{"id":113362,"date":"2020-03-10T09:19:31","date_gmt":"2020-03-10T09:19:31","guid":{"rendered":"https:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=113362"},"modified":"2022-04-26T09:42:42","modified_gmt":"2022-04-26T09:42:42","slug":"beethovennel-a-szabadban-4","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/beethovennel-a-szabadban-4\/","title":{"rendered":"Beethoven in the park"},"content":{"rendered":"

Rain date: Monday, 22 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

Composed in Heiligenstadt in 1801 and 1802, the Symphony No. 2 is one of the final works of Beethoven\u2019s first period. No mark was left on the tone of this symphony that, while still Classical in terms of it scope, was nevertheless chock full of suprising rhythmic and melodic gestures, by the fact that Beethoven became aware of the incurable deterioration of his hearing while writing it. The composer\u2019s intimate Romance in G major for violin and orchestra also dates from around this time. Although it was composed later than its F-major counterpart, it was published earlier, thus becoming the first of the two. Beethoven\u2019s Symphony No. 7 dates from 1811\/12. Praised as \u201ethe apotheosis of dance\u201d by Richard Wagner, it is indeed dance-like in character throughout, with the dotted rhythm of the 6\/8 opening movement followed by, instead of a slow movement, an almost sacred dance in 2\/4 time identified as an Allegretto. This movement is the most popular part of the symphony, and had to be repeated at the world premi\u00e8re. After the rapid scherzo, the fourth movement closes the work with a bacchanalian finale.<\/p>\n","protected":false},"template":"","class_list":["post-113362","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":113363,"id":113363,"title":"CD6K8455","filename":"CD6K8455-scaled.jpg","filesize":1587345,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/03\/CD6K8455-scaled.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/beethovennel-a-szabadban-4\/cd6k8455\/","alt":"","author":"951582","description":"","caption":"","name":"cd6k8455","status":"inherit","uploaded_to":113362,"date":"2020-03-05 14:58:29","modified":"2020-03-05 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PM","esemeny_vege":"9:00 PM","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87568,"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}Brunszvik-kast\u00e9ly parkja{:}{:en}Park of the Brunszvik Castle{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"brunszvik-kastely-parkja","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:37","post_modified_gmt":"2016-09-08 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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":90995,"post_author":"1","post_date":"2016-09-08 08:57:46","post_date_gmt":"2016-09-08 08:57:46","post_content":"{:hu}

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

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

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

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

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

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

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

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

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

The Third Movement is one of the most daring works Beethoven wrote in this period. Its importance is multiplied because it is the first such work he labels as a scherzo. The finale was the least traditional and for his contemporaries, the hardest to grasp of all the movements. According to a journalist at the time \"the entire symphony is like a wounded convulsing dragon which does not want to die and in the finale, in its final throes, lashes out madly with its tail.<\/em>\"<\/p>{:}","post_title":"{:hu}II. (D-d\u00far) szimf\u00f3nia, op. 36{:}{:en}Symphony no. 2 in D major, op. 36{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ii-d-dur-szimfonia-op-36","to_ping":"","pinged":"","post_modified":"2020-03-04 12:44:44","post_modified_gmt":"2020-03-04 12:44:44","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/ii-d-dur-szimfonia-op-36\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":113307,"post_author":"951582","post_date":"2020-03-04 12:16:04","post_date_gmt":"2020-03-04 12:16:04","post_content":"","post_title":"{:hu}I. (G-d\u00far) rom\u00e1nc, op. 40{:}{:en}Romance No. 1 in G major, op. 40{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"i-g-dur-romanc-op-40","to_ping":"","pinged":"","post_modified":"2020-03-10 09:06:31","post_modified_gmt":"2020-03-10 09:06:31","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=113307","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":101477,"post_author":"3","post_date":"2017-05-29 19:26:03","post_date_gmt":"2017-05-29 19:26:03","post_content":"\"E szimf\u00f3nia a felfokozott, szenved\u00e9lyes \u00fcnnep\u00e9lyess\u00e9gnek, a szinte \u00e1rny\u00e9kmentesen f\u00e9nyl\u0151 ragyog\u00e1snak minden addigit fel\u00fclm\u00fal\u00f3an mer\u00e9sz zen\u00e9be \u00f6nt\u00e9se. Tematik\u00e1ja szenved\u00e9lyesebb, sodr\u00f3bb lend\u00fclet\u0171, hangszerel\u00e9se f\u00e9nyesebb, sz\u00ednesebb, harsog\u00f3bb minden addigi zenekari m\u0171v\u00e9n\u00e9l! Annak idej\u00e9n m\u00e1r Mendelssohn fenntart\u00e1s n\u00e9lk\u00fcl megcsod\u00e1lta hangszerel\u00e9s\u00e9nek csod\u00e1latos pomp\u00e1j\u00e1t. Nem hi\u00e1ba mondta egyszer Beethoven, hogy zen\u00e9j\u00e9vel megtan\u00edtja az embereket a szellem isteni \u0151rj\u00f6ng\u00e9s\u00e9re; ha valaha, \u00fagy ebben a szimf\u00f3ni\u00e1ban siker\u00fclt ezt a c\u00e9lt el\u00e9rnie.\" (Bartha D\u00e9nes)\r\n\r\n\r\n\r\nI. Poco sostenuto. Vivace II. Allegretto III. Presto IV. Allegro con brio\r\n

