{"id":113337,"date":"2020-03-10T09:19:50","date_gmt":"2020-03-10T09:19:50","guid":{"rendered":"https:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=113337"},"modified":"2022-04-26T09:48:24","modified_gmt":"2022-04-26T09:48:24","slug":"beethovennel-a-szabadban-5","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/beethovennel-a-szabadban-5\/","title":{"rendered":"Beethoven in the park"},"content":{"rendered":"

Rain date: Sunday, 21 June<\/strong><\/p>\n

RAIN DAY RULES AND INFORMATION<\/a><\/p>\n

 <\/p>\n

250th anniversary of the birth of the composer For more than 60 years in the town of Martonv\u00e1s\u00e1r, the Hungarian National Philharmonic Orchestra’s concert series Beethoven in the Park has provided an unrivalled classical music experience for the summer season.<\/p>\n

This year’s event \u2013 the 62nd \u2013 promises to be a truly special occasion. We will pay tribute to the 250th birthday of the Viennese maestro as part of Martonv\u00e1s\u00e1r’s Beethoven Anniversary Year programmes. On this celebratory occasion, the audience will enjoy the composer’s remarkable works across five nights, instead of the usual three.<\/p>\n

And with the help of some prestigious Hungarian solo performers, all nine of Beethoven’s symphonies will be performed in Brunswick Castle’s beautiful park. The conductor for the concerts will be Zsolt Hamar, the musical director of the Hungarian National Philharmonic Orchestra.<\/p>\n

 <\/p>\n

Beethoven produced a series of new overtures for the various versions of Fidelio. The Leonora Overture No. 3 was written for the 1806 revision of the opera. At the same time, the tension and length of this massive symphonic work make it an awkward fit to open the opera. When conducting Fidelio, Mahler instead took to playing it before the finale. In writing his Symphony No. 9 between 1822 and 1824, Beethoven not only pushed the genre\u2019s traditional boundaries, he also ignored them altogether, giving the work a total length exceeding an hour and, adding in the finale \u2013 introduced by the return of the melodies from the previous movements \u2013 a quartet of vocal solists and a chorus to the orchestra. The work\u2019s impact is evident not only in music history \u2013 for example in the symphonies of Gustav Mahler \u2013 but can also be felt in our daily lives: in the 1980s, the standard length of the newly available compact discs was determined based on a recording of the symphony conducted by Herbert von Karajan, and the Ode to Joy melody from the fourth movement is often played on its own as the hymn of the European Union.<\/p>\n","protected":false},"template":"","class_list":["post-113337","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":"","kiemelt_kep":{"ID":106823,"id":106823,"title":"3","filename":"3.jpg","filesize":296085,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2018\/05\/3.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/unnepi-hangverseny-martonvasar-60\/attachment\/3\/","alt":"","author":"1","description":"","caption":"","name":"3","status":"inherit","uploaded_to":106742,"date":"2018-05-11 09:29:24","modified":"2018-05-11 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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"},"karmester_2":false,"hazigazda":null,"muvek":[{"ID":91413,"post_author":"1","post_date":"2016-09-08 08:57:51","post_date_gmt":"2016-09-08 08:57:51","post_content":"

Beethoven igaz\u00e1n nem tartozott a k\u00f6nny\u0171 k\u00e9zzel alkot\u00f3 mesterek k\u00f6z\u00e9. M\u0171veit \u00e1ltal\u00e1ban sok-sok v\u00e1zlatoldal tele\u00edr\u00e1sa \u00e9s hosszadalmas f\u00far\u00e1s-farag\u00e1s sor\u00e1n csiszolta t\u00f6k\u00e9letess\u00e9. \u00cdgy volt ez egyetlen oper\u00e1ja, a Fidelio eset\u00e9ben is, amely t\u00f6bb \u00e9vnyi munka \u00e9s k\u00e9t \u00e1tdolgoz\u00e1s ut\u00e1n nyerte el v\u00e9gleges alakj\u00e1t. A dalm\u0171 nyit\u00e1ny\u00e1val k\u00fcl\u00f6n\u00f6sen sokat k\u00fcszk\u00f6d\u00f6tt Beethoven: ez n\u00e9gy v\u00e1ltozatban maradt f\u00f6nt.<\/p>\r\n

