{"id":110320,"date":"2019-04-29T13:24:03","date_gmt":"2019-04-29T13:24:03","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=110320"},"modified":"2019-04-29T13:24:47","modified_gmt":"2019-04-29T13:24:47","slug":"magyar-nemzeti-filharmonikus-zenekar-hangversenye-szarajevoban-bosznia-hercegovina","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/magyar-nemzeti-filharmonikus-zenekar-hangversenye-szarajevoban-bosznia-hercegovina\/","title":{"rendered":"The Hungarian National Philharmonic in Sarajevo (Bosnia and 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pm","sajat_program":false,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":110312,"post_author":"951590","post_date":"2019-04-29 13:38:42","post_date_gmt":"0000-00-00 00:00:00","post_content":"","post_title":"{:hu}Szarajev\u00f3i V\u00e1rosh\u00e1za{:}{:en}Sarajevo City Hall{:}","post_excerpt":"","post_status":"draft","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"","to_ping":"","pinged":"","post_modified":"2019-04-29 13:38:42","post_modified_gmt":"2019-04-29 13:38:42","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=places&p=110312","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"Sarajevo","orszag":"Bosnia and Herzegovina","cim":"","megjegyzes":"","weboldal":""},"helyszin_kategoria":"kulfold","karmester":{"ID":101545,"post_author":"1","post_date":"2017-05-30 19:58:57","post_date_gmt":"2017-05-30 19:58:57","post_content":"{:hu}Fels\u0151fok\u00fa tanulm\u00e1nyait a Liszt Ferenc Zenem\u0171v\u00e9szeti F\u0151iskol\u00e1n folytatta, zeneszerz\u00e9s tan\u00e1ra Petrovics Emil, karmester tan\u00e1rai Luk\u00e1cs Ervin \u00e9s G\u00e1l Tam\u00e1s voltak. 1995-ben kit\u00fcntet\u00e9ssel diplom\u00e1zott.\r\n\r\nP\u00e1ly\u00e1ja a Magyar Telev\u00edzi\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n nyert 2. d\u00edjjal \u00e9s k\u00f6z\u00f6ns\u00e9gd\u00edjjal indult. 1996-ban a spanyolorsz\u00e1gi Cadaques-ben rendezett karmesterversenyen ugyancsak 2. d\u00edjat nyert, 1997-ben a Portug\u00e1l R\u00e1di\u00f3 Nemzetk\u00f6zi Karmesterverseny\u00e9n 1. helyezett lett, majd a Trent\u00f3i Antonio Pedrotti Versenyen szint\u00e9n az 1. helyen v\u00e9gzett.\r\n\r\n1997 \u0151sz\u00e9n Kocsis Zolt\u00e1n zeneigazgat\u00f3 javaslat\u00e1ra a Nemzeti Filharmonikusok els\u0151 \u00e1lland\u00f3 karmester\u00e9v\u00e9 nevezt\u00e9k ki. 1998-ben Lorin Maazel asszisztense a Salzburgi \u00dcnnepi J\u00e1t\u00e9kokon. 2000-t\u0151l 2009-ig a Pannon Filharmonikusok zeneigazgat\u00f3ja \u00e9s vezet\u0151 karmestere, ezzel p\u00e1rhuzamosan az Orchestra di Padova e del Veneto els\u0151 vend\u00e9gkarmestere.\r\n\r\nRendszeres vend\u00e9g Eur\u00f3pa, Jap\u00e1n \u00e9s az Egyes\u00fclt \u00c1llamok zenekarain\u00e1l \u00e9s koncerttermeiben. Fell\u00e9pett szinte minden magyar szimfonikus egy\u00fcttessel. 2001 \u00f3ta rendszeresen vez\u00e9nyel a Magyar \u00c1llami Operah\u00e1zban, sz\u00edvesen l\u00e1tott vend\u00e9g a k\u00fclf\u00f6ldi dalsz\u00ednh\u00e1zakban is. 2005 \u00e9s 2011 k\u00f6z\u00f6tt a Z\u00fcrichi Operah\u00e1zban dolgozott a vil\u00e1gh\u00edr\u0171 dalsz\u00ednh\u00e1z \u00e1lland\u00f3 karmesterek\u00e9nt. 2012-t\u0151l 2016-ig a Wiesbadeni Operah\u00e1z (Hessisches Staatstheater) f\u0151zeneigazgat\u00f3ja volt.\r\n\r\n\u00a0<\/em>A Nemzeti Filharmonikus Zenekarral Liszt m\u0171veket, a Pannon Filharmonikusokkal Mahler I. szimf\u00f3ni\u00e1j\u00e1nak 1893-as weimari v\u00e1ltozat\u00e1t r\u00f6gz\u00edtette CD-re a Hungaroton kiad\u00e1s\u00e1ban.\r\n\r\n2011 j\u00fanius\u00e1ban sikeresen fejezte be habilit\u00e1ci\u00f3j\u00e1t a Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetemen. 2016 \u00f3ta a szombathelyi Nemzetk\u00f6zi Bart\u00f3k Szemin\u00e1rium \u00e9s Fesztiv\u00e1l karmesterkurzus\u00e1nak professzora.\r\n\r\n2017 m\u00e1rcius\u00e1t\u00f3l 2020 augusztus\u00e1ig vezette a Nemzeti Filharmonikusok Zenekar\u00e1t.\r\n\r\nMunk\u00e1ss\u00e1ga elismer\u00e9sek\u00e9nt 2001-ben Liszt-d\u00edjat, 2006-ban a Magyar K\u00f6zt\u00e1rsas\u00e1gi \u00c9rdemrend Lovagkeresztj\u00e9t vehette \u00e1t, 2017-ben pedig \u00c9rdemes M\u0171v\u00e9sz d\u00edjban r\u00e9szes\u00fclt.{:}{:en}Hamar pursued his advanced studies at Budapest\u2019s Franz Liszt Academy of Music, graduating with honours in 1995 after studying music composition under Emil Petrovics and conducting under Ervin Luk\u00e1cs and Tam\u00e1s G\u00e1l. He launched his career by taking second place and the audience prize at the Hungarian Television International Conducting Competition. He has also won prizes at several other international competitions (taking second place at the Cadaqu\u00e9s Orchestra International Conducting Competition in Spain and first place at both the Portuguese Radio Conducting Competition and the Antonio Pedrotti International Conducting Competition in Trento, Italy). In 1997, he was invited by Zolt\u00e1n Kocsis to serve as first permanent conductor of the Hungarian National Philharmonic Orchestra. After working as Lorin Maazel\u2019s assistant at the Salzburg Festival in 1998, he spent the years from 2000 to 2009 as the music director of the Pannon Philharmonic while simultaneously serving as first guest conductor of the Orchestra di Padova e del Veneto.\r\n\r\nA regular guest with orchestras and at concert halls around Europe, Japan and the USA, he has also appeared with nearly every symphonic ensemble in Hungary. Hamar has regularly conducted at the Hungarian State Opera since 2001 and is a welcome guest at opera houses in other countries as well. Between 2005 and 2011, he worked as a permanent conductor at the world-famous Opernhaus Z\u00fcrich. He has recorded works by Liszt together with the Hungarian National Philharmonic and Mahler\u2019s First Symphony<\/em> with the Pannon Philharmonic. From 2012 to 2016, he served as the chief music director of Wiesbaden\u2019s opera house.