a t\u00e9tel \u201eVad\u00e1szat\u201d feliratot visel.","post_title":"{:hu}A megjutalmazott h\u0171s\u00e9g \u2013 nyit\u00e1ny{:}{:en}La fedelt\u00e0 premiata overture{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"a-megjutalmazott-huseg-nyitany","to_ping":"","pinged":"","post_modified":"2018-10-09 15:14:22","post_modified_gmt":"2018-10-09 15:14:22","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=105908","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Haydn"]},{"ID":105910,"post_author":"1","post_date":"2018-03-26 09:37:30","post_date_gmt":"2018-03-26 09:37:30","post_content":"<em>Ah, perfido<\/em>... (\u201e\u00d3, h\u0171telen...\u201d) kezdet\u0171 koncert\u00e1ri\u00e1ja a fiatal Ludwig van Beethoven (1770\u20121827) sz\u00e1rnypr\u00f3b\u00e1lgat\u00e1sa volt. A zeneszerz\u0151 pr\u00e1gai tart\u00f3zkod\u00e1sa alkalm\u00e1val \u00edrta, Josepha Duschek h\u00edres szopr\u00e1n\u00e9nekesn\u0151 sz\u00e1m\u00e1ra \u2012 az \u00e1ria sz\u0171k m\u0171fajhat\u00e1rain t\u00falmutat\u00f3, val\u00f3s\u00e1gos dr\u00e1mai jelenetk\u00e9nt \u2012, els\u0151 el\u0151ad\u00e1s\u00e1ra m\u00e9g a kompon\u00e1l\u00e1s \u00e9v\u00e9ben, Lipcs\u00e9ben sor ker\u00fclt (1796. november 21.). Verstextusa a B\u00e9csben \u00e9lt olasz k\u00f6lt\u0151 \u00e9s sz\u00f6vegk\u00f6nyv\u00edr\u00f3 Pietro Metastasio (1698\u20121782) <em>Achille in Sciro<\/em> c\u00edm\u0171 operalibrett\u00f3j\u00e1b\u00f3l (1737) sz\u00e1rmazik. Egy fiatal n\u0151 d\u00fch\u00e9t \u00e9s sir\u00e1mait tolm\u00e1csolja, akit elhagyott a kedvese. Ellent\u00e9tes \u00e9rzelmek kavarognak a f\u00e9rfihoz sz\u00f3l\u00f3 verssorokban: a n\u0151 el\u0151bb az \u00e9giek \u00e1ltali megb\u00fcntet\u00e9s\u00e9t j\u00f6vend\u00f6li meg, majd kegyelmet k\u00e9rve sz\u00e1m\u00e1ra, felaj\u00e1nlja saj\u00e1t hal\u00e1l\u00e1t, k\u00e9ts\u00e9gbees\u00e9s\u00e9ben v\u00e9g\u00fcl irgalom\u00e9rt k\u00f6ny\u00f6r\u00f6g szerelm\u00e9hez.\r\n\r\nBeethoven sz\u00ednpadias zen\u00e9je az \u00e9rzelmileg hull\u00e1mz\u00f3 sz\u00f6vegtartalomhoz idomul. Kezdete dr\u00e1mai <em>recitativo C-d\u00far<\/em>ban, amelyet \u2012 nagy vonalakban n\u00e9zve \u2012 <em>Esz-d\u00far<\/em> lass\u00fa (<em>Adagio<\/em>), majd <em>c-moll<\/em>\u2192<em>Esz-d\u00far<\/em> gyors (<em>Allegro assai<\/em>) \u00e1riaszakasz k\u00f6vet. Sz\u00f3list\u00e1j\u00e1t\u00f3l hat\u00e1sos virtuozit\u00e1st megk\u00edv\u00e1n\u00f3, nyelvezet\u00e9t illet\u0151en a XVIII. sz\u00e1zad operatrad\u00edci\u00f3iban gy\u00f6kerez\u0151 alkot\u00e1s, amely \u2012 k\u00f6zelebbr\u0151l is szeml\u00e9lve \u2012 egy\u00e9rtelm\u0171 Mozart-hat\u00e1st t\u00fckr\u00f6z (k\u00fcl\u00f6n\u00f6sen a <em>Bella mia fiamma<\/em>... koncert\u00e1ri\u00e1\u00e9t, amelyet alig egy \u00e9vtizeddel Beethoven el\u0151tt, ugyanannak az \u00e9nekesn\u0151nek \u00edrt az osztr\u00e1k komponista).