1804-ben k\u00e9rte fel a zeneszerz\u0151t a b\u00e9csi Theater an der Wien \u00faj intend\u00e1nsa, Braun b\u00e1r\u00f3, hogy \"Leon\u00f3ra\" c\u00edmmel \u00edrjon oper\u00e1t. A korban rendk\u00edv\u00fcl n\u00e9pszer\u0171 t\u00edpusba, az \u00fagynevezett szabad\u00edt\u00f3 darabok k\u00f6z\u00e9 tartoz\u00f3 dalm\u0171 sz\u00f6vegk\u00f6nyv\u00e9t - amelyet Beethoven el\u0151tt m\u00e1r t\u00f6bben megzen\u00e9s\u00edtettek - Jean Nicolas Bouilly \u00edrta, a n\u00e9met \u00e1tdolgoz\u00e1st pedig Joseph Sonnleithner, a b\u00e9csi udvari sz\u00ednh\u00e1z titk\u00e1ra v\u00e9gezte. Beethoven 1805 tavasz\u00e1ra elk\u00e9sz\u00fclt a v\u00e1zlatokkal, s nemsok\u00e1ra a teljes darabbal is. A nyit\u00e1nyt azonban a komponista - bar\u00e1tai r\u00e1besz\u00e9l\u00e9s\u00e9re - m\u00e9g a bemutat\u00f3 el\u0151tt l\u00e9nyegesen \u00e1tdolgozta, \u00edgy az 1805. november\u00e9ben tartott els\u0151 el\u0151ad\u00e1s m\u00e1r az \u00fagynevezett II. Leon\u00f3ra-nyit\u00e1nnyal kezd\u0151d\u00f6tt. Az eredeti ouverture - I. Leon\u00f3ra-nyit\u00e1ny c\u00edmen - csak Beethoven hal\u00e1la ut\u00e1n ker\u00fclt nyilv\u00e1noss\u00e1gra, a megt\u00e9veszt\u0151en magas 138-as opuszsz\u00e1mmal. A Leon\u00f3ra bemutat\u00f3ja kudarcba fulladt, s az opera h\u00e1rom el\u0151ad\u00e1s ut\u00e1n leker\u00fclt a m\u0171sorr\u00f3l. Az \u00e9v v\u00e9ge fel\u00e9 Beethoven \u00e1tdolgozta a darabot, de az 1806 m\u00e1rcius\u00e1ban bemutatott m\u00e1sodik verzi\u00f3 sem hozott sikert. Ehhez a v\u00e1ltozathoz Beethoven ism\u00e9t \u00faj bevezet\u0151 zen\u00e9t kompon\u00e1lt, a III. Leon\u00f3ra-nyit\u00e1nyt. T\u00e9maanyag\u00e1t tekintve ez megegyezik a II. Leon\u00f3ra-nyit\u00e1nnyal, fel\u00e9p\u00edt\u00e9se azonban koncentr\u00e1ltabb, s\u0171r\u00edtettebb amann\u00e1l, hat\u00e1sa pedig m\u00e9g dr\u00e1maibb. Nyolc\u00e9vnyi sz\u00fcnet ut\u00e1n, 1814-ben fogott hozz\u00e1 Beethoven a Leon\u00f3ra \u00fajabb alapos \u00e1tf\u00e9s\u00fcl\u00e9s\u00e9hez, \u00edgy alakult ki az opera ma ismert alakja, s ekkor kapta a \"Fidelio\" c\u00edmet is (elker\u00fclend\u0151 az \u00f6sszet\u00e9veszt\u00e9st Ferdinando Pa\u00ebr hasonl\u00f3 t\u00e1rgy\u00fa Leon\u00f3r\u00e1j\u00e1val). Ehhez a harmadik v\u00e1ltozathoz ism\u00e9t \u00faj, a Leon\u00f3ra-nyit\u00e1nyokn\u00e1l kisebb szab\u00e1s\u00fa, s azokt\u00f3l mind t\u00e9maanyagban, mind hangnemben elt\u00e9r\u0151 ouverture k\u00e9sz\u00fclt: ez az \u00fagynevezett Fidelio-nyit\u00e1ny, amelyet a mai el\u0151ad\u00e1sokon is az opera bevezet\u0151 zen\u00e9jek\u00e9nt j\u00e1tszanak.<\/p>\r\n