\r\n\r\nHe headed the Hungarian National Philharmonic as Musical Director from March 2017 to August 2020.{:}","post_title":"{:hu}Hamar Zsolt{:}{:en}Zsolt Hamar{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hamar-zsolt-3","to_ping":"","pinged":"","post_modified":"2020-08-10 08:31:17","post_modified_gmt":"2020-08-10 08:31:17","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=101545","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":101423,"post_author":"3","post_date":"2017-05-29 18:31:40","post_date_gmt":"2017-05-29 18:31:40","post_content":"{:hu}Erkel Ferenc \u00dcnnepi nyit\u00e1ny<\/em>a az 1837-ben megny\u00edlt Nemzeti Sz\u00ednh\u00e1z f\u00e9lsz\u00e1zados jubileum\u00e1ra keletkezett. Szon\u00e1taform\u00e1j\u00fa t\u00e9tel romantikus szerkezeti szabads\u00e1ggal, p\u00e9ld\u00e1ul a t\u00e9m\u00e1k r\u00e9szbeni sorrendcser\u00e9j\u00e9vel a repr\u00edzben. A lass\u00fa bevezet\u00e9s (Andante maestoso<\/em>) \u00e9l\u00e9n \u00fcnnep\u00e9lyes, magyar fanf\u00e1rt\u00e9ma hangzik f\u00f6l a k\u00fcrt\u00f6k\u00f6n, amely kontraszt\u00e1l\u00f3 hangszercsoportokon fejl\u0151dik tov\u00e1bb. M\u00e1r ekkor r\u00e1ismerhet\u00fcnk a Sz\u00f3zat<\/em> \u00e9s a Himnusz<\/em> egyes dallamfordulataira, amit t\u00f6bbsz\u00f6ri f\u00f6lid\u00e9z\u00e9s\u00fck k\u00f6vet a k\u00e9s\u0151bbiekben. A gyors (Allegro con fuoco<\/em>) t\u00e9telr\u00e9sz kezdet\u00e9nek hatalmas fokoz\u00e1sa ut\u00e1n \u201eberobban\u00f3\u201d, energikus f\u0151t\u00e9ma (42. \u00fctem) szakasz\u00e1t \u00e9rz\u00e9keny, ell\u00e1gyul\u00f3 mell\u00e9kt\u00e9ma v\u00e1ltja f\u00f6l (el\u0151k\u00e9sz\u00edt\u00e9s\u00e9t k\u00f6vet\u0151en a 106. \u00fctemt\u0151l). Anyaga szint\u00e9n id\u00e9zet: j\u00e1t\u00e9kos-epikus folytat\u00e1s\u00e1val egy\u00fctt (Vivo<\/em>, 122. \u00fc.) a szerz\u0151 Sarolta<\/em> c. v\u00edgoper\u00e1j\u00e1b\u00f3l sz\u00e1rmazik. Az expoz\u00edci\u00f3 z\u00e1r\u00f3t\u00e9m\u00e1jak\u00e9nt a Sz\u00f3zat<\/em> hangjai csend\u00fclnek f\u00f6l.\r\n\r\nPolifon megold\u00e1sok gazdag t\u00e1rh\u00e1za a k\u00f6z\u00e9ps\u0151 t\u00e9telszakasz (Tranquillo<\/em>, 186. \u00fc.), kifejezetten beethovenes, \u201eegmontos\u201d pillanatokat is mag\u00e1ban rejtve (hiszen ifj\u00fakora \u00f3ta \u0151 volt Erkel tal\u00e1n legfontosabb zeneszerz\u0151i ide\u00e1lja). \u00c1ltaluk m\u00e1r-m\u00e1r komorr\u00e1 v\u00e1lik a zenei folyamat \u2013 \u00e1mde hirtelen hangulati v\u00e1lt\u00e1ssal visszat\u00e9r a j\u00e1t\u00e9kos j\u00f3kedv (a \u201eVivo<\/em>\u201d t\u00e9ma r\u00e9v\u00e9n, 258. \u00fc.). E k\u00f6z\u00e9pszakasz nagyobbik r\u00e9sze olykor kimarad az el\u0151ad\u00e1sokb\u00f3l a partit\u00far\u00e1ban szerepl\u0151 h\u00faz\u00e1si javaslat alapj\u00e1n. A 280. \u00fctemt\u0151l kezd\u0151d\u0151 repr\u00edz \u00e9rzelmi dimenzi\u00f3i egyre t\u00e1gulnak, roppant erej\u0171, t\u00f6bbl\u00e9p\u00e9ses fokoz\u00e1ssal \u00e9rkezve el \u2013 kor\u00e1lszer\u0171 Himnusz<\/em>-id\u00e9zetet is k\u00f6vet\u0151en \u2013 a magasztos v\u00e9gkifejlethez, mid\u0151n Sz\u00f3zat<\/em>-apote\u00f3zis koron\u00e1zza meg a m\u0171vet.\r\n\r\nE-d\u00far hangnemv\u00e1laszt\u00e1s\u00e1val Erkel eleve szakr\u00e1lis ethoszt jelzett (minthogy e tonalit\u00e1shoz hol vall\u00e1sos tartalom, hol pedig panteisztikus term\u00e9szetpo\u00e9zis t\u00e1rsult a kor zen\u00e9j\u00e9ben): a XIX. sz\u00e1zadi sz\u00ednh\u00e1z oly sokszor t\u00f6lt\u00f6tte be a szakr\u00e1lis t\u00e9r szerep\u00e9t is a mindennapokban! A mel\u00f3diasz\u00f6vet \u00edgy j\u00f3r\u00e9szt kant\u00e1bilis \u00e9s besz\u00e9dszer\u0171en hajl\u00e9kony, az alapt\u00f3nus emelkedett, s a v\u00e9gs\u0151 Sz\u00f3zat<\/em>-apote\u00f3zis imm\u00e1r nemzetet <\/em>sz\u00f3l\u00edt meg. Nosztalgikus f\u00e9ny \u00e9s felh\u0151tlen j\u00e1t\u00e9k egy\u00fcttese jellemzi tov\u00e1bb\u00e1 a kompoz\u00edci\u00f3t: j\u00e1t\u00e9k a hangulatokkal \u00e9s sz\u00ednekkel; j\u00e1t\u00e9k a dallamokkal, k\u00fcl\u00f6n\u00f6sen azok rokon fordulataival. P\u00e9ldak\u00e9nt: a k\u00fcrt \u00e1ltal inton\u00e1lt kvartk\u00e9plet a m\u0171 kezdet\u00e9n a Sz\u00f3zat<\/em> mel\u00f3di\u00e1j\u00e1nak saj\u00e1tja is egyben \u2013 a nemzeti \u00e9nek k\u00e9s\u0151bbi, m\u00e1r konkr\u00e9t f\u00f6lid\u00e9z\u00e9seit \u00edgy r\u00f6gvest a nyit\u00f3 pillanatok el\u0151k\u00e9sz\u00edtik \u2012, majd ugyanaz a kvart (h<\/em>\u2012e<\/em> hangokkal) a Sz\u00f3zat<\/em>ra m\u00e9g ink\u00e1bb eml\u00e9keztet\u0151 hangism\u00e9tl\u00e9ssel fordul vissz\u00e1j\u00e1ra a f\u0151t\u00e9ma \u00e9l\u00e9n. A Sarolta<\/em> dallamid\u00e9zetei k\u00f6z\u00fcl a l\u00edrai mell\u00e9kt\u00e9ma l\u00e9p\u00e9sszer\u0171 dallamvonala pedig jelleg\u00e9ben a Himnusz<\/em> mel\u00f3dia\u00edveivel harmoniz\u00e1l.\r\n\r\nA kompoz\u00edci\u00f3 eg\u00e9sze: zeneszerz\u0151i brav\u00far.{:}{:en}Ferenc Erkel\u2019s Festival Overture<\/em>, his only work of symphonic proportions, is linked with the anniversary of possibly the most important cultural institution in country, the National Theatre. Erkel had created national opera under its roof, and went on to compose what would become Hungary\u2019s national anthem. Both this and Appeal<\/em>, the nation\u2019s \u201csecond\u201d national anthem, are cited in the Festival Overture, as are scores of themes from other operas.{:}","post_title":"{:hu}\u00dcnnepi nyit\u00e1ny{:}{:en}Festival Overture{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"unnepi-nyitany","to_ping":"","pinged":"","post_modified":"2019-04-29 13:30:13","post_modified_gmt":"2019-04-29 13:30:13","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=101423","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":91122,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu}

