{"id":106043,"date":"2018-03-27T09:48:22","date_gmt":"2018-03-27T09:48:22","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&#038;p=106043"},"modified":"2020-10-14T12:41:04","modified_gmt":"2020-10-14T12:41:04","slug":"uticel-amerika","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/uticel-amerika\/","title":{"rendered":"Destination: America"},"content":{"rendered":"<p>This programme presents works by three composers, all of whom \u2013 like so many in the 20th century \u2013 completed their careers in America. Copland&#8217;s parents emigrated to America from Lithuania, while Rachmaninov and Stravinsky arrived from Russia. Three strong personalities, three musical styles. Rachmaninov&#8217;s Symphony No. 2, conducted by the composer, was premiered to great fanfare in St. Petersburg in 1908. He continued to compose genuinely romantic music after emigrating. Stravinsky&#8217;s Pulcinella was first performed in Paris in 1920 by Sergei Diaghilev&#8217;s world-famous ballet troupe, with set and costume design by Pablo Picasso. Stravinsky adapted the music of Baroque composer Pergolesi, thus beginning his neo-Classical creative period. Aaron Copland&#8217;s clarinet concerto, which premiered in 1950, was commissioned by the famous jazz clarinetist Benny Goodman. It mixes jazz elements and, as one critic wrote, &#8220;bitter-sweet lyricism&#8221;. This bright kaleidoscope of styles comes to us courtesy of an outstanding Swedish clarinetist and a Vienna-educated Ukrainian conductor.<\/p>\n","protected":false},"template":"","class_list":["post-106043","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 5","kiemelt_kep":{"ID":106136,"id":106136,"title":"martin-frost-esemeny","filename":"martin-frost-esemeny.png","filesize":668219,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny.png","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/uticel-amerika\/martin-frost-esemeny\/","alt":"","author":"1","description":"","caption":"","name":"martin-frost-esemeny","status":"inherit","uploaded_to":106043,"date":"2018-03-26 22:29:45","modified":"2018-03-26 22:29:45","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\/martin-frost-esemeny-150x150.png","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny-300x88.png","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny-768x224.png","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny-1024x299.png","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny.png","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny.png","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny-165x165.png","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny.png","person-size-2-width":165,"person-size-2-height":48,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny-263x263.png","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-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\/martin-frost-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\/martin-frost-esemeny-555x555.png","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/03\/martin-frost-esemeny-1600x560.png","slider-size-width":1600,"slider-size-height":560}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20190207","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":106041,"post_author":"1","post_date":"2018-03-26 21:06:57","post_date_gmt":"2018-03-26 21:06:57","post_content":"","post_title":"{:hu}Kirill Karabits{:}{:en}Kirill Karabits{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kirill-karabits","to_ping":"","pinged":"","post_modified":"2018-05-21 