A III. Leon\u00f3ra-nyit\u00e1nyt ma szok\u00e1s a dalm\u0171 m\u00e1sodik felvon\u00e1s\u00e1nak \u00e9l\u00e9n, vagy m\u00e9g ink\u00e1bb a k\u00f6zep\u00e9n, a sz\u00ednv\u00e1ltoz\u00e1s alatt megsz\u00f3laltatni, de \u00f6n\u00e1ll\u00f3 hangversenysz\u00e1mk\u00e9nt is gyakran m\u0171sorra t\u0171zik. Roppant n\u00e9pszer\u0171s\u00e9g\u00e9nek oka, hogy a n\u00e9gy ouverture k\u00f6z\u00fcl kompoz\u00edci\u00f3s \u00e9rtelemben ez a legki\u00e9rleltebb, s ez a legfelemel\u0151bb hat\u00e1s\u00fa. J\u00f3val t\u00f6bb, mint egyszer\u0171 bevezet\u0151 zene: s\u0171r\u00edtett m\u00f3don, szimfonikus form\u00e1ba \u00f6ntve az eg\u00e9sz opera eszmei \u00fczenet\u00e9t mag\u00e1ban foglalja. Mint Szabolcsi Bence r\u00e1mutat, a nyit\u00e1ny \"t\u00f6k\u00e9letesebben mint\u00e1zza meg \u00e9s mondja el az opera mondanival\u00f3j\u00e1t, mint maga az opera. Beethoven akaratlanul el\u00e1rulja, hogy az ilyen \u00e1ltal\u00e1nos, elvi \u00e9s gondolati szimfonikus \u00f6sszefoglal\u00e1s t\u00f6bbet jelent sz\u00e1m\u00e1ra minden k\u00e9zzelfoghat\u00f3, jelmezes-reflektoros sz\u00ednj\u00e1t\u00e9kn\u00e1l, t\u00f6bbet minden szerepekre v\u00e1ltott dr\u00e1mai lehet\u0151s\u00e9gn\u00e9l\".<\/p>\r\n

A III. Leon\u00f3ra-nyit\u00e1ny a s\u00f6t\u00e9tb\u0151l a f\u00e9nybe, a m\u00e9lyb\u0151l a magasba vezet\u0151 jellegzetes beethoveni dramaturgi\u00e1t k\u00f6veti. A lass\u00fa bevezet\u00e9s zenei anyaga az opera \"m\u00e9lypontj\u00e1r\u00f3l\", a m\u00e1sodik felvon\u00e1s elej\u00e9r\u0151l, Florestan b\u00f6rt\u00f6njelenet\u00e9nek muzsik\u00e1j\u00e1b\u00f3l sz\u00e1rmazik. A szon\u00e1taform\u00e1j\u00fa gyors szakasz f\u0151t\u00e9m\u00e1ja m\u00e1r \u00f6nmag\u00e1ban is egy fokozatosan emelked\u0151 \u00edvet rajzol ki: el\u0151sz\u00f6rre ink\u00e1bb csak rem\u00e9nyked\u0151, m\u00e1sodik felhangz\u00e1sra m\u00e1r gy\u0151zedelmes a hangv\u00e9tele. A darab k\u00f6zep\u00e9n, a visszat\u00e9r\u00e9s el\u0151tt halljuk a m\u00e1sik id\u00e9zetet az oper\u00e1b\u00f3l: a miniszter \u00e9rkez\u00e9s\u00e9t, vagyis a szabadul\u00e1st jelz\u0151 kett\u0151s trombitaszign\u00e1lt \u00e9s a k\u00f6zte megsz\u00f3lal\u00f3, himnikusan felsz\u00e1ll\u00f3 dallamot, amely a b\u00f6rt\u00f6njelenet hal\u00e1los fesz\u00fclts\u00e9g\u00e9t megoldja. A repr\u00edzt hatalmasra n\u0151tt coda k\u00f6veti, amely v\u00e9gs\u0151kig fesz\u00edti a v\u00e1rakoz\u00e1st, miel\u0151tt a f\u0151t\u00e9ma m\u00e9g egyszer, utolj\u00e1ra ujjongja el: Florestan szabad, gy\u0151z\u00f6tt a hitvesi \u00f6nfel\u00e1ldoz\u00e1s \u00e9s az igazs\u00e1g.<\/p>","post_title":"{:hu}III. Leon\u00f3ra-nyit\u00e1ny, op. 72b{:}{:en}Leonore Overture no. 3, op. 72{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iii-leonora-nyitany-op-72","to_ping":"","pinged":"","post_modified":"2020-03-10 09:56:48","post_modified_gmt":"2020-03-10 09:56:48","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/iii-leonora-nyitany-op-72\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":91083,"post_author":"1","post_date":"2016-09-08 08:57:47","post_date_gmt":"2016-09-08 08:57:47","post_content":"{:hu}