\"Gal\u00e1nt\u00e1n t\u00f6lt\u00f6tte a szerz\u0151 gyermekkora legszebb h\u00e9t esztendej\u00e9t. H\u00edres volt akkor a gal\u00e1ntai banda, Mih\u00f3k pr\u00edm\u00e1s alatt. De m\u00e9g h\u00edresebb lehetett sz\u00e1z \u00e9vvel azel\u0151tt. 1800 t\u00e1j\u00e1n B\u00e9csben t\u00f6bb f\u00fczet magyar t\u00e1nc jelent meg. Egyiknek c\u00edme \u00edgy jel\u00f6li meg forr\u00e1s\u00e1t: \"von verschidenen (sic!) Zigeunern aus Galantha\". (...) Hadd folytassa ez a kis m\u0171 a r\u00e9gi gal\u00e1ntai hagyom\u00e1nyt.\" - \u00edrja a szerz\u0151 Gal\u00e1ntai t\u00e1ncok c\u00edm\u0171 darabja el\u00e9.\r\nKod\u00e1ly Zolt\u00e1n (1882-1967) 1933-ban, a Budapesti Filharm\u00f3niai T\u00e1rsas\u00e1g megalakul\u00e1s\u00e1nak 80. \u00e9vfordul\u00f3j\u00e1ra kompon\u00e1lta m\u00e1ig egyik legn\u00e9pszer\u0171bb szimfonikus m\u0171v\u00e9t. A bemutat\u00f3ra ugyanebben az \u00e9vben ker\u00fclt sor.<\/p>\r\n

