{"id":114058,"date":"2020-05-20T19:17:35","date_gmt":"2020-05-20T19:17:35","guid":{"rendered":"https:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=114058"},"modified":"2020-11-12T10:21:00","modified_gmt":"2020-11-12T10:21:00","slug":"passacaglia","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/passacaglia\/","title":{"rendered":"Passacaglia – CANCELLED!"},"content":{"rendered":"

Dear Audience,<\/p>\n

The Hungarian government has introduced new public safety measures in order to help prevent the further spread of the coronavirus epidemic. These measures came into force on 11 November 2020. We are also affected by the restrictions, as \u201cIt is prohibited to hold any kind of event, including cultural events.\u201d The new decree will remain in effect until 11 December 2020. As a result, we regret to inform you that the following concerts organised by the Hungarian National Philharmonic have been cancelled.<\/p>\n

16 November 2020, Vigado Concert Hall, “In the Attraction of Opposites”
\n2 December 2020, Vigado Concert Hall, “Tales of the East”
\n3 December 2020, Vigado Concert Hall, “Kocs\u00e1r”
\n5 December 2020, M\u00fcpa \u2013 the National Philharmonic\u2019s Rehearsal Hall, “Open Rehearsal Room”
\n10 December 2020, M\u00fcpa, “Passacaglia”<\/p>\n

Also cancelled are the remaining performances in the national chamber concert series “Music is a Gift: 150 Concerts in 150 Communities”.We will provide additional information regarding whether or not
\nsubsequent concerts will be held based on measures taken by the government over the coming week.<\/p>\n

 <\/p>\n

Ticket refunds – Ticket exchanges
\nYou may request a refund or exchange for tickets or portions of season tickets you have purchased either in person or online within 60 days after the cancelled concert. You can request a refund or exchange your ticket by writing to jegy@filharmonikusok.hu or by calling +36 (1) 411-6636; we will need to know the bar code number of the tickets or season tickets, and in the case of an exchange, the name of the concert you would like to exchange it for.<\/p>\n

All the artists of both the Hungarian National Philharmonic Orchestra and the Hungarian National Choir wish everyone much strength and perseverence during this time of emergency and hope that they can meet with their audience in person again, at one of their live concerts, as soon as possible.<\/p>\n

Please look after yourselves!<\/p>\n

Thank you for your understanding!
\nThe Hungarian National Philharmonic management<\/p>\n","protected":false},"template":"","class_list":["post-114058","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":"Kobayashi season ticket 1","kiemelt_kep":{"ID":114068,"id":114068,"title":"nfz_2020_12_10","filename":"nfz_2020_12_10.jpg","filesize":522534,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/passacaglia\/nfz_2020_12_10\/","alt":"","author":"951590","description":"","caption":"","name":"nfz_2020_12_10","status":"inherit","uploaded_to":114058,"date":"2020-05-04 13:31:59","modified":"2020-05-04 