\r\n\r\nAz <em>Ah, perfido<\/em>... csak 1805-ben jelent meg nyomtat\u00e1sban, Op. 65-k\u00e9nt. Nem sokkal k\u00e9s\u0151bb B\u00e9csben is f\u00f6lhangzott nyilv\u00e1nosan: Beethoven 1808. december 22-\u00e9n lezajlott \u2012 elk\u00e9peszt\u0151en monstru\u00f3zusra sikeredett \u2012 szerz\u0151i estj\u00e9n, olyan m\u0171vek t\u00e1rsas\u00e1g\u00e1ban, mint az a <em>V.<\/em> \u00e9s <em>VI. szimf\u00f3nia<\/em>, a <em>G-d\u00far zongoraverseny<\/em>, a <em>Karfant\u00e1zia<\/em>, a <em>C-d\u00far mise<\/em> r\u00e9szletei (s\u0151t: a komponista mindemellett m\u00e9g improviz\u00e1lt is...).","post_title":"{:hu}Ah, perfido! \u2013 koncert\u00e1ria, op. 65{:}{:en}Ah, perfido! \u2013 concert aria, op. 65{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ah-perfido-koncertaria-op-65","to_ping":"","pinged":"","post_modified":"2020-03-04 12:24:33","post_modified_gmt":"2020-03-04 12:24:33","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=105910","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":105912,"post_author":"1","post_date":"2018-03-26 09:38:06","post_date_gmt":"2018-03-26 09:38:06","post_content":"A fiatal Robert Schumann (1810\u20121856) zeneszerz\u0151i fejl\u0151d\u00e9s\u00e9t egy-egy m\u0171faj vagy m\u0171csoport l\u00e1zas kibontakoztat\u00e1sa jellemezte: huszon\u00e9vesen f\u0151k\u00e9nt zongoram\u0171vek ker\u00fcltek ki tolla al\u00f3l, 1840 a dalok \u00e9ve lett; a k\u00f6vetkez\u0151 esztend\u0151 a szimfonikus alkot\u00e1sok, majd 1842 a kamarazene k\u00fcl\u00f6nf\u00e9le \u201ecsokrait\u201d hozta mag\u00e1val. \u00cdgy miut\u00e1n a p\u00e1lyat\u00e1rs \u00e9s bar\u00e1t F. Mendelssohn-Bartholdy elvez\u00e9nyelte az <em>I.<\/em> (\u201eTavaszi\u201d) <em>szimf\u00f3ni\u00e1<\/em>t 1841 tavasz\u00e1n, Schumann a sikeren f\u00f6lbuzdulva r\u00f6gvest \u00fajabb zenekari m\u0171vek \u00edr\u00e1s\u00e1ba fogott. Ekkor keletkezett h\u00e1rom jelent\u0151s opus\u00e1nak korai v\u00e1ltozata: a <em>IV. szimf\u00f3ni\u00e1<\/em>\u00e9, a <em>Zongoraverseny<\/em>\u00e9, valamint a <em>Nyit\u00e1ny, Scherzo \u00e9s Fin\u00e1l\u00e9<\/em> c\u00edmmel egybef\u0171z\u00f6tt darabok\u00e9. Ut\u00f3bbi saj\u00e1tos, h\u00e1romt\u00e9teles ciklus lett (Op. 52), amelyet eredetileg <em>szvit<\/em>nek, <em>II. szimf\u00f3ni\u00e1<\/em>nak \u00e9s <em>Sinfoniett\u00e1<\/em>nak is nevezett a szerz\u0151. \u0150sbemutat\u00f3j\u00e1ra a v\u00e9gleges\u00fclt <em>Nyit\u00e1ny, Scherzo \u00e9s Fin\u00e1l\u00e9<\/em> c\u00edmmel, Lipcs\u00e9ben ker\u00fclt sor (1841. december 6.); 1845-ben \u00e1tdolgozta a z\u00e1r\u00f3t\u00e9telt a komponista, majd 1854-ben sz\u00f3l\u00f3zongor\u00e1ra is \u00e1t\u00edrta a m\u0171vet.\r\n\r\nVisszautalva ezzel a korai c\u00edmad\u00e1sokra, t\u00e1volabbr\u00f3l t\u00e9nyleg egy lass\u00fat\u00e9tel n\u00e9lk\u00fcli szimf\u00f3nia benyom\u00e1s\u00e1t keltheti a ciklus. Szimf\u00f3niaszer\u0171 benne az egyes t\u00e9telek tematikus kapcsolata, nem szimf\u00f3niaszer\u0171 ellenben a kezd\u0151t\u00e9tel szerkezeti s\u00falytalans\u00e1ga, koncert- \/ operanyit\u00e1ny jellege. Lass\u00fa bevezet\u0151vel, <em>e-moll<\/em>ban