{"id":113367,"date":"2020-03-10T09:18:57","date_gmt":"2020-03-10T09:18:57","guid":{"rendered":"https:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=113367"},"modified":"2022-04-26T09:45:06","modified_gmt":"2022-04-26T09:45:06","slug":"beethovennel-a-szabadban-3","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/beethovennel-a-szabadban-3\/","title":{"rendered":"Beethoven in the park"},"content":{"rendered":"

Rain date: Sunday, 28 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 1806, Beethoven\u2019s Symphony No. 4 is remarkably diverse. The introduction to the first movement almost allows a glimpse into the creative process, conveying how the composer struggled to find the starting theme of the rapid passage. Over the course of the work, Beethoven gleefully plays with stubbornly recurring rhythmic formulas and deceptive shifts in emphasis. The concert aria Ah! perfido was first performed in 1796, in Leipzig. Consisting of a recitative and an aria, the dramatic scena depicts the anguish of a woman who has been abandoned by her beloved.<\/p>\n

The four movements of the Symphony No. 3, which was composed between 1802 and 1804, could be the portrait of a hero. The opening movement of the first movement returns in gloriously transfigured form at its end. This is followed by a scherzo, a funeral march and, finally, a movement of variations \u2013 including one in a Hungarian verbunkos style \u2013 on a German dance, tune. Beethoven originally subtitled the symphony \u201eBuonaparte\u201d, but changed this to Eroica after Napoleon crowned himself emperor.<\/p>\n","protected":false},"template":"","class_list":["post-113367","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":113368,"id":113368,"title":"Martonv\u00e1s\u00e1r2018@MNF_foto_M\u00e1t\u00e9 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08:02:37","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/brunszvik-kastely-parkja\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Martonv\u00e1s\u00e1r{:}{:en}Martonv\u00e1s\u00e1r{:}","orszag":"{:hu}Magyarorsz\u00e1g{:}{:en}Hungary{:}","cim":"","megjegyzes":"","weboldal":""},"helyszin_kategoria":"videk","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"},"karmester_2":false,"hazigazda":null,"muvek":[{"ID":91353,"post_author":"1","post_date":"2016-09-08 08:57:51","post_date_gmt":"2016-09-08 08:57:51","post_content":"{:hu}

Ludwig van Beethovent\u0151l (1770\u20131827) m\u00e1r a kort\u00e1rsak is azt v\u00e1rt\u00e1k, hogy m\u0171vei eszm\u00e9ket \u00e9s h\u0151s\u00f6ket \u00e1br\u00e1zoljanak, zen\u00e9be foglalj\u00e1k a f\u00e9ny \u00e9s s\u00f6t\u00e9ts\u00e9g harc\u00e1t, a szerepl\u0151k (vagy maga az alkot\u00f3) k\u00fczdelmeit, szenved\u00e9lyeit, apote\u00f3zis\u00e1t vagy \u00e9ppen buk\u00e1s\u00e1t. K\u00fcl\u00f6n\u00f6sen \u00e9rv\u00e9nyes ez a szimf\u00f3ni\u00e1kra, f\u0151k\u00e9pp harmadik (Eroica<\/em>, Esz-d\u00far), az \u00f6t\u00f6dik (Sors<\/em>, c-moll) \u00e9s a kilencedik (d-moll) m\u0171re, de ott van mindez a grandi\u00f3zus hetedikben, s\u0151t m\u00e1r az\u00a0oroszl\u00e1nk\u00f6rm\u00f6ket megmutat\u00f3 els\u0151ben is. A p\u00e1ros sorsz\u00e1m\u00faak t\u00f6bbs\u00e9ge azonban mintha m\u00e1sf\u00e9le modellt k\u00f6vetne. K\u00f6z\u00f6tt\u00fck tal\u00e1n a 4. szimf\u00f3nia<\/strong><\/em> (B-d\u00far, op. 60) a legk\u00fcl\u00f6n\u00f6sebb, mivel ez illeszthet\u0151 be legkev\u00e9sb\u00e9 a szerz\u0151r\u0151l kialakult k\u00e9pbe, ez\u00e9rt viszonylag kev\u00e9s figyelmet kapott a \u201eh\u0151si\u201d szimf\u00f3ni\u00e1k \u00e1rny\u00e9k\u00e1ban. Pedig meg van benne minden, amit\u0151l azonnal n\u00e9pszer\u0171 lehetett volna: szellemess\u00e9g, formai ar\u00e1nyoss\u00e1g, a zenekar virtu\u00f3z kezel\u00e9se \u00e9s a m\u0171faj klasszikus hagyom\u00e1nyainak tisztelete, valamint az \u00fajdons\u00e1g \u00e9s k\u00f6z\u00e9rthet\u0151s\u00e9g szinte t\u00f6k\u00e9letes egyens\u00falya. Ezek az er\u00e9nyek els\u00f6pr\u0151 sikert biztos\u00edtottak Haydn szimf\u00f3ni\u00e1inak, csakhogy az ifj\u00fa Beethovent\u0151l a k\u00f6z\u00f6ns\u00e9g \u00e9ppen a l\u00e1zad\u00e1st, az el\u0151d\u00f6k arcul csap\u00e1s\u00e1t v\u00e1rta.<\/p>\r\n

A 4. szimf\u00f3nia 1806-ban, az Eroica<\/em> premierje \u00e9s a Fidelio<\/em> kompon\u00e1l\u00e1sa ut\u00e1n k\u00e9sz\u00fclt, a heged\u0171versennyel \u00e9s a 4. zongoraversennyel egy id\u0151ben. Ut\u00f3bbival \u00e9s a Coriolan<\/em> nyit\u00e1nnyal egy\u00fctt mutatt\u00e1k be 1807 m\u00e1rcius\u00e1ban, Lobkowitz herceg palot\u00e1j\u00e1ban.<\/p>\r\n

Az 1. t\u00e9tel<\/strong> (Adagio \u2013 Allegro vivace) komor bevezet\u00e9se trag\u00e9di\u00e1t sejtet, a berobban\u00f3 f\u0151t\u00e9ma viszont vid\u00e1m lend\u00fclettel sz\u00f3lal meg. Az Eroic\u00e1hoz hasonl\u00f3an hamarosan ez is elhangzik heroikus forte v\u00e1ltozatban, de a mind\u00f6ssze nyolc \u00fctemnyi szakaszt azonnal k\u00f6nnyed, pasztor\u00e1lis anyagok v\u00e1ltj\u00e1k fel, \u00e9ppen a Pastorale szimf\u00f3nia F-d\u00farj\u00e1ban.\r\nA 2. t\u00e9tel<\/strong> (Adagio) lass\u00fa, stiliz\u00e1lt indul\u00f3ra eml\u00e9keztet. Szokatlan m\u00f3don fontos szerepet kap benne a h\u00e1tt\u00e9rben megsz\u00f3lal\u00f3 timpani, amelynek jellegzetes pontozott ritmusait a 2. heged\u0171sz\u00f3lam el\u0151legezi \u00e9s k\u00e9s\u0151bb m\u00e1s hangszerek is \u00e1tveszik. Ez ellenpontozza a heged\u0171k, a klarin\u00e9t vagy az oboa hol nagy\u00edv\u0171en \u00e9nekl\u0151, hol megszak\u00edtott dallamait.