13:31:59","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1920,"height":560,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-300x88.jpg","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-768x224.jpg","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-1024x299.jpg","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-1536x448.jpg","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10.jpg","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-165x220.jpg","person-size-2-width":165,"person-size-2-height":220,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2020\/05\/nfz_2020_12_10-1600x560.jpg","slider-size-width":1600,"slider-size-height":560}},"kiemelt_kep_en":null,"megjegyzes":"","esemeny_datum":"20201210","esemeny_idopontja":"7:30 pm","esemeny_vege":"9:45 pm","sajat_program":true,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87689,"post_author":"1","post_date":"2016-09-08 08:02:38","post_date_gmt":"2016-09-08 08:02:38","post_content":"","post_title":"{:hu}M\u00fcpa - Bart\u00f3k B\u00e9la Nemzeti Hangversenyterem{:}{:en}M\u00fcpa - B\u00e9la Bart\u00f3k National Concert Hall{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"mupa-bartok-bela-nemzeti-hangversenyterem","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:38","post_modified_gmt":"2016-09-08 08:02:38","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/mupa-bartok-bela-nemzeti-hangversenyterem\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Budapest{:}{:en}Budapest{:}","orszag":"{:hu}Magyarorsz\u00e1g{:}{:en}Magyarorsz\u00e1g{:}","cim":"

1095 Budapest, Komor Marcell u. 1.<\/p>","megjegyzes":"","weboldal":"http:\/\/www.muveszetekpalotaja.hu"},"helyszin_kategoria":"budapest","karmester":{"ID":115798,"post_author":"951582","post_date":"2020-08-31 12:31:47","post_date_gmt":"2020-08-31 12:31:47","post_content":"","post_title":"{:hu}Donato Renzetti{:}{:en}Donato Renzetti{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"donato-renzetti","to_ping":"","pinged":"","post_modified":"2020-10-01 15:09:59","post_modified_gmt":"2020-10-01 15:09:59","post_content_filtered":"","post_parent":0,"guid":"https:\/\/www.filharmonikusok.hu\/?post_type=artists&p=115798","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"karmester_2":false,"hazigazda":null,"muvek":[{"ID":91261,"post_author":"1","post_date":"2016-09-08 08:57:49","post_date_gmt":"2016-09-08 08:57:49","post_content":"{:hu}I. Vorgef\u00fchle\r\nII. Vergangenes\r\nIII. Farben\r\nIV. Peripetie\r\nV. Das obligate Rezitativ<\/em>\r\n\r\n \r\n\r\n1912 folyam\u00e1n Sch\u00f6nberg r\u00f6vid ideig napl\u00f3t vezetett.\u00a0 Megpr\u00f3b\u00e1lt feljegyezni benne minden olyan esem\u00e9nyt, amelyet fontosnak tartott. Ebben a napl\u00f3ban olvashatunk n\u00e9h\u00e1ny sort az 1909 folyam\u00e1n meg\u00edrt \u00d6t zenekari darab<\/em> c\u00edmeir\u0151l is. A c\u00edmeket a kiad\u00f3 k\u00e9rte, v\u00e9lv\u00e9n, \u00edgy kap\u00f3sabb lesz a kiadv\u00e1ny. A zeneszerz\u0151 nem lelkesedett az \u00f6tlet\u00e9rt. A zen\u00e9ben ugyanis \u201eaz a csod\u00e1latos<\/em> \u2013 jegyezte fel \u2013, hogy az \u00e9rt\u0151 \u00fagyis mindent \u00e9rt, \u00e9s m\u00e9gis megmaradnak az alkot\u00f3 titkai\u201d.