indul a m\u0171 (<em>Andante con moto<\/em>), majd egyszer\u0171s\u00edtett (feldolgoz\u00e1si szakasz n\u00e9lk\u00fcli) szon\u00e1taformak\u00e9nt folytat\u00f3dik <em>E-d\u00far<\/em>ban (<em>Allegro<\/em>). \u00c9l\u00e9nk, szellemes muzsika a <em>Nyit\u00e1ny<\/em>, ahogyan a m\u00e1sodik t\u00e9tel is, melynek t\u00e1ncos-k\u00f6nnyed alapt\u00e9m\u00e1ja a barokk <em>forlana<\/em> t\u00edpus\u00e1hoz visz k\u00f6zel (<em>Scherzo vivo<\/em>: <em>cisz-moll<\/em>, <em>Desz-d\u00far<\/em> <em>Trio<\/em> k\u00f6z\u00e9pszakasszal). A t\u00e9telv\u00e9gi <em>cod\u00e1<\/em>ban f\u00f6lid\u00e9z\u00e9sre ker\u00fclnek az addigi gondolatok, a <em>Scherzo<\/em> mel\u00f3di\u00e1i mellett ide\u00e9rtve a <em>Nyit\u00e1ny<\/em> zenei anyag\u00e1t is. T\u00f6bb\u00e9-kev\u00e9sb\u00e9 hagyom\u00e1nyos szon\u00e1taform\u00e1j\u00fa a <em>Fin\u00e1l\u00e9<\/em> (<em>Allegro molto vivace<\/em>: <em>E-d\u00far<\/em>). Sz\u00f6vete a k\u00e9t megel\u0151z\u0151 t\u00e9teln\u00e9l er\u0151teljesebben polifon term\u00e9szet\u0171: mindj\u00e1rt a f\u0151t\u00e9ma-szakasz <em>fugat\u00f3<\/em>k\u00e9nt indul. A befejez\u00e9s sor\u00e1n himnikus kor\u00e1ll\u00e1 fejleszti Schumann a f\u0151t\u00e9ma mel\u00f3di\u00e1it.","post_title":"{:hu}Nyit\u00e1ny, Scherzo es Finale, op. 52{:}{:en}Overture, Scherzo and Finale, op. 52{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"nyitany-scherzo-es-finale-op-52","to_ping":"","pinged":"","post_modified":"2018-10-09 15:16:50","post_modified_gmt":"2018-10-09 15:16:50","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=105912","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Schumann"]},{"ID":90968,"post_author":"1","post_date":"2016-09-08 08:57:46","post_date_gmt":"2016-09-08 08:57:46","post_content":"{:hu}\"A zen\u00e9sznek, ki ezt a t\u00e9m\u00e1t v\u00e1lasztotta bevezet\u00e9s\u00fcl szerelmi dr\u00e1m\u00e1j\u00e1hoz, f\u0151gondja az volt, mik\u00e9nt korl\u00e1tozza mag\u00e1t, hiszen a t\u00e9ma kimer\u00edthetetlen. \u00cdgy h\u00e1t csak egyszer, de hossz\u00fa, tagolt \u00e1rad\u00e1ssal bontotta ki a kiel\u00e9g\u00edthetetlen v\u00e1gyat, a gyeng\u00e9d vonz\u00f3d\u00e1s f\u00e9l\u00e9nk vallom\u00e1s\u00e1t\u00f3l, f\u00e9l\u0151 s\u00f3hajokon, rem\u00e9nyen \u00e9s t\u00e9tov\u00e1z\u00e1son, panaszon \u00e9s k\u00edv\u00e1ns\u00e1gon, m\u00e1moron \u00e9s k\u00ednl\u00f3d\u00e1son \u00e1t a hatalmas kit\u00f6r\u00e9s \u00f3ri\u00e1si er\u0151fesz\u00edt\u00e9s\u00e9ig, mely megnyitn\u00e1 a hat\u00e1rtalanul v\u00e1gy\u00f3d\u00f3 sz\u00edvnek a v\u00e9gtelen szerelmi m\u00e1mor tenger\u00e9hez vezet\u0151 utat... Hi\u00e1ba! A sz\u00edv tehetetlen\u00fcl visszahanyatlik, \u00e9s v\u00e1gyban eped el\". Richard Wagner maga jellemezte \u00edgy Mathilde Wesendonckhoz \u00edrt level\u00e9ben a Triszt\u00e1n \u00e9s Izolda El\u0151j\u00e1t\u00e9k\u00e1t. A jellemz\u00e9s dag\u00e1lyos-modoros kiss\u00e9, mint \u00e1ltal\u00e1ban Wagner \u00edr\u00e1sai - de l\u00e9nyeg\u00e9t tekintve pontos. A zene