\r\nA 3. t\u00e9tel<\/strong> (Allegro vivace) igazi klasszikus scherzo, amely tele van ritmikai j\u00e1t\u00e9kokkal. A f\u0151r\u00e9szben a h\u00e1rmas l\u00fcktet\u00e9st gyakran kettes hangcsoportok zavarj\u00e1k \u00f6ssze, hogy ann\u00e1l hat\u00e1sosabb legyen a rend helyre \u00e1ll\u00edt\u00e1sa. A hagyom\u00e1nyos h\u00e1rom r\u00e9szes, tri\u00f3s forma itt \u00f6t r\u00e9szess\u00e9 b\u0151v\u00fcl az\u00e1ltal, hogy Beethoven nem z\u00e1r le az els\u0151 szakasz visszat\u00e9r\u00e9se ut\u00e1n, hanem m\u00e1sodszor is hozza a tri\u00f3t, amit a f\u0151r\u00e9sz r\u00f6vid\u00edtett v\u00e1ltozata k\u00f6vet (ABABA).\r\nA 4. t\u00e9tel<\/strong> (Allegro ma non troppo) ker\u00fclt tal\u00e1n a legk\u00f6zelebb a m\u00e9g \u00e9l\u0151 Haydn vil\u00e1g\u00e1hoz. Az ifj\u00fa tit\u00e1n itt mintha azt pr\u00f3b\u00e1lta volna megmutatni, hogy a nagy mester szimf\u00f3nia-fin\u00e1l\u00e9ihoz hasonl\u00f3an \u0151 is k\u00e9pes a vid\u00e1m, \u00f6nfeledt muzsik\u00e1l\u00e1sra. (Gombos L\u00e1szl\u00f3<\/em>)<\/p>{:}{:en}

Peers expected Beethoven\u2019s works to portray ideas and heroes, to set to music the struggle of light and darkness, the clashes and passions of his protagonists. Composed in 1806, the Fourth (B-flat major, op. 60) conforms least to our image of Beethoven. While it has the makings of an instant success \u2013 wittiness, proportion, respect for the traditions of the genre \u2013 the audiences expected Beethoven to be more of a rebel and slap the predecessors in the face.<\/p>\r\n

The gloomy introduction<\/strong> of the first movement foreshadows tragedy; however, the main theme explodes in with joyful vigour and the movement proceeds to introduce light, pastoral music.\r\nThe second movement<\/strong> is reminiscent of a slow stylised march in which the typical dotted rhythms of the tympani in the background assume a crucial role. They are counterpointed by the broad, melodious sounds in the violins, clarinets and oboes.\r\nThe third movement<\/strong> is a classical scherzo brimming with rhythmic play. The traditional three-part trio form is expanded to five parts through repetition of the trio and the main part.\r\nThe fourth movement<\/strong> has most in common with the world of Haydn, still alive at the time. The young Beethoven was, perhaps, out to show off his gift in wild and cheerful music-making, like the great maestro in his symphony finales. (L\u00e1szl\u00f3 Gombos)<\/em><\/p>{:}","post_title":"{:hu}IV. (B-d\u00far) szimf\u00f3nia, op. 60{:}{:en}Symphony No. 4 in B-flat major, op. 60{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iv-szimfonia-b-dur-op-60","to_ping":"","pinged":"","post_modified":"2019-04-16 11:31:52","post_modified_gmt":"2019-04-16 11:31:52","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/iv-szimfonia-b-dur-op-60\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":105910,"post_author":"1","post_date":"2018-03-26 09:37:30","post_date_gmt":"2018-03-26 09:37:30","post_content":"Ah, perfido<\/em>... (\u201e\u00d3, h\u0171telen...