<\/em> A c\u00edmek viszont \u201ekifecsegik\u201d ezeket a tikokat. \u201eAzok a c\u00edmek, amelyeket adok majd, nem fecsegnek<\/em> \u2013 folytat\u00f3dik a napl\u00f3jegyzet \u2013, mert r\u00e9szben teljesen hom\u00e1lyosak, r\u00e9szben csak technikai jelleg\u0171ek. Nevezetesen: <\/em>El\u0151\u00e9rzetek (mindenkinek van ilyen), <\/em>M\u00falt (ez is) <\/em>Akkorsz\u00ednez\u0151d\u00e9sek (technikai jelleg\u0171), <\/em>Fordulat (\u00e9pp el\u00e9g \u00e1ltal\u00e1nos fogalom) \u00e9s <\/em>Az oblig\u00e1t (vagy v\u00e9gtelen) <\/em>recitat\u00edv\u2026\u201d<\/em>\r\n\r\nV\u00e9g\u00fcl is val\u00f3ban felker\u00fcltek ezek a feliratok a Peters-kiadv\u00e1nyra, egy apr\u00f3 v\u00e1ltoztat\u00e1ssal: a harmadik c\u00edm Sz\u00ednek<\/em> lett. Az els\u0151 kett\u0151h\u00f6z sokat nem tehet\u00fcnk hozz\u00e1. Az El\u0151\u00e9rzet<\/em> kezdett\u0151l fogva balj\u00f3s, f\u00e9lelmet kelt\u0151 zene, amely a v\u00e9g\u00e9n ijeszt\u0151 indul\u00f3-l\u00e1tom\u00e1ss\u00e1 v\u00e1lik. A \u201em\u00falt\u201d zenei k\u00e9pe szel\u00eddebb, csendesebb. A k\u00f6z\u00e9ps\u0151 darabr\u00f3l imm\u00e1r sokk\u00f6tetnyi eszmefuttat\u00e1s l\u00e1tott napvil\u00e1got a zenetudom\u00e1nyi szakirodalomban. Mit is jelent itt a \u201esz\u00edn\u201d? T\u00e9ny, a darabnak felt\u0171n\u0151 jellegzetess\u00e9ge a v\u00e1ltozatos hangszerel\u00e9s. Kezdetben p\u00e9ld\u00e1ul ugyanaz az \u00f6tsz\u00f3lam\u00fa akkord ism\u00e9tl\u0151dik k\u00e9tf\u00e9le hangszerel\u00e9ssel. 1911-ben befejezett \u00d6sszhangzattan-<\/em>k\u00f6nyv\u00e9nek z\u00e1r\u00f3fejezet\u00e9ben Sch\u00f6nberg felvetette az \u00fagynevezett \u201eKlangfarbenmelodie\u201d<\/em> gondolat\u00e1t, vagyis azt, hogy a hangmagass\u00e1g \u00e9s a ritmus mellett a hangsz\u00edn ne legyen t\u00f6bb\u00e9 a kompon\u00e1l\u00e1s m\u00e1sodlagos, j\u00e1rul\u00e9kos eleme, mint a m\u00faltban. Mi\u00e9rt is ne lehetne hangsz\u00ednv\u00e1ltoztat\u00e1sokkal dallam\u00e9rt\u00e9k\u0171 zenei alakzatokat teremteni (v\u00e9gletes esetben \u00fagy, hogy azonos hangmagass\u00e1g sz\u00f3l, csak mindig m\u00e1s sz\u00ednnel). Az \u00d6t zenekari darab<\/em> k\u00f6z\u00e9ps\u0151 t\u00e9tele k\u00e9ts\u00e9gk\u00edv\u00fcl errefel\u00e9 tesz l\u00e9p\u00e9st. Ugyanakkor nagyon is tudatosan szerkesztett, polifon zene: az akkordok egym\u00e1sut\u00e1nj\u00e1t szigor\u00fa rend szabja meg (minden sz\u00f3lam el\u0151bb-ut\u00f3bb elmozdul kisszekunddal felfel\u00e9, majd nagy szekunddal lefel\u00e9).\r\n\r\nSokkal k\u00e9s\u0151bb a zeneszerz\u0151 azt is bevallotta, egy ny\u00e1ri \u00e9lm\u00e9ny ihlette a kompoz\u00edci\u00f3t. Hajnalban cs\u00f3nak\u00e1zott a Traunsee t\u00fck\u00f6rsima viz\u00e9n, gy\u00f6ny\u00f6rk\u00f6d\u00f6tt a f\u00e9nyek j\u00e1t\u00e9k\u00e1ban \u2013 s az akkordsor mellett-f\u00f6l\u00f6tt cik\u00e1z\u00f3 apr\u00f3 mot\u00edvumok voltak\u00e9pp a fick\u00e1ndoz\u00f3 halak l\u00e1tt\u00e1n jutottak esz\u00e9be\u2026 Az Egyes\u00fclt \u00c1llamokban kiadott, revide\u00e1lt partit\u00far\u00e1ban egy\u00e9bk\u00e9nt m\u00e1r a c\u00edm sem leplezi az ihlet\u0151 forr\u00e1st. \u00cdgy hangzik: Summer morning by a lake (Colors)<\/em>. A nyugodt \u201elass\u00fa t\u00e9tel\u201d ut\u00e1n a negyedik val\u00f3ban \u201efordulat\u201d izgatott kezdet\u00e9vel.