17:17:55","post_modified_gmt":"2018-05-21 17:17:55","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=106041","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":90988,"post_author":"1","post_date":"2016-09-08 08:57:46","post_date_gmt":"2016-09-08 08:57:46","post_content":"","post_title":"{:hu}Pulcinella \u2013 szvit{:}{:en}Pulcinella \u2013 suite{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"pulcinella","to_ping":"","pinged":"","post_modified":"2018-05-30 09:25:10","post_modified_gmt":"2018-05-30 09:25:10","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/pulcinella\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Stravinsky"]},{"ID":106037,"post_author":"1","post_date":"2018-03-26 21:05:02","post_date_gmt":"2018-03-26 21:05:02","post_content":"","post_title":"{:hu}Klarin\u00e9tverseny{:}{:en}Clarinet Concerto{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"klarinetverseny","to_ping":"","pinged":"","post_modified":"2018-05-29 14:46:09","post_modified_gmt":"2018-05-29 14:46:09","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&#038;p=106037","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Copland"]},{"ID":91553,"post_author":"1","post_date":"2016-09-08 08:57:53","post_date_gmt":"2016-09-08 08:57:53","post_content":"{:hu}I. Lento - Allegro moderato II. Adagio ma non troppo III.Allegro\r\n\r\nMiut\u00e1n 1918-ban elhagyta Oroszorsz\u00e1got, Rahmanyinov hossz\u00fa ideig nem kompon\u00e1lt. Vagyona odaveszett, \u00e9s \u00faj egzisztenci\u00e1t kellett teremtenie, hogy eltarthassa csal\u00e1dj\u00e1t. 45 \u00e9ves fejjel elhat\u00e1rozta, hogy zongoram\u0171v\u00e9szk\u00e9nt csin\u00e1l karriert Nyugaton; b\u00e1r fiatal kora \u00f3ta h\u00edres zongoravirtu\u00f3z volt, ritk\u00e1n j\u00e1tszott m\u00e1st, mint saj\u00e1t m\u0171veit. Most fel\u00e9p\u00edtette klasszikus reperto\u00e1rj\u00e1t, \u00e9s mint a kor egyik legnagyobb zongoram\u0171v\u00e9sze, \u00e9vekig eur\u00f3pai \u00e9s amerikai koncertturn\u00e9kb\u00f3l \u00e9lt. Kompon\u00e1l\u00e1sra \u00e9rthet\u0151 m\u00f3don kev\u00e9s ideje maradt; az 1920-as \u00e9vek term\u00e9se mind\u00f6ssze a IV. zongoraversenyb\u0151l \u00e9s a k\u00f3rusra \u00e9s zenekarra \u00edrott H\u00e1rom orosz dalb\u00f3l \u00e1llt.\r\n\r\nA harmincas \u00e9vekre szil\u00e1rdult meg annyira Rahmanyinov helyzete, hogy \u00fajra t\u00f6bb id\u0151t szentelhetett a zeneszerz\u00e9snek. Tov\u00e1bbra sem hagyott fel a koncertez\u00e9ssel, de frissen v\u00e1s\u00e1rolt sv\u00e1jci vill\u00e1j\u00e1ban v\u00e9gre megvoltak a nyugodt alkot\u00f3munka felt\u00e9telei, \u00e9s Rahmanyinov \u00fajra gondolhatott nagyszab\u00e1s\u00fa kompoz\u00edci\u00f3s tervekre. \u00cdgy sz\u00fcletett meg 1934-ben a Paganini-rapsz\u00f3dia, 1936-ban a III. szimf\u00f3nia \u00e9s k\u00e9s\u0151bb a Szimfonikus t\u00e1ncok, Rahmanyinov utols\u00f3 befejezett m\u0171ve.\r\n\r\nMajdnem harminc \u00e9v v\u00e1lasztja el a III. szimf\u00f3ni\u00e1t a II.-t\u00f3l, mely 1907-ben k\u00e9sz\u00fclt el. Rahmanyinov ott folytatta a szimf\u00f3nia\u00edr\u00e1st, ahol egy ember\u00f6lt\u0151vel kor\u00e1bban abbahagyta. H\u0171 maradt \u00f6nmag\u00e1hoz, ami persze nem jelenti azt, hogy st\u00edlusa ne v\u00e1ltozott volna. Eszk\u00f6zt\u00e1ra jelent\u0151sen gazdagodott, \u00e9s sok \u00faj sz\u00edn jelent meg palett\u00e1j\u00e1n. Ugyanakkor szigor\u00faan betartotta a szimf\u00f3nia klasszikus form\u00e1it, szil\u00e1rd keretet biztos\u00edtva szabadon \u00e1raml\u00f3 romantikus fant\u00e1zi\u00e1j\u00e1nak. A III. szimf\u00f3nia els\u0151 