\u201d) kezdet\u0171 koncert\u00e1ri\u00e1ja a fiatal Ludwig van Beethoven (1770\u20121827) sz\u00e1rnypr\u00f3b\u00e1lgat\u00e1sa volt. A zeneszerz\u0151 pr\u00e1gai tart\u00f3zkod\u00e1sa alkalm\u00e1val \u00edrta, Josepha Duschek h\u00edres szopr\u00e1n\u00e9nekesn\u0151 sz\u00e1m\u00e1ra \u2012 az \u00e1ria sz\u0171k m\u0171fajhat\u00e1rain t\u00falmutat\u00f3, val\u00f3s\u00e1gos dr\u00e1mai jelenetk\u00e9nt \u2012, els\u0151 el\u0151ad\u00e1s\u00e1ra m\u00e9g a kompon\u00e1l\u00e1s \u00e9v\u00e9ben, Lipcs\u00e9ben sor ker\u00fclt (1796. november 21.). Verstextusa a B\u00e9csben \u00e9lt olasz k\u00f6lt\u0151 \u00e9s sz\u00f6vegk\u00f6nyv\u00edr\u00f3 Pietro Metastasio (1698\u20121782) Achille in Sciro<\/em> c\u00edm\u0171 operalibrett\u00f3j\u00e1b\u00f3l (1737) sz\u00e1rmazik. Egy fiatal n\u0151 d\u00fch\u00e9t \u00e9s sir\u00e1mait tolm\u00e1csolja, akit elhagyott a kedvese. Ellent\u00e9tes \u00e9rzelmek kavarognak a f\u00e9rfihoz sz\u00f3l\u00f3 verssorokban: a n\u0151 el\u0151bb az \u00e9giek \u00e1ltali megb\u00fcntet\u00e9s\u00e9t j\u00f6vend\u00f6li meg, majd kegyelmet k\u00e9rve sz\u00e1m\u00e1ra, felaj\u00e1nlja saj\u00e1t hal\u00e1l\u00e1t, k\u00e9ts\u00e9gbees\u00e9s\u00e9ben v\u00e9g\u00fcl irgalom\u00e9rt k\u00f6ny\u00f6r\u00f6g szerelm\u00e9hez.\r\n\r\nBeethoven sz\u00ednpadias zen\u00e9je az \u00e9rzelmileg hull\u00e1mz\u00f3 sz\u00f6vegtartalomhoz idomul. Kezdete dr\u00e1mai recitativo C-d\u00far<\/em>ban, amelyet \u2012 nagy vonalakban n\u00e9zve \u2012 Esz-d\u00far<\/em> lass\u00fa (Adagio<\/em>), majd c-moll<\/em>\u2192Esz-d\u00far<\/em> gyors (Allegro assai<\/em>) \u00e1riaszakasz k\u00f6vet. Sz\u00f3list\u00e1j\u00e1t\u00f3l hat\u00e1sos virtuozit\u00e1st megk\u00edv\u00e1n\u00f3, nyelvezet\u00e9t illet\u0151en a XVIII. sz\u00e1zad operatrad\u00edci\u00f3iban gy\u00f6kerez\u0151 alkot\u00e1s, amely \u2012 k\u00f6zelebbr\u0151l is szeml\u00e9lve \u2012 egy\u00e9rtelm\u0171 Mozart-hat\u00e1st t\u00fckr\u00f6z (k\u00fcl\u00f6n\u00f6sen a Bella mia fiamma<\/em>... koncert\u00e1ri\u00e1\u00e9t, amelyet alig egy \u00e9vtizeddel Beethoven el\u0151tt, ugyanannak az \u00e9nekesn\u0151nek \u00edrt az osztr\u00e1k komponista).\r\n\r\nAz Ah, perfido<\/em>... csak 1805-ben jelent meg nyomtat\u00e1sban, Op. 65-k\u00e9nt. Nem sokkal k\u00e9s\u0151bb B\u00e9csben is f\u00f6lhangzott nyilv\u00e1nosan: Beethoven 1808. december 22-\u00e9n lezajlott \u2012 elk\u00e9peszt\u0151en monstru\u00f3zusra sikeredett \u2012 szerz\u0151i estj\u00e9n, olyan m\u0171vek t\u00e1rsas\u00e1g\u00e1ban, mint az a V.