\r\n\r\nA z\u00e1r\u00f3t\u00e9tel c\u00edm\u00e9t a legnehezebb megmagyar\u00e1zni. Richard Wagner egy gondolat\u00e1nak saj\u00e1tos folytat\u00e1s\u00e1r\u00f3l van sz\u00f3. Wagner \u00fagy gondolta, a klasszikus zene \u00e1ltal\u00e1ban a versre eml\u00e9keztet a maga n\u00e9gy-nyolc\u00fctemes periodiz\u00e1ci\u00f3j\u00e1val, z\u00e1rlataival. A romantikus kor m\u0171v\u00e9sz\u00e9nek meg kellene szabadulnia ett\u0151l a sztereot\u00edpi\u00e1t\u00f3l, \u00e9s a pr\u00f3za szabads\u00e1g\u00e1hoz kellene k\u00f6zel\u00edtenie a muzsik\u00e1t. Sch\u00f6nberg itt v\u00e9gletekig viszi ezt a Wagner \u00e1ltal felvetett, de soha teljes m\u00e9rt\u00e9kben meg nem val\u00f3s\u00edtott eszm\u00e9t. Zenei pr\u00f3z\u00e1j\u00e1ban semmif\u00e9le periodikus tagol\u00e1s, semmilyen els\u0151 hall\u00e1sra felfedezhet\u0151 ism\u00e9tl\u00e9s nincs. Nincs \u201et\u00e9ma\u201d, nincs \u00e1tvezet\u00e9s, csak v\u00e9gtelen zenei besz\u00e9d. Mintha egy bibliai pr\u00f3f\u00e9ta mondan\u00e1, amit fels\u0151bb hatalmak sugallnak neki, nem t\u00f6r\u0151dve azzal, vajon hallgatj\u00e1k-e egy\u00e1ltal\u00e1n, s \u00e9rtik-e szavait.{:}{:en}I. Vorgef\u00fchle II. Vergangenes III. Farben IV. Peripetie V. Das obligate Rezitativ\r\n\r\n \r\n\r\nIn 1912, Schoenberg briefly kept a diary. He attempted to make notes of all events he deemed important. In this diary we can read a few lines about the titles of his Five Orchestral Pieces written in 1909. The composer was none too enthusiastic for the idea. In music, he noted, \"what is marvellous is that he that understands comprehends all and yet the creator's secrets remain.\" The titles, he felt, \"blurt out\" these secrets. \"Those titles, which I will give, do not blurt out anything\" he continues \"because partly they are entirely obscure, partly they are technical only. Which is to say \"Premonitions\" - everyone has them; \"Bygones\" - same again; Chord Colours (technical), Climax (a pretty general term); the Obligatory recitative.\" In the end, these titles were appended to the Peters edition, although the third piece was renamed \"Colours\" instead. We cannot add much to the first two. \"Premonitions\" is music that from the very beginning arouses fear and unease, and by its end has become a frightening vision. The musical image of \"Bygones\" is gentler and quieter.The middle movement has inspired reams of literature from musicologists.\r\n\r\n \r\n\r\nWhat does Schoenberg mean by \"Colour?\" True, one obvious aspect of it is its varied orchestration. At the beginning, we hear the same five voice chord repeated in two different orchestrations. In the final chapter of his textbook on harmony completed in 1911, Schoenberg brought up the idea of \"Klangfarbenmelodie\", which is to say that besides pitch and rhythm, he argued that perhaps sound colour should no longer be a secondary contributory element as it was in the past. Why should it not be possible to create musical forms with melodic value using changes of sound colour (the ultimate case would be a sequence of notes of the same pitch but each one having a different sound colour)? The middle movement of the Five Orchestral Pieces undoubtedly takes steps in this direction. By the same