A t\u00e9tov\u00e1z\u00f3 bevezet\u00e9sben a csell\u00f3, majd a k\u00fcrt hozza a jellegzetes, lass\u00fa verbunkos mot\u00edvumot. A dallamt\u00f6red\u00e9kek k\u00f6z\u00f6tt a t\u00f6bbi muzsikus mintha keresg\u00e9ln\u00e9, merre is fejlessze tov\u00e1bb ezt a zenei anyagot. Az els\u0151heged\u0171k mel\u00f3di\u00e1ja ut\u00e1n a klarin\u00e9t mutatja meg az utat: r\u00f6gt\u00f6nz\u00e9sszer\u0171 kadenci\u00e1ja a darab f\u0151t\u00e9m\u00e1j\u00e1ba, a szerz\u0151i utas\u00edt\u00e1s szerint \"m\u00e9lt\u00f3s\u00e1gteljesen l\u00e9pked\u0151\" verbunkosba torkollik. Az ism\u00e9tl\u00e9sn\u00e9l szenved\u00e9lyesebb\u00e9 v\u00e1l\u00f3 dallam megsz\u00f3laltat\u00e1s\u00e1ban m\u00e1r a teljes zenekar r\u00e9szt vesz.<\/p>\r\n

Az els\u0151 k\u00f6zj\u00e1t\u00e9kban ugr\u00f3t\u00e1ncot id\u00e9z\u0151, pizzicat\u00f3val k\u00eds\u00e9rt, csipkel\u0151d\u0151 faf\u00fav\u00f3s-, \u00e9s komoly, sodr\u00f3 erej\u0171 von\u00f3s\u00e1ll\u00e1sok v\u00e1ltj\u00e1k egym\u00e1st. Szellemes szerz\u0151i megold\u00e1s az ism\u00e9tl\u00e9sn\u00e9l a faf\u00fav\u00f3sok dallam\u00e1t kopul\u00e1zni; a fuvola \u00e9s a pikol\u00f3 kvintp\u00e1rhuzamban halad. Az ism\u00e9t megjelen\u0151 rond\u00f3t\u00e9ma szenved\u00e9lyess\u00e9g\u00e9t az \u00fcstdobtremol\u00f3k \u00e9s a dallamsorv\u00e9gi crescend\u00f3k fokozz\u00e1k.<\/p>\r\n

Az oboasz\u00f3l\u00f3val kezd\u0151d\u0151 szakasz dudat\u00e1ncot imit\u00e1l. Kontrasztanyaga f\u00e9nyes \u00e9s \u00e1ttetsz\u0151 a triangulum cseng\u0151-bong\u00f3 hangja, a pikol\u00f3 magas fricsk\u00e1i, a von\u00f3sok \u00fcveghangjai miatt. Azt\u00e1n a von\u00f3skar kiemelked\u00e9s\u00e9vel mintha a dudasz\u00f3l\u00f3ra kontr\u00e1zna r\u00e1 a n\u00e9pi zenekar. A visszat\u00e9r\u0151 andante maestoso t\u00e9m\u00e1t p\u00e1r \u00fctem ut\u00e1n els\u00f6pri az egyre sodr\u00f3bb \u00e9s extatikusabb harmadik k\u00f6zj\u00e1t\u00e9k. A von\u00f3sok ind\u00edtj\u00e1k, majd fokozatosan minden hangszercsoport bekapcsol\u00f3dik a hajszolt t\u00e1ncba.<\/p>\r\n