<\/em> \u00e9s VI. szimf\u00f3nia<\/em>, a G-d\u00far zongoraverseny<\/em>, a Karfant\u00e1zia<\/em>, a C-d\u00far mise<\/em> r\u00e9szletei (s\u0151t: a komponista mindemellett m\u00e9g improviz\u00e1lt is...).","post_title":"{:hu}Ah, perfido! \u2013 koncert\u00e1ria, op. 65{:}{:en}Ah, perfido! \u2013 concert aria, op. 65{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ah-perfido-koncertaria-op-65","to_ping":"","pinged":"","post_modified":"2020-03-04 12:24:33","post_modified_gmt":"2020-03-04 12:24:33","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=105910","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":101619,"post_author":"3","post_date":"2017-05-30 09:39:27","post_date_gmt":"2017-05-30 09:39:27","post_content":"\"T\u00fal sok benne a rik\u00edt\u00f3 \u00e9s bizarr von\u00e1s\" - \u00edrta 1805-ben az egyik kritikus Beethoven III. szimf\u00f3ni\u00e1j\u00e1r\u00f3l. Nem csoda, hogy nem sokat tudott az \u00fajdons\u00e1ggal kezdeni. Zavarba ejthett\u00e9k m\u00e1r a m\u00e9retek is: ha a kott\u00e1ban el\u0151\u00edrt (manaps\u00e1g nem mindig figyelembe vett) ism\u00e9tl\u00e9st is sz\u00e1m\u00edtjuk, az els\u0151 t\u00e9tel 846 \u00fctemb\u0151l \u00e1ll - b\u0151ven akad Haydn- vagy Mozart-szimf\u00f3nia, amelynek \u00f6sszes t\u00e9tele is kevesebb enn\u00e9l.\u00a0 A bels\u0151 ar\u00e1nyok is mer\u0151ben szokatlannak t\u0171nhettek a korabeli muzsikusoknak.\r\n\r\n\r\n\r\nI. Allegro con brio II. Marcia funebre - Adagio assai III. Scherzo. Allegro vivace IV. Finale. Allegro molto\r\n

\"T\u00fal sok benne a rik\u00edt\u00f3 \u00e9s bizarr von\u00e1s\" - \u00edrta 1805-ben az egyik kritikus Beethoven III. szimf\u00f3ni\u00e1j\u00e1r\u00f3l. Nem csoda, hogy nem sokat tudott az \u00fajdons\u00e1ggal kezdeni. Zavarba ejthett\u00e9k m\u00e1r a m\u00e9retek is: ha a kott\u00e1ban el\u0151\u00edrt (manaps\u00e1g nem mindig figyelembe vett) ism\u00e9tl\u00e9st is sz\u00e1m\u00edtjuk, az els\u0151 t\u00e9tel 846 \u00fctemb\u0151l \u00e1ll - b\u0151ven akad Haydn- vagy Mozart-szimf\u00f3nia, amelynek \u00f6sszes t\u00e9tele is kevesebb enn\u00e9l.\u00a0 A bels\u0151 ar\u00e1nyok is mer\u0151ben szokatlannak t\u0171nhettek a korabeli muzsikusoknak. A szon\u00e1taforma \u00fan. expoz\u00edci\u00f3 r\u00e9sz\u00e9nek m\u00e9reteihez k\u00e9pest hatalmas a \"kidolgoz\u00e1si\" szakasz, s a repr\u00edz ut\u00e1n a szok\u00e1sos p\u00e1r \u00fctemnyi coda helyett ism\u00e9t kidolgoz\u00e1snyi m\u00e9ret\u0171 formar\u00e9sz k\u00f6vetkezik. Mindek\u00f6zben rengeteg t\u00e9ma, mot\u00edvum, \u00f6tlet hangzik fel - a hallgat\u00f3 alapvet\u0151 benyom\u00e1sa m\u00e9gis az, hogy egyetlen hangulat, alapeszme uralkodik a t\u00e9telen: a h\u0151sies p\u00e1toszt csak a m\u0171 k\u00f6zep\u00e9n v\u00e1ltja fel r\u00f6vid id\u0151re egy dallamosabb, szel\u00eddebb zenei gondolat, az Esz-d\u00far alaphangnemhez k\u00e9pest meglep\u0151en t\u00e1voli e-moll hangnemben. K\u00f6zben olyan harm\u00f3ni\u00e1k is megsz\u00f3lalnak, amelyeket