val\u00f3ban a jelzett utat j\u00e1rja v\u00e9gig, szerencs\u00e9re minden dag\u00e1ly n\u00e9lk\u00fcl. Az eur\u00f3pai zen\u00e9ben r\u00e9g\u00f3ta a szomor\u00fas\u00e1g jelk\u00e9p\u00e9v\u00e9 v\u00e1lt mot\u00edvumhoz, a lefel\u00e9 halad\u00f3 kromatik\u00e1hoz t\u00e1rs\u00edtja Wagner a v\u00e1gy (s erotika) jelk\u00e9p\u00e9t, a felfel\u00e9 halad\u00f3 kromatik\u00e1t. A kett\u0151h\u00f6z mindj\u00e1rt a m\u0171 elej\u00e9n az az akkord csatlakozik, amit a zenet\u00f6rt\u00e9net \"Triszt\u00e1n-akkordnak\" h\u00edv. Val\u00f3j\u00e1ban nem volna k\u00fcl\u00f6nleges harm\u00f3nia (sz\u0171k\u00edtett h\u00e1rmashangzat kis szeptimmel), Wagner azonban nem a szokott m\u00f3don haszn\u00e1lja fel s vezeti tov\u00e1bb sz\u00f3lamait. A fesz\u00fclts\u00e9get nem oldja - pontosabban, mik\u00f6zben bizonyos sz\u00f3lamokat szab\u00e1lyosan vezet az old\u00e1s fel\u00e9, ak\u00f6zben m\u00e1s hangokkal tov\u00e1bbra is fesz\u00fclts\u00e9get teremt. Az alaphangnemet, az a-mollt ugyan \u00e9rz\u00e9kelteti, de an\u00e9lk\u00fcl, hogy expressis verbis kimondan\u00e1. Alighanem ez adja a zene saj\u00e1tos var\u00e1zs\u00e1t, rendk\u00edv\u00fcli hat\u00e1s\u00e1t. Hogy mennyire rendk\u00edv\u00fcli volt valamikor ez a hat\u00e1s, mi sem bizony\u00edtja jobban, mint a francia C\u00e9sar Franck egy zeneszerz\u0151-n\u00f6vend\u00e9k\u00e9nek esete : az illet\u0151 az El\u0151j\u00e1t\u00e9k alatt rosszul lett a gy\u00f6ny\u00f6r\u0171s\u00e9gt\u0151l \u00e9s el is \u00e1jult...\r\n\r\nMint \u00e1ltal\u00e1ban Wagner m\u0171vein\u00e9l, az egyes mot\u00edvumokat Triszt\u00e1n eset\u00e9ben is n\u00e9vvel szokta emlegetni a szakirodalom. Ezek a nevek ugyan nem Wagnert\u0151l val\u00f3k, de gyakran tal\u00e1l\u00f3ak. Az el\u0151j\u00e1t\u00e9k legfontosabb mot\u00edvumai megjelen\u00e9s\u00fck sorrendj\u00e9ben a \"V\u00e1gy\", a \"Szerelmi pillant\u00e1s\", illetve a \"Liebesentbehrung\" nevet viselik (az ut\u00f3bbi kb. szerelmi lemond\u00e1st, n\u00e9lk\u00fcl\u00f6z\u00e9st jelent - neh\u00e9z a kifejez\u00e9s pontos \u00e9rtelm\u00e9t visszaadni magyarul). A cs\u00facspont el\u0151tt jelenik meg az \u00fan. \"Todestrotz\" mot\u00edvum (a hal\u00e1llal val\u00f3 dacol\u00e1s, a hal\u00e1l megvet\u00e9s\u00e9nek mot\u00edvuma). Az el\u0151j\u00e1t\u00e9khoz zenekari koncerteken hagyom\u00e1nyosan az opera v\u00e9ge kapcsol\u00f3dik. Ez a befejez\u0151 szakasz azonban maga sem m\u00e1s, mint az opera k\u00f6zep\u00e9nek egyfajta visszaid\u00e9z\u00e9se. A m\u00e1sodik felvon\u00e1s k\u00f6zep\u00e9n hatalmas fokoz\u00e1s jelen\u00edti meg az egym\u00e1sra tal\u00e1lt Marke kir\u00e1ly lovagj\u00e1nak, Triszt\u00e1nnak \u00e9s Marke jegyes\u00e9nek, Izold\u00e1nak v\u00e9gzetes szerelm\u00e9t - ez dr\u00e1mai er\u0151vel t\u00f6rik meg amikor Triszt\u00e1n\u00e9kat felfedezik. A harmadik felvon\u00e1s v\u00e9g\u00e9n Izolda mindezt visszaid\u00e9zi - de imm\u00e1r dr\u00e1mai t\u00f6r\u00e9s n\u00e9lk\u00fcl. \u00c9teri H-d\u00far akkordban nyugszik meg a zene, ez jelenti a v\u00e9gs\u0151 beteljesed\u00e9st - a k\u00e9t szerelmes hal\u00e1lban val\u00f3 \u00f6r\u00f6k egyes\u00fcl\u00e9s\u00e9t. A zenekari verzi\u00f3ban term\u00e9szetesen az \u00e9neksz\u00f3lam dallam\u00e1t is hangszer j\u00e1tssza - egyebekben azonban ez a v\u00e1ltozat h\u0171s\u00e9gesen k\u00f6veti az eredetit.