I. Allegro, ma non troppo II. Molto vivace III. Adagio molto e cantabile IV. Presto<\/p>\r\nBeethoven (1770-1827) legnagyobb szab\u00e1s\u00fa \u00e9s a koncerttermekben leggyakrabban felcsend\u00fcl\u0151 szimf\u00f3ni\u00e1it egy-egy mell\u00e9kn\u00e9vvel tisztelte meg az ut\u00f3kor: \u00edgy a Harmadikat csak mint \"Eroic\u00e1t\", az \u00d6t\u00f6diket mint \"Sors-szimf\u00f3ni\u00e1t\", a Hatodikat mint \"Pastorale\"-t, a Hetediket pedig gyakran mint \"A t\u00e1nc apote\u00f3zis\u00e1t\" szoktuk emlegetni. A Kilencedik azonban m\u00e1ig \"a Kilencedik\" maradt, bizony\u00edtva, hogy a zeneszerz\u0151 e m\u0171fajban kimondott utols\u00f3 szav\u00e1val m\u00e9g ezeken a nagyszer\u0171 el\u0151zm\u00e9nyeken is messze t\u00fall\u00e9pett - aligha v\u00e9letlen, hogy e hatalmas zenet\u00f6rt\u00e9neti tett \u00e1rny\u00e9k\u00e1ban a legnagyobb ut\u00f3dok k\u00f6z\u00fcl j\u00f3 n\u00e9h\u00e1ny (Schubert, Bruckner, Dvo\u0159\u00e1k \u00e9s Mahler) is \u00e9pp csak kilencig mer\u00e9szkedett a maga szimf\u00f3ni\u00e1inak sz\u00e1m\u00e1ban.\r\n