\"Kicsit \u00e1zottan\" - lehetne az alc\u00edme a harmadik, negyedik k\u00fcrt ind\u00edtotta r\u00e9sznek. A klarin\u00e9tsz\u00f3l\u00f3 ak\u00e1r egy r\u00e9szeg ember dudor\u00e1sz\u00e1s\u00e1t is evok\u00e1lhatja, amint der\u0171sen, de m\u00e1r szinte eszm\u00e9letlen\u00fcl pr\u00f3b\u00e1l hazat\u00e1molyogni.<\/p>\r\n

A mulats\u00e1g azonban n\u00e9lk\u00fcle is folytat\u00f3dik. Egyre sodr\u00f3bb lend\u00fclete csak egyetlenegyszer torpan meg, \u00e9pp a tet\u0151pontj\u00e1n. A fortissimo a-moll ter\u00fclet ut\u00e1n egy pianissimo gisz-moll akkord: h\u00e1tborzongat\u00f3 pillanat. A m\u00e9lt\u00f3s\u00e1gteljes, keser\u00e9des f\u0151t\u00e9ma v\u00e9gigvonul a fuvol\u00e1n \u00e9s az obo\u00e1n, majd vissza\u00e9rkezik oda, ahonnan elindult, a s\u00edrva vigad\u00f3 klarin\u00e9thoz. A darab v\u00e9g\u00e9re a t\u00e9ma k\u00f6zj\u00e1t\u00e9kszer\u0171 megjelen\u00e9se el\u0151ttr\u0151l ismer\u0151s, sz\u00e9d\u00edt\u0151en \u00f6rv\u00e9nyl\u0151 t\u00e1nc tesz pontot - azaz felki\u00e1lt\u00f3jelet.<\/p>{:}{:en}

\u201eThe composer spent the most beautiful seven years in Galanta. At that time, the Galanta band was famous when Mih\u00f3k was the first violinist. But it was even more famous a hundred years before. Around 1800, several books of Hungarian dances were published in Vienna. One of these described its sources as: \u201evon verschidenen (sic!) Zigeunern aus Galantha\u201d. (\u2026) Let this small work follow this old Galanta tradition\u201d \u2013 wrote Kod\u00e1ly on the published manuscript.\r\nZolt\u00e1n Kod\u00e1ly (1882\u20131967) composed what remains one of his most popular symphonic works in 1933 for the 80th anniversary of the Budapest Philharmonic Society and it was premiered the same year.<\/p>\r\n

\r\nIn the hesitant introduction, the cello and then the horn introduce the characteristic slow verbunk motif. It is as if the other musicians are searching among the melodic fragments how to develop this musical material. Following the melody of the first violins, the clarinet shows the way: its improvisatory cadenza leads to the work's main theme, a \"dignified stepping\" verbunk, according to Kod\u00e1ly's instructions. When it is repeated, it is more passionate still and the entire orchestra takes part.\r\nIn the first interlude, serious, powerful string and woodwind passages alternate with pizzicato strings, evoking a leaping dance. There is a witty compositional solution in the repeat, with flute and piccolo employed in parallel fifths. The recurring rondo theme is made all the more passionate by timpani tremolos and melodic crescendi.\r\nThe section commencing with an oboe solo imitates a bagpipe dances. The contrasting material is bright and transparent because of the sound of the triangle and the harmonics produced on violin, accompanied by piccolo. Then we seem to hear a folk band evoking a bagpipe solo, as a contrast to the elevation of the orchestra. After a few bars, an increasingly ecstatic third interlude sweeps away the returning andante maestoso theme. The strings launch things, then every instrumental group joins in the dance.\r\n\u201eA bit tipsy\u201d \u2013 could be the subtitle of the fourth section, introduced by the horn. The clarinet solo perhaps evokes the crooning of someone who has drunk too much, merry but not quite conscious, as they try to get home.\r\nBut the party continues without him. Its sweeping momentum is broken only once, and then at its climax. After a fortissimo A minor, we heard a pianissimo G sharp minor chord: it is a spine chilling moment. The dignified, bittersweet principal theme departs on flute and oboe, and returns to where it began, on the clarinet. The interlude like appearance of the theme placed at the end puts a full stop to the end of this dizzy dance - or rather, an exclamation mark.<\/p>\r\n

<\/p>{:}","post_title":"{:hu}Gal\u00e1ntai t\u00e1ncok{:}{:en}Dances from Gal\u00e1nta{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"galantai-tancok","to_ping":"","pinged":"","post_modified":"2019-04-29 13:31:03","post_modified_gmt":"2019-04-29 13:31:03","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/galantai-tancok\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":91306,"post_author":"1","post_date":"2016-09-08 08:57:50","post_date_gmt":"2016-09-08 08:57:50","post_content":"{:hu}