token, it is very consciously constructed polyphonic music: the progression of chords is strictly determined (each voice sooner or later moves up a minor second, and then down a major second). Much later, Schoenberg admitted that a summer experience inspired the composition. At dawn, he was on a boat on the smooth waters of the Traunsee and was overwhelmed by the play of the light - perhaps the small motives that dart around and above the chordal progressions should be taken as fish ... After his move to the United States, Schoenberg revised the work and its title becomes more revealing: \"Summer morning by a lake (Colours).\"\r\n\r\n \r\n\r\nAfter the relaxed \"slow movement\", the fourth truly begins with an excited climax. The title of the last piece is the hardest to explain. It is essentially the unique continuation of one of Richard Wagner's ideas. Wagner felt that the four and eight bar structure generally underlying all classical music was reminiscent of verse. He believed that artists of the Romantic era should liberate themselves from this stereotypical method and approach music with the freedom of prose. In this piece, Schoenberg takes Wagner's concept (which Wagner never truly realised himself) to its logical conclusion. There is no periodic articulation, or any repetition that we can discern at first hearing. There is no \"theme\", no \"bridge\", just infinite musical discourse. It is as if a biblical prophet is relaying what the higher powers have whispered to him, not bothering whether anyone hears it or if they understand his words.{:}","post_title":"{:hu}\u00d6t zenekari darab, op. 16{:}{:en}Five Pieces for Orchestra, op. 16{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ot-zenekari-darab-op-16","to_ping":"","pinged":"","post_modified":"2020-09-28 03:35:00","post_modified_gmt":"2020-09-28 03:35:00","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/ot-zenekari-darab-op-16\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":91743,"post_author":"1","post_date":"2016-09-08 08:57:56","post_date_gmt":"2016-09-08 08:57:56","post_content":"{:hu}Rachmaninov III. zongoraverseny<\/em>\u00e9t sokan minden id\u0151k legnehezebb billenty\u0171s versenym\u0171v\u00e9nek tartj\u00e1k. Ennek a v\u00e9lem\u00e9nynek nem csup\u00e1n a zongorasz\u00f3lam elk\u00e9peszt\u0151 technikai k\u00f6vetelm\u00e9nyei, hanem a gazdag zenei sz\u00f6vet ritmikai bonyolults\u00e1ga, s a sz\u00f3lista \u00e9s a zenekar egy\u00fcttj\u00e1tsz\u00e1s\u00e1nak neh\u00e9zs\u00e9ge ad alapot. A m\u0171 megsz\u00f3laltat\u00e1sa ma is nagy kih\u00edv\u00e1s minden zongoram\u0171v\u00e9sz sz\u00e1m\u00e1ra, amelynek megfelelni, k\u00fcl\u00f6n\u00f6sen azzal a term\u00e9szetes k\u00f6nnyeds\u00e9ggel \u00e9s eleganci\u00e1val, ahogyan az 1939-ben k\u00e9sz\u00fclt legend\u00e1s felv\u00e9telen maga a szerz\u0151 j\u00e1tszik, csak a legnagyobbaknak siker\u00fcl. K\u00f6zhely, de igaz, hogy Rachmaninov zongorasz\u00f3lamainak virtuozit\u00e1sa sosem \u00f6nc\u00e9l\u00fa, mindig csak eszk\u00f6z a zene szolg\u00e1lat\u00e1ban \u2013 ugyan\u00fagy, ahogyan egykor Lisztn\u00e9l. B\u00e1r sajnos Liszt zongoraj\u00e1t\u00e9k\u00e1r\u00f3l nem \u00e1ll