A Kilencediket az\u00e9rt persze m\u00e9giscsak siker\u00fcl megragadnunk valahogyan - sajnos t\u00f6bbnyire \u00fagy, hogy r\u00e1 gondolva val\u00f3j\u00e1ban csak az \u00d6r\u00f6m\u00f3da dallam\u00e1t id\u00e9zz\u00fck magunk el\u00e9. Ez az egyszer\u0171s\u00edt\u00e9s n\u00e9mileg indokolhat\u00f3 is, hisz tudjuk, hogy e k\u00f6ltem\u00e9ny megzen\u00e9s\u00edt\u00e9s\u00e9vel a komponista egy \u0151t m\u00e1r fiatal kora \u00f3ta foglalkoztat\u00f3 gondolatot \u00f6nt\u00f6tt v\u00e9gs\u0151 form\u00e1ba: Schiller sz\u00f6veg\u00e9nek feldolgoz\u00e1sa el\u0151sz\u00f6r m\u00e9g a bonni \u00e9vekben ker\u00fclt sz\u00f3ba, majd 1798-b\u00f3l \u00e9s (a N\u00e9vnapi nyit\u00e1ny kapcs\u00e1n) 1812-b\u0151l tudunk hasonl\u00f3 tervekr\u0151l - nem sz\u00f3lva a k\u00f6zismert Karfant\u00e1zia (1808) befejez\u00e9s\u00e9r\u0151l, amely ugyan m\u00e1s sz\u00f6veget alkalmaz, de mel\u00f3di\u00e1j\u00e1t tekintve m\u00e1r az \u00d6r\u00f6m\u00f3da k\u00f6zismert dallama fel\u00e9 mutat. (Az \u00d6r\u00f6m\u00f3da n\u00e9ha k\u00e9tes \u00e9rt\u00e9k\u0171 ismerts\u00e9g\u00e9t m\u00e9g tov\u00e1bb n\u00f6veli, hogy mind az Eur\u00f3pai Uni\u00f3 himnuszak\u00e9nt, mind mobiltelefonok cseng\u0151hangjak\u00e9nt l\u00e9pten-nyomon hallhatjuk.) A szimf\u00f3nia els\u0151 h\u00e1rom t\u00e9tel\u00e9t m\u00e9gsem szabad puszt\u00e1n \"keretnek\" tekinten\u00fcnk \u00e9s hallanunk: az \u00d6r\u00f6m\u00f3da val\u00f3j\u00e1ban igen egyszer\u0171 dallam\u00e1nak, s a r\u00e1 \u00e9p\u00fcl\u0151 vari\u00e1ci\u00f3knak \u00e9ppen hogy csakis az a k\u00fczdelmes \u00fat adhatja meg a megfelel\u0151 dr\u00e1mai s\u00falyt, amelyet kor\u00e1bban bej\u00e1rtunk - m\u00e9g ha ez az \u00fat ut\u00f3lag, amikor a von\u00f3sbasszusok sz\u00f6veg n\u00e9lk\u00fcli recitativ\u00f3ja sorra elveti a nyit\u00f3t\u00e9tel, a scherzo \u00e9s a lass\u00fa t\u00e9tel felbukkan\u00f3 r\u00e9szleteit, puszta t\u00e9velyg\u00e9snek t\u0171nik is. Maga Beethoven egy\u00e9bk\u00e9nt (sz\u00e1mos mai elemz\u0151h\u00f6z hasonl\u00f3an) el\u00e9gedetlen volt e fin\u00e1l\u00e9val, s a bemutat\u00f3 ut\u00e1n egy teljesen \u00faj v\u00e1ltozat meg\u00edr\u00e1s\u00e1t is tervbe vette, amelyr\u0151l azonban semmi k\u00f6zelebbit nem tudunk. \"Jobb\" lehetett volna az \u00faj forma a mostanin\u00e1l? - Tal\u00e1n. De a Kilencediket mintha \u00e9pp e nagyra t\u00f6r\u0151 befejez\u00e9s k\u00e9ts\u00e9ges v\u00e9gkicseng\u00e9se avatn\u00e1 \"a Kilencedikk\u00e9\", s egyben a Missa Solemnis m\u00e9lt\u00f3 p\u00e1rj\u00e1v\u00e1: a v\u00e9gs\u0151 sz\u00f3t val\u00f3j\u00e1ban sem hangszer, sem \u00e9nek nem mondhatja ki.<\/p>{:}{:en}