A Szimfonikus percek keletkez\u00e9se voltak\u00e9ppen Galafr\u00e9s Elz\u00e1nak, Dohn\u00e1nyi m\u00e1sodik feles\u00e9g\u00e9nek k\u00f6sz\u00f6nhet\u0151. A berlini sz\u00fclet\u00e9s\u0171 dr\u00e1mai sz\u00edn\u00e9szn\u0151t a zeneszerz\u0151 1912 \u00f3ta alkot\u00f3t\u00e1rs\u00e1nak tekintette a sz\u00ednpadi zen\u00e9k \u00fcgy\u00e9ben.\r\nDohn\u00e1nyi r\u00e9gen foglalkozott m\u00e1r azzal a gondolattal, hogy sikeres Ruralia Hungarica c\u00edm\u0171 m\u0171v\u00e9t sz\u00ednpadra alkalmazza. A Szimfonikus percek a Ruralia (\u00f6nmag\u00e1ban r\u00f6vid) t\u00e9teleihez f\u0171z\u00f6tt p\u00f3tl\u00e1s. A t\u00e1nclegend\u00e1t 1934. december 6-\u00e1n mutatta be a Magyar \u00c1llami Operah\u00e1z \"A szent f\u00e1klya\" c\u00edmmel, Galafr\u00e9s Elza koreogr\u00e1fi\u00e1j\u00e1val, aki eg\u00e9szen \u00faj lejegyz\u00e9sform\u00e1t, egyfajta \u201et\u00e1ncpartit\u00far\u00e1t\u201d tal\u00e1lt ki a m\u0171 sz\u00e1m\u00e1ra. Ez mag\u00e1ba foglalta a zen\u00e9t, a cselekm\u00e9ny sz\u00f6veges le\u00edr\u00e1s\u00e1t, a t\u00e1ncosok mozdulatainak pontos jelz\u00e9s\u00e9t, a t\u00e1ncol\u00f3 csoportok sz\u00ednpadi elhelyezked\u00e9s\u00e9t, de m\u00e9g a vil\u00e1g\u00edt\u00e1si el\u0151\u00edr\u00e1sokat is.<\/p>\r\n

A m\u0171 azonban m\u00e9gsem sz\u00ednpadi, hanem zenekari v\u00e1ltozatban sz\u00f3lalt meg el\u0151sz\u00f6r. El\u0151fordult m\u00e1r kor\u00e1bban is Budapesten, hogy Bart\u00f3k-, Kod\u00e1ly- \u00e9s Dohn\u00e1nyi-m\u0171vek \u0151sbemutat\u00f3i egy\u00fctt hangzottak el, de ez m\u00e9gis k\u00fcl\u00f6nleges esem\u00e9nynek sz\u00e1m\u00edtott. 1933-ban, a Filharm\u00f3niai T\u00e1rsas\u00e1g Zenekar\u00e1nak 80. sz\u00fclet\u00e9snapj\u00e1t \u00fcnnepelt\u00e9k a h\u00e1rom legjelent\u0151sebbnek sz\u00e1m\u00edt\u00f3 magyar szerz\u0151 egy-egy m\u0171v\u00e9vel. Kod\u00e1ly a Gal\u00e1ntai t\u00e1ncokat, Bart\u00f3k \u00f6t zenekari k\u00eds\u00e9retes n\u00e9pdalfeldolgoz\u00e1st, Dohn\u00e1nyi pedig a Szimfonikus percek c\u00edm\u0171 m\u0171vet mutatta be ebb\u0151l az alkalomb\u00f3l. A kritika elismer\u00e9ssel fogadta az \u00faj m\u0171veket. \u201eMelyik nemzet tud ma egyszerre h\u00e1rom ilyen g\u00e9niuszt felmutatni? ... nemcsak a szellemet sz\u00f3rakoztatja, de fel\u00fcd\u00edti a lelket is. Lebilincsel \u00e9s felszabad\u00edt.\u201d \u2013 lelkesedett T\u00f3th Alad\u00e1r.\r\nA nyit\u00f3t\u00e9tel, a Capriccio faf\u00fav\u00f3sainak vill\u00f3dz\u00f3 futamai, suhan\u00e1sai a n\u00e9met romantika nagy zongoravirtu\u00f3zainak technik\u00e1j\u00e1t, vagy m\u00e9g ink\u00e1bb Mendelssohn t\u00fcnd\u00e9r-scherz\u00f3inak vil\u00e1g\u00e1t juttatj\u00e1k esz\u00fcnkbe A zenekar kezel\u00e9se, hangszerel\u00e9si gazdags\u00e1ga \u00e9s virtuozit\u00e1sa Richard Strauss m\u0171v\u00e9szet\u00e9t id\u00e9zi.\r\nA Rapsodia t\u00e9tel az angolk\u00fcrt szomork\u00e1s, szabadon csapong\u00f3 dallam\u00e1val indul, amire a klarin\u00e9t v\u00e1laszol. A k\u00e9sei romantika operazen\u00e9j\u00e9nek term\u00e9szeti k\u00e9pei \u2013 p\u00e9ld\u00e1ul Wagner p\u00e1sztorfi\u00faj\u00e1nak \u00e9neke (szinte sz\u00f3 szerinti Triszt\u00e1n-id\u00e9zetet is hallhatunk) \u2013 valamint a Bart\u00f3k \u00e9s Kod\u00e1ly m\u0171veiben felcsend\u00fcl\u0151, n\u00e9pzenei rokons\u00e1g\u00fa \u00e9jszakai monol\u00f3gok egyszerre jelennek meg ebben sugallatos zen\u00e9ben.\r\nA ciklus k\u00f6z\u00e9pponti t\u00e9tele, a Scherzo lend\u00fcletes, de vaskos hangszerel\u00e9s\u0171 t\u00e1nczene. A szilaj f\u0151r\u00e9szt ellenpontoz\u00f3 l\u00edrai dallam r\u00e9zf\u00fav\u00f3shangz\u00e1sai k\u00e9s\u0151romantikus jelleg\u0171ek. A 20. sz\u00e1zad k\u00f6zep\u00e9nek filmzen\u00e9iben is gyakran \u00e9lnek a szerz\u0151k az ilyesf\u00e9le \u00e9rzelmekre hat\u00f3 eszk\u00f6z\u00f6kkel.\r\nDohn\u00e1nyi a Szimfonikus percekben kihaszn\u00e1lja a sz\u00e1m\u00e1ra oly mag\u00e1t\u00f3l \u00e9rtet\u0151d\u0151 vari\u00e1ci\u00f3s form\u00e1t. A Tema con variazioni nemes egyszer\u0171s\u00e9g\u0171, 16. sz\u00e1zadi dallamot dolgoz f\u00f6l (\u201eTema del seicento\u201d). A v\u00e1ltozatok el\u0151sz\u00f6r l\u00e1gy, folyamatos mozg\u00e1ss\u00e1 oldj\u00e1k a t\u00e9ma ritmus\u00e1t, majd hat\u00e1rozottabb arc\u00e9lt \u00f6ltenek. Ez a hangv\u00e9tel Bart\u00f3k Concert\u00f3j\u00e1nak kor\u00e1lj\u00e1ban is visszat\u00e9r majd. Az utols\u00f3 el\u0151tti vari\u00e1ci\u00f3 kecses rajzolat\u00fa klarin\u00e9tdallama messzire rugaszkodik az eredeti t\u00e9m\u00e1t\u00f3l, de az utols\u00f3 v\u00e1ltozat h\u0171s\u00e9gesen visszat\u00e9r a t\u00e9ma els\u0151 alakj\u00e1hoz, s a cseleszta titokzatos hangz\u00e1sa emeli sohasem l\u00e1tott \u00e9teri vil\u00e1gba a zen\u00e9t.\r\nA z\u00e1r\u00f3t\u00e9tel (Rondo) sz\u00e1guld\u00e1s\u00e1ban ism\u00e9t megjelenik a virtu\u00f3z elem, de a t\u00fcnd\u00e9r-scherzo karakter itt m\u00e1r n\u00e9pi, v\u00e9rb\u0151 t\u00e9m\u00e1kk\u00e1 vastagodik. J\u00f3kedv\u0171, felh\u0151tlen\u00fcl vid\u00e1m zene, Brahms Magyar t\u00e1ncainak m\u00e9lt\u00f3 ut\u00f3da.\r\nJ\u00f3llehet Dohn\u00e1nyi m\u0171ve a zenet\u00f6rt\u00e9neti asszoci\u00e1ci\u00f3k t\u00e1rh\u00e1za, egy\u00fctt meghallgatva a t\u00e9teleket tiszt\u00e1n kirajzol\u00f3dik egy nagyszer\u0171 muzsikus \u00f6sszet\u00e9veszthetetlen egy\u00e9nis\u00e9ge.<\/p>{:}{:en}