rendelkez\u00e9s\u00fcnkre felv\u00e9tel, de a fennmaradt le\u00edr\u00e1sok alapj\u00e1n \u00fagy t\u0171nik, Rachmaninov hangszeres m\u0171v\u00e9szete nem csak a technikai elemek sokas\u00e1g\u00e1ban, de a zongor\u00e1val val\u00f3 kapcsolat eg\u00e9sz attit\u0171dj\u00e9ben is rokon lehetett Liszt\u00e9vel. (Az \u00f6sszek\u00f6t\u0151 kapocs kettej\u00fck k\u00f6z\u00f6tt Rachmaninov unokatestv\u00e9re, Alexander Ziloti volt, Liszt egyik legh\u00edresebb weimari n\u00f6vend\u00e9ke, aki k\u00e9s\u0151bb a moszkvai konzervat\u00f3riumban Rachmaninovot is tan\u00edtotta.)\r\n\r\nRachmaninov els\u0151 amerikai hangversenyk\u00f6r\u00fatj\u00e1ra 1909 \u0151sz\u00e9n ker\u00fclt sor, s a zeneszerz\u0151 erre az alkalomra kompon\u00e1lta a III. zongoraverseny<\/em>t. A m\u0171 bemutat\u00f3ja november 28-\u00e1n hangzott el New Yorkban, majd Rachmaninov 1910 janu\u00e1rj\u00e1ban \u00fajra elj\u00e1tszotta, ez\u00fattal Gustav Mahler vez\u00e9nylet\u00e9vel \u2013 ez az el\u0151ad\u00e1s nagy hat\u00e1ssal volt a komponist\u00e1ra, s \u00fagy eml\u00e9kezett vissza r\u00e1, hogy ez volt az egyetlen alkalom, amikor a m\u0171 nemcsak a muzsikusok, hanem a k\u00f6z\u00f6ns\u00e9g k\u00f6r\u00e9ben is sikert aratott.\r\n\r\nA zongoraversenyt szerz\u0151je Josef Hofmannak aj\u00e1nlotta, akit a kor legjobb zongorist\u00e1j\u00e1nak tartott, \u00e1m \u0151 sohasem j\u00e1tszotta el, s a m\u0171 csak az 1930-as \u00e9vekben, nagyr\u00e9szt Vladimir Horowitznak k\u00f6sz\u00f6nhet\u0151en indult el a n\u00e9pszer\u0171s\u00e9g \u00fatj\u00e1n. (A nagyk\u00f6z\u00f6ns\u00e9g k\u00f6r\u00e9ben a Shine<\/em> [Ragyogj!<\/em>] c\u00edm\u0171 ausztr\u00e1l filmnek k\u00f6sz\u00f6nhet\u0151en v\u00e1lt ismertt\u00e9. A film f\u0151h\u0151se David Helfgott zongoram\u0171v\u00e9sz, s kulcsszerepet j\u00e1tszik benne Rachmaninov III. zongoraverseny<\/em>e.)\r\n

A zongoraverseny h\u00e1rom t\u00e9tel\u00e9t szoros tematikus sz\u00e1lak k\u00f6tik \u00f6ssze: a nyit\u00f3t\u00e9tel f\u0151t\u00e9m\u00e1ja visszat\u00e9r a 2. (Intermezzo<\/em>) t\u00e9telben, illetve a sz\u00fcnet n\u00e9lk\u00fcl k\u00f6vetkez\u0151 fin\u00e1l\u00e9ban is. Ez a f\u0151t\u00e9ma orosz liturgikus, illetve n\u00e9pi dallamokkal mutat hasonl\u00f3s\u00e1got, \u00e1m maga a szerz\u0151 tagadta, hogy ez a hasonl\u00f3s\u00e1g tudatos lenne: \u201eHarmadik zongoraversenyem f\u0151t\u00e9m\u00e1j\u00e1t sem n\u00e9pi, sem egyh\u00e1zi forr\u00e1sokb\u00f3l nem k\u00f6lcs\u00f6n\u00f6ztem. Az egyszer\u0171en \u00bbsaj\u00e1t mag\u00e1t \u00edrta meg\u00ab\u2026 Ha volt is valamilyen elk\u00e9pzel\u00e9sem ennek a t\u00e9m\u00e1nak a megkompon\u00e1l\u00e1sakor, az csak a hangz\u00e1sra vonatkozott. Azt akartam, hogy a dallam \u00bb\u00e9nekeljen\u00ab a zongor\u00e1n, ahogyan egy \u00e9nekes \u00e9nekeln\u00e9, \u00e9s megfelel\u0151 zenekari k\u00eds\u00e9retet akartam tal\u00e1lni hozz\u00e1, olyant, amelyik nem fedi el ezt az \u00e9nekl\u00e9st.\u201d<\/em> Az els\u0151 t\u00e9telhez Rachmaninov k\u00e9t cadenz\u00e1t is \u00edrt, egy s\u0171r\u0171bb, akkordikusabb sz\u00f6vet\u0171t, illetve egy k\u00f6nnyedebbet; \u0151 maga mindig ez ut\u00f3bbit j\u00e1tszotta, s eleinte m\u00e1s zongorist\u00e1k is ezt a szok\u00e1st k\u00f6vett\u00e9k. Az ut\u00f3bbi id\u0151ben azonban egyre n\u00e9pszer\u0171bb\u00e9 v\u00e1lik az els\u0151 cadenza is.<\/p>{:}{:en}