I. Allegro, ma non troppo II. Molto vivace III. Adagio molto e cantabile IV. Presto<\/p>\r\nBeethoven's more frequently performed symphonies have tended to attract nicknames: thus the Third is known as the Eroica, the Fifth as the \"Fate\", the Sixth is the Pastoral, while the Seventh is often refered to as \"The apotheosis of the dance\" (a quote from Wagner). The Ninth though, is generally known as \"The Ninth\", proving that Beethoven had truly said the last word in the genre, and had gone way beyond all the masterpieces that had come before. It is no accident that many of the great symphonic composers of later generations growing up in Beethoven's shadow (Schubert, Bruckner, Dvorak and Mahler) could not themselves go on to complete a tenth symphony.\r\nThe Ninth symphony still transfixes us somehow - unfortunately, for many, it has become synonymous with the Ode to Joy melody. This simplification has some justification, since we know that Beethoven had long pondered setting Schiller's verse to music - he first dwelt on the concept during his early Bonn years, and we know of similar plans dating from 1798 and 1812. And we also have the Choral Fantasy (1808), which although setting a different text, employs a melody that is an unmistakable predecessor to the tune that is now the European Union's anthem. We must not make the mistake though of hearing and regarding the first three movements as merely \"setting the scene\" for the Ode to Joy. The melody is a very simple one, and the variations that are built upon it only gain their appropriate dramatic weight because of the arduous path traversed to reach it - even though looking back, this pathway, when the bass strings with their wordless recitative reject fragmented details from the first three movement, appears an abberation. Beethoven himself (in common with some contemporary analysts) was disatisfied with the finale and after the premiere, planned to compose an entirely new version. However, we know nothing about what this would have entailed. Could the new version have been \"better\" than the one we know today? Perhaps. But it is the resonance of the finale, its striving for greatness, that makes the Ninth \"The Ninth\", and at the same time, frames it as a deserving partner to the Missa Solemnis: in truth, neither instruments nor voices can ennunciate the final word.{:}","post_title":"{:hu}IX. (d-moll) szimf\u00f3nia, op. 125{:}{:en}Symphony no. 9 in D minor, Op. 125{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ix-szimfonia-d-moll-op-125","to_ping":"","pinged":"","post_modified":"2020-03-04 12:44:03","post_modified_gmt":"2020-03-04 12:44:03","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/ix-szimfonia-d-moll-op-125\/","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":[{"ID":86050,"post_author":"1","post_date":"2017-07-23 09:09:50","post_date_gmt":"2017-07-23 09:09:50","post_content":"{:hu}V\u00e1radi Zita<\/strong> 1996-ban szerzett \u00e9nekm\u0171v\u00e9szi \u00e9s tan\u00e1ri diplom\u00e1t a Zeneakad\u00e9mi\u00e1n.\r\n\r\n1995 \u00e9s 2001 k\u00f6z\u00f6tt a Debreceni Csokonai Sz\u00ednh\u00e1z, 2001-t\u0151l az Operah\u00e1z mag\u00e1n\u00e9nekesn\u0151je. 2016-ban megkapta a Magyar \u00c9rdemrend lovagkeresztj\u00e9t.{:}{:en}Zita V\u00e1radi<\/strong> graduated in singing and teaching from the Liszt Academy in 1996.\r\n\r\nShe worked as a soloist at the Csokonai Theatre in Debrecen between 1995 and 2001, before joining the Hungarian State Opera in 2001. In 2016, she was awarded the Knight's Cross of the Hungarian Order of Merit.{:}","post_title":"{:hu}V\u00e1radi Zita{:}{:en}Zita V\u00e1radi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"varadi-zita","to_ping":"","pinged":"","post_modified":"2020-03-05 14:36:14","post_modified_gmt":"2020-03-05 14:36:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86050","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"},{"ID":87164,"post_author":"1","post_date":"2016-09-21 09:46:36","post_date_gmt":"2016-09-21 09:46:36","post_content":"{:hu}Ulbrich Andrea<\/strong> a Liszt Ferenc Zeneakad\u00e9mi\u00e1n v\u00e9gezte tanulm\u00e1nyait Andor \u00c9v\u00e1n\u00e1l. Karrierj\u00e9t a Magyar \u00c1llami Operah\u00e1zban kezdte, majd a d\u00fcsseldorfi Deutsche Oper am Rhein tagja lett. Olyan jelent\u0151s karmesterekkel dolgozott, mint Riccardo Chailly, Michael Gielen, Jun M\u00e4rkl, Pinchas Steinberg \u00e9s Marcello Viotti.{:}{:en}Andrea Ulbrich<\/strong> completed her studies at the Liszt Academy under \u00c9va Andor. She began her career at the Hungarian State Opera, before becoming a member of the Deutsche Oper am Rhein opera company in D\u00fcsseldorf. She has worked with an array of important conductors, including Riccardo Chailly, Michael Gielen, Jun M\u00e4rkl, Pinchas Steinberg and Marcello Viotti.\r\n