Ern\u0151 Dohn\u00e1nyi's composition Symphonic Minutes comprises of five short movements, each only a couple of minutes long. It has undoubtedly become one of the composer's most popular works, a popularity that predates the more recent renaissance in the composer's fortunes. Indeed for the past few decades, it has been performed regularly in Hungary and could frequently be heard on the radio.<\/p>\r\n

We can thank Doh\u00e1nyi's second wife, Elza Galafr?s for the work's inception. Elza was a Berlin born actress and from 1912 Dohn\u00e1niy regarded her as a collaborative partner for his own stage music creations. It was she who successfully mounted Dohn\u00e1nyi's pantomime Pierette in Vienna, where earlier it had been a failure.<\/p>\r\n

Dohn\u00e1nyi had long been preoccupied with the thought of turning his successful Ruralia Hungarica composition into theatre music, but the work was self evidently too short. The Symphonic Minutes are, then, a supplement to the Ruralia movements, and the two cycles combined became the dance legend Holy Torch. This was premiered at the Hungarian State Opera House on December 6th 1934, with choreography by Elza Galafr?s, who devised an entirely novel system of notation for the work, writing essentially a dance score. She had long sensed that the traditional method of notating dance steps was both cumbersome and misleading, and so taking the five line system of music as her starting point, she wrote her instructions, which thus became readily comprehensible to even a layman, between five lines, each a few centimetres apart. This contained the music, a textual description of the action, precise movements of the dancers, the placing of the dance groups on the stage and even instructions for the lighting. In the choreography, she endeavoured for the placing of the dancers in each group scene to evoke a Hungarian folk motif. (This remarkable \"score\" is now on display at the Paris Museum of Dance.)<\/p>\r\n