Rachmaninov\u2019s Piano Concerto No. 3 is widely considered to be the most difficult keyboard work of all times. That view is based on the immense technical challenge that the piano solo poses, the rhythmic complexity of the rich musical fabric, as well as the difficulty of playing together for both soloist and orchestra. Rachmaninov composed his work for his first American concert tour in the summer of 1909. It received its premiere in New York on 28 November, and in January 1910 he gave another performance of it under the baton of Gustav Mahler. The three movements of the concerto are closely linked in terms theme. The main theme of the first movement returns in the second (Intermezzo) and in the finale, which follows without interruption. This main theme is reminiscent of Russian liturgical and folk melodies, but the composer denied the similarity was conscious. Rachmaninov composed two cadenzas for the first movement; one with a more densely chordal fabric, and a lighter one. He himself always played the latter, and initially other pianists followed suite, but recently the first has become increasingly popular, too.<\/p>\r\n

<\/p>{:}","post_title":"{:hu}III. (d-moll) zongoraverseny, op. 30{:}{:en}Piano Concerto No. 3 in D minor, op. 30{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iii-d-moll-zongoraverseny-op-30","to_ping":"","pinged":"","post_modified":"2020-09-28 03:32:51","post_modified_gmt":"2020-09-28 03:32:51","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/iii-d-moll-zongoraverseny-op-30\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":110080,"post_author":"951590","post_date":"2019-04-23 10:24:35","post_date_gmt":"0000-00-00 00:00:00","post_content":"","post_title":"***","post_excerpt":"","post_status":"draft","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"","to_ping":"","pinged":"","post_modified":"2019-04-23 10:24:35","post_modified_gmt":"2019-04-23 10:24:35","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=110080","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":91483,"post_author":"1","post_date":"2016-09-08 08:57:52","post_date_gmt":"2016-09-08 08:57:52","post_content":"{:hu}Miut\u00e1n befejezte negyedik szimf\u00f3ni\u00e1j\u00e1t, Brahms m\u00e9g tizenk\u00e9t \u00e9vet \u00e9lt, de \u00f6t\u00f6diket m\u00e1r nem \u00edrt. Aligha csod\u00e1lkozhatunk, ha a komponista \u00fagy \u00e9rezte: a szimf\u00f3nia m\u0171faj\u00e1ban nem volt mit hozz\u00e1tennie a Negyedik<\/em>hez, melyben a k\u00f6z\u00e9pkori egyh\u00e1zi hangnemek \u00e9s barokk vari\u00e1ci\u00f3s technik\u00e1k t\u00f6k\u00e9letes egys\u00e9gbe forrtak a klasszikus szon\u00e1taforma keretei k\u00f6z\u00f6tt kibontakoz\u00f3 romantikus kifejez\u00e9ssel.