{:}{:en}\"A musician who has chosen this theme as an introduction to his love drama has the principal problem of how to restrain himself, since the theme is inexhaustible.\" Wagner goes on in this letter to his lover Mathilde Wesendonck to outline the immense range of emotions that are involved, in true 19th century fashion. He was writing about the Prelude to Tristan and Isolde, and although (as often with Wagner) the written style is rather over the top, it is essentially accurate. The music truly does move along its prescribed path. Wagner combines an upwards moving chromatic motif that is the symbol of desire (and of the erotic) with the descending chromatic motif that for centuries had been a symbol in European music for sadness. At the very beginning of the work, the two themes are joined by a chord, which musical historians have christened the Tristan Chord. It is not the harmony itself that makes it so special (a diminished triad with a minor seventh), but rather the way Wagner utilises it and leads the phrases. The tension is never resolved - or rather, as the music appears to lead to resolution of the inherent harmonic tension, the parts move on to create further tension. It creates the sensation of a basic tonality, A minor, but without ever actually saying so explicitly. It is this that gives the Tristan music its magical power and exceptional effect. An indication of just how influential it was can be seen in the case of the French composer C\u00e9sar Franck, then a composition pupil: he became physically ill during the performance of the Prelude and fainted from the beauty of it all...\r\n\r\nAs generally with Wagner, musicologists refer to individual motifs in Tristan by name. These names are not Wagner's but are often accurate. The most important motifs in the prelude (in their order of appearance) are \"Desire\", \"Look of love\" and \"Liebesentbehrung\" (this latter having no adequate translation into English). Just before the climax comes the \"Todestrotz\" motif. Traditionally in the concert hall, the prelude is connected to the end of the opera. This finishing section is actually nothing other than a kind of quotation from the middle of the opera. At the end of the third act, Isolde recapitulates the immense climax from the second act, but this time, without any dramatic break. The music rests in a B major chord, which indicates final consummation - the two lovers are together forever in death. In the orchestral version naturally the vocal lines are taken by instruments - in all other particulars however, this version faithfully follows the original.