t\u00e9tele teljesen szab\u00e1lyos szon\u00e1taforma, k\u00f6nnyen azonos\u00edthat\u00f3 mell\u00e9kt\u00e9m\u00e1val, kidolgoz\u00e1si r\u00e9sszel \u00e9s visszat\u00e9r\u00e9ssel. Az Adagio\u00a0 m\u00e1sodik t\u00e9tel egy \"Allegro vivace\" scherz\u00f3jelleg\u0171 k\u00f6z\u00e9pr\u00e9szt foglal mag\u00e1ba, \u00e9s \u00edgy k\u00e9t t\u00e9telt\u00edpus saj\u00e1toss\u00e1gait egyes\u00edti. A z\u00e1r\u00f3t\u00e9tel ism\u00e9t szon\u00e1taforma, b\u00e1r az els\u0151 t\u00e9teln\u00e9l valamivel laz\u00e1bb szerkezet\u0171.\r\n\r\nAz els\u0151 k\u00e9t Rahmanyinov-szimf\u00f3ni\u00e1hoz hasonl\u00f3an a III. is mott\u00f3val kezd\u0151dik, amely valamennyi t\u00e9telben visszat\u00e9r majd.\u00a0 Ez a mott\u00f3 mind\u00f6ssze h\u00e1rom hangb\u00f3l \u00e1ll; egyszer\u0171s\u00e9ge ellen\u00e9re azonban mag\u00e1n viseli Rahmanyinov szem\u00e9lyis\u00e9g\u00e9nek b\u00e9lyeg\u00e9t. H\u00e1rom sz\u00f3l\u00f3hangszer - klarin\u00e9t, szordin\u00e1lt k\u00fcrt \u00e9s csell\u00f3 - inton\u00e1lja a mott\u00f3t, s ez r\u00f6gt\u00f6n felh\u00edvja figyelm\u00fcnket a m\u0171 mesteri hangszerel\u00e9s\u00e9re. A mott\u00f3 ritmikailag \u00e9s hangszerel\u00e9sb\u00e9n sz\u00e1mos \u00e1talakul\u00e1son megy majd kereszt\u00fcl, \u00e9s id\u0151nk\u00e9nt er\u0151sen dr\u00e1mai jelleget kap. Legeml\u00e9kezetesebb form\u00e1ja azonban az a rezign\u00e1lt pianissimo megsz\u00f3lal\u00e1s, amely mind az els\u0151, mind a m\u00e1sodik t\u00e9telt z\u00e1rja.\r\n\r\nAz els\u0151 t\u00e9tel mell\u00e9kt\u00e9m\u00e1ja, melyet a csell\u00f3k j\u00e1tszanak klarin\u00e9t-, fagott- \u00e9s h\u00e1rfak\u00eds\u00e9rettel, Rahmanyinov egy korai dal\u00e1t id\u00e9zi: \"Zgyesz horoso\" (\"Mily sz\u00e9p e t\u00e1j\", op. 21, no. 7), mely 1902-ben keletkezett Ivanovk\u00e1n, a csal\u00e1di birtokon. Sv\u00e1jci vill\u00e1j\u00e1ban Rahmanyinovnak nyilv\u00e1n gyakran jutott esz\u00e9be az elveszett paradicsom.\r\n\r\nA kidolgoz\u00e1si r\u00e9sz eredeti hangszerel\u00e9si \u00f6tlettel, k\u00e9t fagottnak a br\u00e1cs\u00e1k \u00e1ltal k\u00eds\u00e9rt du\u00f3j\u00e1val kezd\u0151dik. Egyre t\u00f6bb hangszer csatlakozik a kor\u00e1bbiakhoz, m\u00edg a zene hatalmas cs\u00facspontra \u00e9rkezik; ezut\u00e1n v\u00e1ratlan, szinte prokofjevi fordulattal a pikkol\u00f3, a fagott, \u00e9s a xilofon veszi \u00e1t a sz\u00f3t. A mott\u00f3 nem sokkal k\u00e9s\u0151bb a teljes zenekaron harsan fel - az eddig nem szerepl\u0151 nagydob \u00e9s cint\u00e1ny\u00e9r is bel\u00e9p -, majd, m\u00e9g fenyeget\u0151bb m\u00f3don, a r\u00e9zf\u00fav\u00f3skar unisz\u00f3n\u00f3j\u00e1n hangzik fel a t\u00e9ma. Rahmanyinov l\u00e1that\u00f3lag ugyanolyan gonddal tervezte el a hangsz\u00ednek v\u00e1ltakoz\u00e1s\u00e1t, mint a t\u00e9m\u00e1k\u00e9t.\r\n\r\nA m\u00e1sodik t\u00e9tel kiemelked\u0151 pillanatai k\u00f6z\u00e9 tartozik a h\u00e1rf\u00e1val k\u00eds\u00e9rt k\u00fcrtsz\u00f3l\u00f3, egy heged\u0171- \u00e9s fuvola\u00e1ll\u00e1s h\u00e1rf\u00e1val, cseleszt\u00e1val \u00e9s n\u00e9gy sz\u00f3l\u00f3br\u00e1cs\u00e1val, \u00e9s a basszusklarin\u00e9t nagy pillanata. Az els\u0151 \u00e9s m\u00e1sodik heged\u0171k felv\u00e1ltva j\u00e1tszott trill\u00e1i vezetnek \u00e1t a scherzo-k\u00f6z\u00e9pr\u00e9szbe, mely ut\u00e1n a nyit\u00f3szakaszn\u00e1l j\u00f3val r\u00f6videbb visszat\u00e9r\u00e9s k\u00f6vetkezik. A f\u0151t\u00e9ma visszaid\u00e9z\u00e9se ut\u00e1n r\u00f6gt\u00f6n a mott\u00f3t halljuk, mely a pizzicato von\u00f3sokon szinte suttogva z\u00e1rja a t\u00e9telt.