A kompoz\u00edci\u00f3 1811-1812-ben k\u00e9sz\u00fclt, a k\u00e9zirat tan\u00fas\u00e1ga szerint a befejez\u00e9s d\u00e1tuma m\u00e1jus 13. A darab \u00e9rzelemvil\u00e1g\u00e1t a vil\u00e1gt\u00f6rt\u00e9nelmi esem\u00e9nyek (nap\u00f3leoni h\u00e1bor\u00fak) \u00e9s a szerz\u0151 mag\u00e1n\u00e9let\u00e9nek der\u0171sebb id\u0151szak\u00e1hoz (melynek nevezetes epiz\u00f3dja a csehorsz\u00e1gi Teplitzben elt\u00f6lt\u00f6tt nyaral\u00e1s, amikor Beethoven z\u00e1rk\u00f3zott, emberker\u00fcl\u0151 term\u00e9szete ellen\u00e9re \u00e9l\u00e9nk t\u00e1rsas\u00e1gi \u00e9letet \u00e9lt) kapcsol\u00f3d\u00f3 \u00e9lm\u00e9nyek hat\u00e1rozz\u00e1k meg. A szimf\u00f3nia olyan hangot \u00fct meg, melynek eddig sem Beethovenn\u00e9l, sem m\u00e1s szerz\u0151n\u00e9l nem akadt p\u00e9ld\u00e1ja. \"E szimf\u00f3nia a felfokozott, szenved\u00e9lyes \u00fcnnep\u00e9lyess\u00e9gnek, a szinte \u00e1rny\u00e9kmentesen f\u00e9nyl\u0151 ragyog\u00e1snak minden addigit fel\u00fclm\u00fal\u00f3an mer\u00e9sz zen\u00e9be \u00f6nt\u00e9se. Tematik\u00e1ja szenved\u00e9lyesebb, sodr\u00f3bb lend\u00fclet\u0171, hangszerel\u00e9se f\u00e9nyesebb, sz\u00ednesebb, harsog\u00f3bb minden addigi zenekari m\u0171v\u00e9n\u00e9l! Annak idej\u00e9n m\u00e1r Mendelssohn fenntart\u00e1s n\u00e9lk\u00fcl megcsod\u00e1lta hangszerel\u00e9s\u00e9nek csod\u00e1latos pomp\u00e1j\u00e1t. Nem hi\u00e1ba mondta egyszer Beethoven, hogy zen\u00e9j\u00e9vel megtan\u00edtja az embereket a szellem isteni \u0151rj\u00f6ng\u00e9s\u00e9re; ha valaha, \u00fagy ebben a szimf\u00f3ni\u00e1ban siker\u00fclt ezt a c\u00e9lt el\u00e9rnie.\" (Bartha D\u00e9nes)<\/p>\r\n