{:}","post_title":"{:hu}El\u0151j\u00e1t\u00e9k \u00e9s Izolda szerelmi hal\u00e1la a Triszt\u00e1n \u00e9s Izolda c. oper\u00e1b\u00f3l{:}{:en}Tristan und Isolde \u2013 Prelude and Isolde's love death{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"elojatek-es-izolda-szerelmi-halala-a-trisztan-es-izolda-c-operabol","to_ping":"","pinged":"","post_modified":"2018-05-29 12:31:22","post_modified_gmt":"2018-05-29 12:31:22","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/elojatek-es-izolda-szerelmi-halala-a-trisztan-es-izolda-c-operabol\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Wagner"]},{"ID":91683,"post_author":"1","post_date":"2016-09-08 08:57:55","post_date_gmt":"2016-09-08 08:57:55","post_content":"{:hu}Strauss (1864-1949) szimfonikus k\u00f6ltem\u00e9ny\u00e9nek partit\u00far\u00e1j\u00e1t 1889 november\u00e9ben fejezte be, a premierre 1890 j\u00fanius\u00e1ban ker\u00fclt sor. Ekkor m\u00e9g vonakodott att\u00f3l, hogy m\u0171v\u00e9t r\u00e9szletes programmal l\u00e1ssa el. 1895-ban azonban a karmester Friedrich von Hausegger k\u00e9r\u00e9s\u00e9nek eleget t\u00e9ve az al\u00e1bbi magyar\u00e1zatot vetette pap\u00edrra: \u201eMintegy hat esztendeje t\u00e1madt a gondolatom, hogy szimfonikus k\u00f6ltem\u00e9nyben \u00e1br\u00e1zolom egy szem\u00e9ly hal\u00e1l\u00e1t, aki a legmagasabb eszm\u00e9nyeket t\u0171zte ki c\u00e9lj\u00e1ul, k\u00f6vetkez\u00e9sk\u00e9ppen val\u00f3sz\u00edn\u0171leg m\u0171v\u00e9sz volt. A beteg f\u00e9rfi \u00e1gyban fekszik, alszik, nehezen, szab\u00e1lytalanul l\u00e9legzik; kellemes \u00e1lmok mosolyt var\u00e1zsolnak arc\u00e1ra, szenved\u00e9se ellen\u00e9re; \u00e1lma megk\u00f6nnyebb\u00fcl; fel\u00e9bred. Megint sz\u00f6rny\u0171 f\u00e1jdalmak gy\u00f6trik; tagjai l\u00e1zban reszketnek \u2013 ahogy a roham v\u00e9g\u00e9hez k\u00f6zeledik \u00e9s visszat\u00e9r a f\u00e1jdalom, megjelenik el\u0151tte \u00e9lete \u00fatj\u00e1nak gy\u00fcm\u00f6lcse, az eszme, az Eszm\u00e9ny, amelyet megval\u00f3s\u00edtani igyekezett, hogy m\u0171v\u00e9szet\u00e9t kifejezze, amelyet azonban nem volt k\u00e9pes t\u00f6k\u00e9letes\u00edteni, mert emberi l\u00e9ny nem t\u00f6k\u00e9letes\u00edthette. K\u00f6zeledik hal\u00e1l\u00e1nak \u00f3r\u00e1ja, a l\u00e9lek elhagyja a testet, hogy az \u00f6r\u00f6k mindens\u00e9gben a legdics\u0151bb alakban tal\u00e1ljon t\u00f6k\u00e9letess\u00e9gre, amelyet itt a f\u00f6ld\u00f6n nem \u00e9rhetett el\u201d.\r\n\r\nJ\u00f3val k\u00e9s\u0151bb, \u00e9vtizedek m\u00falt\u00e1n pr\u00f3b\u00e1lt elhat\u00e1rol\u00f3dni ett\u0151l a direkt le\u00edr\u00e1st\u00f3l, \u00fagy fogalmazott, hogy a \u201eHal\u00e1l \u00e9s megdics\u0151\u00fcl\u00e9s tiszt\u00e1n a k\u00e9pzelet term\u00e9ke, nem alapul semmilyen szem\u00e9lyes \u00e9lm\u00e9nyen. Gondolat volt csak, mint b\u00e1rmely m\u00e1sik, v\u00e9gs\u0151 soron val\u00f3sz\u00edn\u0171leg zenei ig\u00e9ny, hogy \u2013 a Macbeth ut\u00e1n (amely d-moll kezd\u0151dik \u00e9s v\u00e9gz\u0151dik) \u00e9s a Don Juan ut\u00e1n (amely e-moll kezd\u0151dik \u00e9s v\u00e9gz\u0151dik) \u2013 olyan darabot \u00edrjak, amely c-mollban kezd\u0151dik \u00e9s C-d\u00farban v\u00e9gz\u0151dik. Ki tudja?