a 19. sz\u00e1zad elej\u00e9n mindenki elk\u00e9peszt\u0151en disszon\u00e1nsnak, fesz\u00fcltnek hallhatott. A kidolgoz\u00e1s ut\u00e1ni visszat\u00e9r\u00e9s pedig alighanem p\u00e1ratlan a zeneirodalomban. A zenekar izgatott von\u00f3saihoz k\u00e9pest (amelyek az alaphangnemet el\u0151k\u00e9sz\u00edt\u0151 akkordn\u00e1l tartanak) a k\u00fcrt mintha t\u00fal hamar l\u00e9pne be a f\u0151t\u00e9m\u00e1val: egy pillanatra \u00e9les disszonancia keletkezik. A c-moll lass\u00fat\u00e9tel igazi gy\u00e1szindul\u00f3 - ez sem volt megszokott a 18-19. sz\u00e1zad fordul\u00f3j\u00e1n. Ezut\u00e1n d\u00f6bbenetes ellent\u00e9t k\u00f6vetkezik: a gy\u00e1sz hangulat\u00e1t sz\u00e1guld\u00f3 scherzo v\u00e1ltja fel, amely csak a k\u00f6z\u00e9pr\u00e9sz\u00e9ben v\u00e1lik valamelyest nyugodtabb\u00e1. A finale pedig ism\u00e9t hatalmas m\u00e9ret\u0171 t\u00e9tel. K\u00fcl\u00f6n\u00f6s a kezdete. Bevezet\u0151 futam ut\u00e1n el\u0151bb csak egy basszust\u00e9m\u00e1t hallunk. Ehhez csatlakoznak k\u00fcl\u00f6nf\u00e9le sz\u00f3lamok, majd v\u00e9gre megsz\u00fcletik a basszushoz tartoz\u00f3 t\u00e9ma-dallam. A basszust\u00e9m\u00e1t \u00e9s a mel\u00f3di\u00e1t Beethoven nem el\u0151sz\u00f6r haszn\u00e1lta fel: egy korai kontrat\u00e1ncban is felfedezhetj\u00fck, majd a Prom\u00e9theusz-balett z\u00e1r\u00f3t\u00e9tel\u00e9ben, illetve az op. 35-\u00f6s jelz\u00e9ssel kiadott zongora-vari\u00e1ci\u00f3kban. A t\u00e9tel szerkezete t\u00f6bb\u00e9-kev\u00e9sb\u00e9 vari\u00e1ci\u00f3s jelleg\u0171: hol a basszus, hol a t\u00e9ma-dallam a vari\u00e1ci\u00f3k f\u0151szerepl\u0151je. Az egyik - g-moll hangnem\u0171 - vari\u00e1ci\u00f3 ezek k\u00f6z\u00fcl hat\u00e1rozottan magyaros jelleg\u0171. Beethoven 1800-t\u00f3l volt rendszeresen a Brunszvik csal\u00e1d vend\u00e9ge Martonv\u00e1s\u00e1ron, b\u0151ven ny\u00edlt alkalma teh\u00e1t megismerni a korban divatos verbunkos jelleg\u0171 muzsik\u00e1t.<\/p>\r\n

A szimf\u00f3ni\u00e1t Beethoven p\u00e1rtfog\u00f3j\u00e1nak, Lobkowitz hercegnek aj\u00e1nlotta. Eredetileg nem ez volt a sz\u00e1nd\u00e9ka. Bonaparte-szimf\u00f3ni\u00e1t tervezett (egy megrendel\u00e9s alapj\u00e1n). Az anekdota k\u00f6zismert, s sok Beethovennel kapcsolatos sz\u00ednes t\u00f6rt\u00e9nettel ellent\u00e9tben val\u00f3sz\u00edn\u0171leg igaz: amikor a komponista h\u00edr\u00e9t vette, hogy Nap\u00f3leon cs\u00e1sz\u00e1rr\u00e1 koron\u00e1ztatta mag\u00e1t, let\u00e9pte a m\u00e1r k\u00e9sz m\u0171 c\u00edmlapj\u00e1t. A partit\u00fara k\u00e9s\u0151bb \"Eroica\", azaz \"h\u0151si\" szimf\u00f3niak\u00e9nt jelent meg nyomtat\u00e1sban. A Nap\u00f3leonnal kapcsolatos t\u00f6rt\u00e9net, s a \"h\u0151si\" mell\u00e9kn\u00e9v term\u00e9szetesen sz\u00e1mtalan \u00e9rtelmez\u00e9snek adott t\u00e1pot. Akadt, aki a Prom\u00e9theusz-monda elemeit