\r\n\r\nA harmadik t\u00e9tel t\u00e9m\u00e1i er\u0151sen elt\u00e9rnek egym\u00e1st\u00f3l temp\u00f3ban, hangnemben \u00e9s hangszerel\u00e9sben. A lend\u00fcletes nyit\u00f3t\u00e9m\u00e1val, melyet a teljes zenekar mutat be, h\u00e1rfaakkordokkal k\u00eds\u00e9rt l\u00edrai mell\u00e9kt\u00e9ma kontraszt\u00e1l. A sz\u00f3l\u00f3fagott ezut\u00e1n \u00faj, apr\u00f3 dallamfordulattal jelentkezik, amelyb\u0151l egy eg\u00e9sz fugato-szakasz bomlik ki; ez alkotja a t\u00e9tel k\u00f6z\u00e9ps\u0151 r\u00e9sz\u00e9t, mely ut\u00e1n a visszat\u00e9r\u00e9s meglehet\u0151sen szab\u00e1lyosan zajlik le.\r\n\r\nEgyes komment\u00e1torok itt is, mint Rahmanyinov annyi m\u00e1s m\u0171v\u00e9ben, a Dies irae dallam nyomait v\u00e9lt\u00e9k felfedezni, de az utal\u00e1s, ha jelen van egy\u00e1ltal\u00e1n, itt el\u00e9gg\u00e9 k\u00f6zvetett m\u00f3don jelenik meg. A Dies irae s\u00f6t\u00e9t hangulata am\u00fagy sem illen\u00e9k ehhez a diadalmas fin\u00e1l\u00e9hoz. A k\u00f3da az eg\u00e9sz m\u0171 egyik legragyog\u00f3bb pillanata: Rahmanyinov t\u00e1voli hangnemeket \u00e1ll\u00edt egym\u00e1s mell\u00e9 \u00e9s a z\u00e1r\u00f3 A-d\u00far akkordot teljesen v\u00e1ratlan ir\u00e1nyb\u00f3l k\u00f6zel\u00edti meg. B\u00e1r ez aligha sz\u00e1m\u00edtott \u00fajdons\u00e1gnak 1936-ban, m\u00e9gis mutatja, hogy Rahmanyinov kor\u00e1ntsem volt az a megcsontosodott konzervat\u00edv, aminek gyakran be\u00e1ll\u00edtj\u00e1k. A zeneszerz\u0151 bar\u00e1tja, koll\u00e9g\u00e1ja \u00e9s emigr\u00e1ns sorst\u00e1rsa, Nyikolaj Medtner, aki jelen volt a londoni bemutat\u00f3n, mindenesetre megbotr\u00e1nkozott ezen az \u00e9rthetetlen \"modernizmuson\".\r\nRahmanyinov III. szimf\u00f3ni\u00e1ja tal\u00e1n az utols\u00f3 hajt\u00e1s az orosz romantikus szimf\u00f3nia Csajkovszkijra visszamen\u0151 \u00e1g\u00e1n. Rahmanyinov m\u00e9lys\u00e9gesen hitt ebben a hagyom\u00e1nyban, \u00e9s igen egy\u00e9ni m\u00f3don folytatta azt. Igaza van Patrick Piggott angol zenetud\u00f3snak: \"Rahmanyinovnak t\u00f6k\u00e9letesen siker\u00fclt megval\u00f3s\u00edtania sz\u00e1nd\u00e9k\u00e1t; a vil\u00e1g zenekarai \u00e9s karmesterei egyre ink\u00e1bb tudat\u00e1ban vannak m\u0171ve jelent\u0151s\u00e9g\u00e9nek a 20. sz\u00e1zad szimfonikus irodalm\u00e1ban.\"{:}{:en}I. Lento - Allegro moderato II. Adagio ma non troppo III.Allegro\r\n\r\n&nbsp;\r\n\r\nAfter his emigration in 1918, Rachmaninov virtually stopped composing for many years. With most of his means left behind in Russia, and facing the need to support his family, he decided to change the course of his life at the age of 45 and embark on a virtuoso career. Although he had been famous as a prodigious pianist since his youth, he had rarely performed anything but his own music. He now built up a repertoire of Classical works, quickly establishing his international reputation as one of the greatest pianists of his time. For years he had a busy concert schedule in Europe and the United States, and it is natural that little time was left for composing. His only major works written during the 1920s were the Fourth Piano Concerto and the Three Russian Songs for chorus and orchestra.\r\n\r\n&nbsp;\r\n\r\nIt was not until the 1930s that Rachmaninov again devoted more time to composing. He had not given up concertizing altogether, but in the villa he had bought in Switzerland he had at last the time and the peace of mind to engage in some large-scale creative projects. Thus in 1934 he wrote his popular Rhapsody on a Theme of Paganini, followed by the Third Symphony and the Symphonic Dances, which remained his last finished composition.