\u201d\r\n\r\n\u00c9rdekes adal\u00e9k, hogy 1949-ben, gy\u00f3gy\u00edthatatlan betegs\u00e9g\u00e9nek utols\u00f3 napjaiban \u00edgy sz\u00f3lt meny\u00e9hez, Alicehoz: \u201eFurcsa, de a haldokl\u00e1s pontosan olyan, ahogyan hatvan \u00e9ve megkompon\u00e1ltam a Hal\u00e1l \u00e9s megdics\u0151\u00fcl\u00e9sben\u201d. Tal\u00e1n \u00e9pp a haldokl\u00e1s k\u00fcl\u00f6n\u00f6sen intenz\u00edv, k\u00e9pszer\u0171, \u00e9s \u00e9ppen ez\u00e9rt borzong\u00e1st kelt\u0151 \u00e1br\u00e1zol\u00e1sa miatt v\u00e1lt e kompoz\u00edci\u00f3 a maga idej\u00e9ben igen n\u00e9pszer\u0171v\u00e9, annak ellen\u00e9re, hogy zenei nyelve megd\u00f6bbent\u0151en mer\u00e9sz volt. Innent\u0151l kezdve a k\u00f6z\u00f6ns\u00e9g Straussban l\u00e1tta Liszt Ferenc \u00f6r\u00f6k\u00f6s\u00e9t, ill. a liszti szimfonikus k\u00f6ltem\u00e9nyek jellegzetes dramaturgi\u00e1j\u00e1nak (a h\u0151s buk\u00e1sa \u00e9s felmagasztosul\u00e1sa) tov\u00e1bbfejleszt\u0151j\u00e9t.{:}{:en}On one of the final days of his life the incurably ill Richard Strauss turned to his daughter-in-law, Alice: \u201eStrange, but the agony of death is exactly like I had composed it in Death and Transfiguration sixty years ago\u201d. And perhaps it was exactly this unusually intensive, visual and therefore harrowing presentation of agony that made this composition so popular in its own time despite its shockingly daring musical language.{:}","post_title":"{:hu}Hal\u00e1l \u00e9s megdics\u0151\u00fcl\u00e9s, op. 24{:}{:en}Death and Transfiguration{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"halal-es-megdicsoules-op-24","to_ping":"","pinged":"","post_modified":"2018-05-29 12:32:10","post_modified_gmt":"2018-05-29 12:32:10","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/halal-es-megdicsoules-op-24\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["R. Strauss"]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":true,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[{"ID":105915,"post_author":"1","post_date":"2018-03-26 09:40:58","post_date_gmt":"2018-03-26 09:40:58","post_content":"","post_title":"{:hu}Karita Mattila{:}{:en}Karita Mattila{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"karita-mattila","to_ping":"","pinged":"","post_modified":"2018-03-26 09:40:58","post_modified_gmt":"2018-03-26 09:40:58","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=105915","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"}],"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}<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":"6.000 Ft - 4.500 Ft - 3.000 Ft","jegyvasarlas_gomb":"https:\/\/nfz.jegy.hu\/program\/ferencsik-berlet-3-vezenyel-hamar-zsolt-90100\/421656?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\/105992","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=105992"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}