The composition however was premiered not in its stage version but in an orchestral guise. Earlier of course, there had been occasions when new works by Bart\u00f3k, Kod\u00e1ly and Dohn\u00e1nyi were premiered together, but this still counted as a very special occasion. The first occasion was the legendary concert marking the 50th anniversary of the unification of Pest, Buda and \u00d3buda into modern day Budapest, in which Kod\u00e1ly's Psalmus Hungaricus, Bart\u00f3k's Dance Suite and Dohn\u00e1nyi's Festival Overture were all given their world premieres. Ten years later in 1933, the Orchestra of the Philharmonic Society celebrated its eightieth birthday with a concert that gave the first performances of Kod\u00e1ly's Galantian Dances, Bart\u00f3k's Five Folk Songs with Orchestral Accompaniment, and Dohn\u00e1nyi's Symphonic Minutes. The critics were enthusiastic - Alad\u00e1r T\u00f3th wrote appreciatively: \"What nation could present three such geniuses at the same time?\" He had this to say about Dohn\u00e1nyi's work: \"This little bagatelle is all harmony, form and lightness, which frolics in one place, is capricious in another, and pure song elsewhere; when it is witty it is also wild, in other words, a divertimento which not only entertains the mind but also raises the soul. It transfixes and liberates.\"<\/p>\r\n

We think of Dohn\u00e1nyi's artistry in terms of its light handed composition, its virtuosity, its remarkable craftsmanship and its largely unclouded, upbeat charm. The score of Symphonic Minutes matches these expectations perfectly.<\/p>\r\n

The opening moment, marked Capriccio, is awash with filigree woodwind passages which evoke the technique of German Romantic piano virtuosity, although perhaps we ought rather to think in terms of Mendelssohn's fairy music. The handling of the orchestra and the richness and virtuosity of the orchestration evokes the art of Richard Strauss.<\/p>\r\n

The Rhapsody movement begins with a sad, discursive melody on the cor anglais to which the clarinet responds. In this evocative music, we encounter both the nature music of late Romanic opera - for example Wagner's shepherd boy's melody (and we also hear a near verbatim quotation from Tristan) - coupled with a night monologue closely related to folk music that occurs often in the works of Kod\u00e1ly and Wagner.\r\nAt the centre of the work is the Scherzo which is momentous robustly orchestrated dance music. We could be forgiven for thinking we can hear the influence of Prokofiev. The brass sonorities of the emotional, lyrical\u00a0 melody that counterpoints the boisterous principal section is late Romantic in character, although we can find similar emotional devices employed by film composers in the mid 1950s.<\/p>\r\n

Dohn\u00e1nyi's Symphonic Minutes also employs a self-explanatory variation form. The Tema con variazioni takes as its subject matter a nobly simple 16th century melody (\"Tema del seicento\"). The variations initially resolve the rhythm of the theme into soft, constant motion, but then the music takes on a more steely edge. The mood of this music was to return in the chorale of Bart\u00f3k's Concerto. The gracefully shaped clarinet melody of the penultimate variation seems very distant from the original theme, but the final variation faithfully returns to the theme, whereupon a celesta joins in, and its secretive sonority raises the music into a hitherto unsuspected ethereal world.<\/p>\r\n

The closing movement (Rondo) is full of energy and again, we find the virtuosity of the opening fairy scherzo music. But here the music takes on folk music character: it is good humoured, cloudless and joyful, a fitting successor to Brahms' Hungarian Dances.<\/p>\r\n

Although Dohn\u00e1nyi's composition is a treasure trove of musical historical associations, when we hear the five movements performed together, we derive an unmistakeable impression of a first rate musical personality.<\/p>{:}","post_title":"{:hu}Szimfonikus percek, op. 36{:}{:en}Symphonic Minutes, op. 36{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"szimfonikus-percek-op-36","to_ping":"","pinged":"","post_modified":"2019-04-29 13:31:45","post_modified_gmt":"2019-04-29 13:31:45","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/szimfonikus-percek-op-36\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":110316,"post_author":"951590","post_date":"2019-04-29 13:08:28","post_date_gmt":"0000-00-00 00:00:00","post_content":"","post_title":"{:hu}II. magyar rapsz\u00f3dia{:}{:en}Hungarian Rhapsody No. 2{:}","post_excerpt":"","post_status":"draft","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"","to_ping":"","pinged":"","post_modified":"2019-04-29 13:08:28","post_modified_gmt":"2019-04-29 13:08:28","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=110316","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":110318,"post_author":"951590","post_date":"2019-04-29 13:09:37","post_date_gmt":"0000-00-00 00:00:00","post_content":"","post_title":"Hunyadi L\u00e1szl\u00f3 \u2013 Palot\u00e1s","post_excerpt":"","post_status":"draft","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"","to_ping":"","pinged":"","post_modified":"2019-04-29 13:09:37","post_modified_gmt":"2019-04-29 13:09:37","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=110318","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":110319,"post_author":"951590","post_date":"2019-04-29 13:11:54","post_date_gmt":"0000-00-00 00:00:00","post_content":"","post_title":"{:hu}3.,5.,6. magyar t\u00e1nc{:}{:en}Hungarian Dance No. 3, 5, 6{:}","post_excerpt":"","post_status":"draft","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"","to_ping":"","pinged":"","post_modified":"2019-04-29 13:11:54","post_modified_gmt":"2019-04-29 13:11:54","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=110319","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]}],"muvek_feluldefinialasa":false,"muvekrol_reszletesen":null,"is_muvekrol_reszletesen_en":false,"kozr_szemelyek":[],"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":"","jegyvasarlas_gomb":"","elkeltek_a_jegyek":false,"youtube_id":"","old_id":""},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/110320","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=110320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}