\r\n\r\n&nbsp;\r\n\r\nAlmost thirty years separate the Third Symphony from the Second, which was completed in 1907. Taking up symphony-writing where he had left off a generation earlier, Rachmaninov stayed remarkably true to himself, which is not to say that his style had not changed. It had become richer and the range of colors on his palette had expanded considerably. By observing traditional symphonic form, Rachmaninov imposed a Classical discipline on his unbridled Romantic imagination. Thus, the first movement of the Third Symphony is in a regular sonata form with easily recognizable second theme, development section, and recapitulation. The second-movement Adagio has an \"Allegro vivace\" (quasi-Scherzo) middle section, effectively telescoping the two middle movements into one. The third-movement Finale is again in sonata form; although its structure is less rigorous than that of the first movement.\r\n\r\n&nbsp;\r\n\r\nLike the first two Rachmaninov symphonies, the Third opens with a motto that recurs in all movements. This motto is made up of only three different notes; despite its simplicity, however, it bears the stamp of Rachmaninov's personality. Its scoring for three solo instruments - clarinet, muted horn, and muted cello - immediately draws our attention to the virtuosic orchestration that characterizes the entire piece. The motto is also capable of undergoing transformations in rhythm and orchestration to adopt a more resolute dramatic tone, yet it is most memorable when it appears at the end of both the first and the second movements in a veiled pianissimo and with an unmistakable tinge of resignation.\r\n\r\n&nbsp;\r\n\r\nThe first movement's second theme is played by the cellos to the accompaniment of clarinets, bassoons, and harp (which makes its first entrance at this point). One analyst has pointed out that this theme quotes Rachmaninov's song \"Zdes khorosho\" (\"How fair this spot,\" op. 21, No. 7), written in 1902 at his family's estate in Ivanovka. Rachmaninov, enjoying the beauties of his Swiss villa, may have been reminded of his Paradise Lost.\r\n\r\n&nbsp;\r\n\r\nThe development section begins with the unique combination of a duo of bassoons accompanied by the violas only. Rachmaninov builds a highly effective climax by adding more and more instruments, including brass and percussion; then he suddenly takes them all away for a moment and introduces the motto theme in a variation of almost Prokofievian freakishness, with a quite novel scoring for piccolo, bassoon, and xylophone. The full orchestra - including bass drum and cymbals, which were silent so far - now intones the motto, which is repeated in a more austere setting on the brass playing in unison. Throughout the movement, the succession of timbre combinations is as carefully planned as the sequence of melodies.\r\n\r\n&nbsp;\r\n\r\nThe second movement contains many exquisite moments featuring successive solos of horn (accompanied by harp), violin, flute (accompanied by harp, celesta, and four solo violas), and bass clarinet. The fast middle section is remarkable for its rhythmic poignancy and many sudden contrasts in volume and instrumentation. The transitions between the slow section to the Scherzo and back to the first tempo are signalled by a trill figure played alternately by the first and second violins. The recapitulation is much shorter than the first Adagio; it is limited to a recall of the principal theme, followed by the motto, played by plucked strings in pianissimo, closing the movement like in a whisper.