<\/div>\r\n \r\n\r\n \r\n\r\n {:}","post_title":"{:hu}Ulbrich Andrea{:}{:en}Andrea Ulbrich{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ulbrich-andrea","to_ping":"","pinged":"","post_modified":"2020-03-05 09:53:12","post_modified_gmt":"2020-03-05 09:53:12","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=87164","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}mezzoszopr\u00e1n{:}{:en}mezzo soprano{:}"},{"ID":87274,"post_author":"1","post_date":"2016-09-21 08:53:32","post_date_gmt":"2016-09-21 08:53:32","post_content":"{:hu}\u201eHorv\u00e1th Istv\u00e1n<\/strong> mind nagyobb magabiztoss\u00e1ggal van jelen a sz\u00ednpadon \u2013 ennek jele, hogy imm\u00e1r a koncertp\u00f3diumon is k\u00e9pes a sz\u00e9p \u00e9nekl\u00e9s mellett figur\u00e1t teremteni, jellemet form\u00e1lni.\u201d\r\n\r\nB\u00f3ka G\u00e1bor, Muzsika{:}{:en}\r\n\r\n\r\n\r\n\"Istv\u00e1n Horv\u00e1th<\/strong> has an increasingly confident stage presence, something demonstrated by the fact that in addition to his beautiful singing, he is capable of creating a character and clear style on the stage.\"\r\n\r\nG\u00e1bor B\u00f3ka, Muzsika magazine{:}","post_title":"{:hu}Horv\u00e1th Istv\u00e1n{:}{:en}Istv\u00e1n Horv\u00e1th{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"horvath-istvan","to_ping":"","pinged":"","post_modified":"2020-10-01 13:54:53","post_modified_gmt":"2020-10-01 13:54:53","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=87274","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}tenor{:}{:en}tenor{:}"},{"ID":86446,"post_author":"1","post_date":"2017-05-31 06:17:47","post_date_gmt":"2017-05-31 06:17:47","post_content":"{:hu}Kov\u00e1cs Istv\u00e1n a Magyar \u00c1llami Operah\u00e1zban t\u00f6bbek k\u00f6zt Walter, Raimondo, Sarastro, A k\u00e9kszak\u00e1ll\u00fa herceg \u00e9s Don Giovanni szerep\u00e9t alak\u00edtotta.\u00a0 Vend\u00e9gm\u0171v\u00e9szk\u00e9nt a Berlini \u00c1llami Operah\u00e1zban, valamint a frankfurti, a torin\u00f3i, a palerm\u00f3i, a nizzai, a bordeaux-i \u00e9s a toulouse-i operah\u00e1zban l\u00e9pett fel. Orat\u00f3rium\u00e9nekesk\u00e9nt olyan egy\u00fcttesekkel szerepelt, mint A lipcsei Gewandhaus Zenekara, az Internationale Bachakademie Stuttgart, az Izraeli Szimfonikus Zenekar \u00e9s a New Japan Philharmonic.{:}{:en}He has also taken the stage as a guest artist at Staatsoper Berlin as well as the opera houses of Frankfurt, Turin, Palermo, Nice, Bordeaux and Toulouse. As an oratorio singer, he has appeared with orchestras like Leipzig\u2019s Gewandhaus Orchestra, the Internationale Bachakademie Stuttgart, the Israel Symphony Orchestra and the New Japan Philharmonic.{:}","post_title":"{:hu}Kov\u00e1cs Istv\u00e1n{:}{:en}Istv\u00e1n Kov\u00e1cs{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kovacs-istvan-2","to_ping":"","pinged":"","post_modified":"2020-10-01 14:28:59","post_modified_gmt":"2020-10-01 14:28:59","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86446","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}basszus{:}{:en}bass{:}"}],"muveszekrol_reszletesen":true,"is_muveszekrol_reszletesen_en":true,"kozr_szemelyek_feluldefinialasa":"","kozr_intezmenyek":[],"gombtipus":"link","jegyarak":"HUF 4,500 \/ 3,500 \/ 2,500","jegyvasarlas_gomb":"https:\/\/nfz.jegy.hu\/program\/beethovennel-a-szabadban-115147\/650672","elkeltek_a_jegyek":false,"youtube_id":"","old_id":"","hivatkozas_gomb_szovege":"CANCELLED!","hivatkozas_gomg_url-je":"https:\/\/www.filharmonikusok.hu\/elmarado-koncertek\/"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/113337","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=113337"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}