is belehallotta a kompoz\u00edci\u00f3ba. Arnold Schering n\u00e9met kutat\u00f3 szerint pedig az Ili\u00e1sz egyes fejezeteib\u0151l \u00e1llna \u00f6ssze a m\u0171 rejtett programja. A gy\u00e1szindul\u00f3 ebben az \u00f6sszef\u00fcgg\u00e9sben Hektort siratja, a r\u00e1k\u00f6vetkez\u0151 scherzo az elesett Patroklosz tisztelet\u00e9re rendezett zenei j\u00e1t\u00e9kot eleven\u00edten\u00e9 meg... A zenetud\u00f3soknak olykor a zeneszerz\u0151k\u00e9n\u00e9l is \u00e9l\u00e9nkebb a fant\u00e1zi\u00e1juk.<\/p>","post_title":"{:hu}III. (Esz-d\u00far, \"Eroica\") szimf\u00f3nia, op. 55{:}{:en}Symphony No. 3 in E-flat major (\"Eroica\"){:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iii-szimfonia-esz-dur-eroica-op-55","to_ping":"","pinged":"","post_modified":"2020-03-10 09:11:57","post_modified_gmt":"2020-03-10 09:11:57","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=101619","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":113353,"post_author":"951582","post_date":"2020-03-05 14:46:05","post_date_gmt":"2020-03-05 14:46:05","post_content":"{:hu}Megyim\u00f3recz Ildik\u00f3<\/strong> a Liszt Ferenc Zenem\u0171v\u00e9szeti Egyetemen v\u00e9gzett el\u0151sz\u00f6r klasszikus \u00e9nek szakon, majd az orat\u00f3rium \u00e9s dal\u00e9nek szak ut\u00e1n az operaszakra is felv\u00e9telt nyert, tan\u00e1ra Marton \u00c9va. 2011-ben n\u00edv\u00f3d\u00edjas volt a III. Szegedi Kort\u00e1rszenei Versenyen, egy \u00e9vvel k\u00e9s\u0151bb az V. Orsz\u00e1gos \u00c9nekversenyen els\u0151 helyez\u00e9st \u00e9rt el, 2015-ben pedig a Kort\u00e1rs Nemzetk\u00f6zi \u00c9nekversenyen m\u00e1sodik helyezett lett.{:}{:en}Ildik\u00f3 Megyim\u00f3recz initially graduated from the classical vocal department of the Liszt Academy. After later studying oratorio and Lied singing, she was then accepted on to the opera singing course, where she studied under \u00c9va Marton. In 2011, she gained third place in the Szeged Contemporary Music Context, before winning first place the following year in the Fifth Hungarian National Singing Contest. In 2015, she won second place in the Contemporary International Singing Contest.{:}","post_title":"{:hu}Megyim\u00f3recz Ildik\u00f3{:}{:en}Ildik\u00f3 Megyim\u00f3recz{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"megyimorecz-ildiko","to_ping":"","pinged":"","post_modified":"2020-03-05 15:27:49","post_modified_gmt":"2020-03-05 15:27:49","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.filharmonikusok.hu\/?post_type=artists&p=113353","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"}],"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\/650663","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\/113367","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=113367"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}