\r\n\r\n&nbsp;\r\n\r\nThe themes that make up the third movement are rather diverse in tempo, tonality, and orchestration. The buoyant first theme, played by the full orchestra with a strong rhythmic drive, is contrasted with a more lyrical second subject, to which the forceful chords of the harp make a significant contribution. A small melodic fragment, introduced by an unaccompanied solo bassoon, turns out to be the cell out of which a whole central fugato (fugue-like imitative section) grows, followed by a fairly regular recapitulation.\r\n\r\n&nbsp;\r\n\r\nSome writers have detected traces of the famous medieval chant melody \"Dies irae\" (which plays such an important role in several of Rachmaninov's works) in parts of this finale; however, the intervals have been modified so as to make the reference a very vague one. The dark character of the Dies irae, at any rate, seems hardly relevant to the exuberant mood of the finale. The coda is one of\u00a0 the most brilliant moments in the entire piece: remote keys are directly juxtaposed, and the final A major chord is approached from an interesting angle that, while hardly a novelty in 1936, nevertheless shows that Rachmaninov was not always the arch-conservative he is reputed to have been. Rachmaninov's old friend, the Russian \u00e9migr\u00e9 composer Nikolai Medtner, who heard the first London performance, was distressed by what seemed to him concessions to \"modernism\" on his friend's part.\r\n\r\n&nbsp;\r\n\r\nRachmaninov's Third Symphony is perhaps the last blossom on the tree of the Russian symphonic tradition symbolized by the name of Tchaikovsky. Rachmaninov carried on this tradition, in which he believed deeply, in the most interesting and innovative way possible.\u00a0 British musicologist Patrick Piggott is right: \"Rachmaninov perfectly succeeded in what he set out to do in this symphony, and orchestras and conductors are evidently becoming increasingly aware of its importance as a valuable addition to the symphonic repertoire of the twentieth century.\"{:}","post_title":"{:hu}III. szimf\u00f3nia, a-moll, op. 44{:}{:en}Symphony no. 3 in A minor, op. 44{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iii-a-moll-szimfonia-op-44","to_ping":"","pinged":"","post_modified":"2018-05-30 09:25:55","post_modified_gmt":"2018-05-30 09:25:55","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/iii-a-moll-szimfonia-op-44\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Rachmaninov"]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":null,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[{"ID":106039,"post_author":"1","post_date":"2018-03-26 21:06:09","post_date_gmt":"2018-03-26 21:06:09","post_content":"","post_title":"{:hu}Martin Fr\u00f6st{:}{:en}Martin Fr\u00f6st{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"martin-frost","to_ping":"","pinged":"","post_modified":"2018-03-26 21:06:09","post_modified_gmt":"2018-03-26 21:06:09","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=106039","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}klarin\u00e9t{:}{:en}clarinet{:}"}],"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-5-vezenyel-kirill-karabits-90103\/421658?event_disabler=274","elkeltek_a_jegyek":false,"youtube_id":"","old_id":"","esemeny_vege":"","karmester_2":false},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/106043","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=106043"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}