Schindler (Beethoven titk\u00e1ra) eml\u00edti, hogy a zeneszerz\u0151 kedvenc olvasm\u00e1nyai k\u00f6z\u00e9 tartozott Hom\u00e9rosz Od\u00fcsszei\u00e1ja, 1812-ben egy operalibrett\u00f3r\u00f3l is t\u00e1rgyalt Theodor K\u00f6rner k\u00f6lt\u0151vel, melynek t\u00e1rgy\u00e1t az eposzb\u00f3l mer\u00edtett\u00e9k volna. Ugyanebben az id\u0151ben - v\u00e1zlatk\u00f6nyv\u00e9nek tan\u00fas\u00e1ga szerint - a g\u00f6r\u00f6g id\u0151m\u00e9rt\u00e9kes versel\u00e9s megzen\u00e9s\u00edt\u00e9s\u00e9nek probl\u00e9m\u00e1ja foglalkoztatta. A szimf\u00f3nia-v\u00e1zlatok pedig el\u00e1rulj\u00e1k, hogy a zenei anyagb\u00f3l els\u0151k\u00e9nt a metrikus l\u00fcktet\u00e9sre vonatkoz\u00f3 ide\u00e1k krist\u00e1lyosodtak ki, a dallamanyag k\u00e9s\u0151bbi fejlem\u00e9ny. S val\u00f3ban, a szimf\u00f3nia valamennyi t\u00e9tele g\u00f6r\u00f6g versl\u00e1bakon \"\u00e1ll\". A k\u00fcl\u00f6n\u00f6sen n\u00e9pszer\u0171v\u00e9 v\u00e1l\u00f3 m\u00e1sodik t\u00e9telben p\u00e9ld\u00e1ul egy daktilusb\u00f3l \u00e9s spondeusb\u00f3l \u00e1ll\u00f3 adoniszi sor k\u00e9plete vonul v\u00e9gig. A kort\u00e1rsi besz\u00e1mol\u00f3k \u00e9s a szembet\u0171n\u0151 stil\u00e1ris jegyek egy\u00fcttes\u00e9nek k\u00f6sz\u00f6nhet\u0151, hogy a m\u0171 legt\u00f6bb elemz\u00e9se az antikvit\u00e1shoz k\u00f6ti a szimf\u00f3nia eszmei programj\u00e1t. Szabolcsi Bence p\u00e9ld\u00e1ul az els\u0151 t\u00e9tel szokatlanul hossz\u00fa lass\u00fa bevezet\u00e9s\u00e9t egy antik \u00fcnnep bejelent\u00e9s\u00e9nek nevezte. Ezt k\u00f6veti maga az \u00fcnnep. A II. t\u00e9tel \"\u00e1lom a k\u00f6nnytelen \u00e9s m\u00e9lt\u00f3s\u00e1gos g\u00f6r\u00f6g hal\u00e1lr\u00f3l, a b\u00e1natr\u00f3l, mely \u00e9pp\u00fagy az \u00e9let nagy \u00fctem\u00e9re lejt, mint az \u00fcnnepi felk\u00f6sz\u00f6nt\u0151.\" A III. t\u00e9tel \"szikr\u00e1z\u00f3 k\u00f6rt\u00e1nc, elszakad\u00e1s az anyagt\u00f3l, fellend\u00fcl\u00e9s a legf\u0151bb magaslatokba\". A IV. t\u00e9tel maga a \"bacchan\u00e1l, sz\u00fcreti mulats\u00e1g \u00e9s r\u00e9szeg t\u00e1ntorg\u00e1s\". Nem v\u00e9letlen\u00fcl nevezte Wagner a darabot a \"t\u00e1nc apote\u00f3zis\u00e1nak\".<\/p>","post_title":"{:hu}VII. (A-d\u00far) szimf\u00f3nia, op. 92{:}{:en}Symphony No. 7 in A major, op. 92{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"vii-szimfonia-dur-op-92","to_ping":"","pinged":"","post_modified":"2020-03-04 12:46:02","post_modified_gmt":"2020-03-04 12:46:02","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=101477","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":113350,"post_author":"951582","post_date":"2020-03-05 14:43:18","post_date_gmt":"2020-03-05 14:43:18","post_content":"{:hu}Kruppa B\u00e1lint<\/strong> hat\u00e9vesen kezdett heged\u00fclni. A Zeneakad\u00e9mia Szimfonikus Zenekar\u00e1nak koncertmesterek\u00e9nt \u2013 t\u00f6bbek k\u00f6z\u00f6tt Kocsis Zolt\u00e1n ir\u00e1ny\u00edt\u00e1s\u00e1val \u2013 szerzett \u00e9rt\u00e9kes zenekari tapasztalatokat. Jelenleg els\u0151sorban a kamarazen\u00e9re koncentr\u00e1l, saj\u00e1t kvartettj\u00e9vel, a Kruppa Von\u00f3sn\u00e9gyessel rendszeresen mutatnak be \u00faj m\u0171veket. 2015-ben elnyerte a Fischer Annie \u00d6szt\u00f6nd\u00edjat, a Gundel M\u0171v\u00e9szeti D\u00edjat, valamint a Junior Prima d\u00edjat is.{:}{:en}B\u00e1lint Kruppa<\/strong> began playing the violin when he was six years old. He gained valuable orchestral experience as concertmaster of the Liszt Academy Symphony Orchestra \u2013 under the direction of Zolt\u00e1n Kocsis, among others. He is currently mainly focusing on chamber music, and regularly presents new works with his own quartet, the Kruppa Quartet. In 2015, he won the Annie Fischer Scholarship, the Gundel Art Award and the Junior Prima Award.{:}","post_title":"{:hu}Kruppa B\u00e1lint{:}{:en}B\u00e1lint Kruppa{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kruppa-balint","to_ping":"","pinged":"","post_modified":"2020-03-05 15:11:29","post_modified_gmt":"2020-03-05 15:11:29","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.filharmonikusok.hu\/?post_type=artists&p=113350","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}heged\u0171{:}{:en}violin{:}"}],"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\/650673","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\/113362","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=113362"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}