\r\n\r\nAz els\u0151 t\u00e9tel k\u00e9t f\u0151 dallamra \u00e9p\u00fcl: egy l\u00edrai nyit\u00f3t\u00e9m\u00e1ra \u2013 amely l\u00e9nyeg\u00e9ben nem \u00e1ll m\u00e1sb\u00f3l, mint egy ereszked\u0151 tercl\u00e1ncolatb\u00f3l \u2013 \u00e9s egy ritmikus m\u00e1sodik t\u00e9m\u00e1ra. A kett\u0151 k\u00f6z\u00f6tti kontraszt m\u00e9g jobban ki\u00e9lez\u0151dik a feldolgoz\u00e1si r\u00e9szben, ahol a ritmikus t\u00e9ma szenved\u00e9lyesen dr\u00e1mai jelleget \u00f6lt, m\u00edg a l\u00edrai dallam val\u00f3s\u00e1gos panasz\u00e9nekk\u00e9 v\u00e1lik. A visszat\u00e9r\u00e9s elej\u00e9n Brahms meghosszabb\u00edtja a t\u00e9ma els\u0151 n\u00e9gy hangj\u00e1t, \u00e9s hozz\u00e1tesz n\u00e9h\u00e1ny k\u00fcl\u00f6nleges harm\u00f3ni\u00e1t, amit\u0151l egy pillanatra mintha meg\u00e1llna az id\u0151. Ez a rejtelmes n\u00e9h\u00e1ny \u00fctem k\u00e9ts\u00e9gk\u00edv\u00fcl a klasszikus zene h\u00e9t csod\u00e1j\u00e1nak egyike. A visszat\u00e9r\u00e9s ezut\u00e1n a megszokott \u00faton halad tov\u00e1bb, de a t\u00e9tel v\u00e9g\u00e9n \u00fajabb meglepet\u00e9s v\u00e1r: egy k\u00f3da, ahol Brahms a l\u00edrai els\u0151 t\u00e9m\u00e1ba beoltja a m\u00e1sodik dallam lend\u00fcletes energi\u00e1j\u00e1t. \u00cdgy a t\u00e9tel v\u00e9ge ism\u00e9t egyfajta szint\u00e9zis: \u00f6sszefoglal\u00e1sa mindannak, amit kor\u00e1bban hallottunk.\r\n\r\nAz els\u0151 t\u00e9telhez hasonl\u00f3an a m\u00e1sodik szint\u00e9n alapvet\u0151en melodikus \u00e9s alapvet\u0151en ritmikus anyagokat \u00e1ll\u00edt ellent\u00e9tbe egym\u00e1ssal. Brahms egym\u00e1st\u00f3l t\u00e1voli hangnemeket v\u00e1ltakoztat \u2013 k\u00f6zt\u00fck a k\u00f6z\u00e9pkori eredet\u0171 fr\u00edget \u2013, \u00e9s a hat\u00e1s olyan, mintha rejt\u00e9lyes, \u0151si legend\u00e1k t\u00e1ruln\u00e1nak el\u00e9nk. A dallamot \u00e1ltal\u00e1ban a m\u00e9lyebb von\u00f3sok (br\u00e1cs\u00e1k \u00e9s csell\u00f3k) sz\u00f3laltatj\u00e1k meg, m\u00edg a heged\u0171k \u00e9s a magas faf\u00fav\u00f3k ink\u00e1bb k\u00eds\u00e9r\u0151 szerepet j\u00e1tszanak. A t\u00e9tel form\u00e1ja, a kidolgoz\u00e1s n\u00e9lk\u00fcli szon\u00e1taforma Haydn \u00e9s Mozart lass\u00fa t\u00e9teleib\u0151l ismer\u0151s, de Brahms teljesen \u00faj hangz\u00e1svil\u00e1got bontakoztat ki a hagyom\u00e1nyos szerkezet keretei k\u00f6z\u00f6tt.\r\n\r\nA Brahms-szimf\u00f3ni\u00e1k egyetlen igazi scherzo-jelleg\u0171 t\u00e9tele k\u00f6vetkezik. A t\u00e9tel m\u00e9gsem igazi scherzo, Brahms nem is h\u00edvta annak, hanem puszt\u00e1n az Allegro giocoso<\/em> (gyors \u00e9s vid\u00e1m) temp\u00f3jelz\u00e9ssel l\u00e1tta el. A h\u00e1romr\u00e9szes scherzo-forma helyett szon\u00e1taform\u00e1t alkalmazott, \u00e9s ker\u00fclte Beethoven vagy Mendelssohn scherz\u00f3inak k\u00f6nnyeds\u00e9g\u00e9t vagy a Schubert-scherz\u00f3knak a L\u00e4ndlerre, az osztr\u00e1k n\u00e9pi t\u00e1ncra utal\u00f3 hangj\u00e1t. Brahms scherz\u00f3inak karaktere \u00e1ltal\u00e1ban komolyabb; ennek ellen\u00e9re a sok v\u00e1ratlan hangs\u00faly \u00e9s meglep\u0151 hangnemv\u00e1lt\u00e1s egy\u00e9rtelm\u0171en a scherzo-hagyom\u00e1nyhoz kapcsolja a IV. szimf\u00f3nia<\/em> harmadik t\u00e9tel\u00e9t, amely egyike Brahms legj\u00f3kedv\u0171bb alkot\u00e1sainak. Ebben nem kis r\u00e9sze van a triangulum vid\u00e1m csilingel\u00e9s\u00e9nek, mely hangszer sehol m\u00e1shol nem szerepel Brahms szimf\u00f3ni\u00e1iban. (Ebben a scherz\u00f3ban a zenekar m\u00e9g a piccol\u00f3val \u00e9s a kontrafagottal is kieg\u00e9sz\u00fcl.)\r\n\r\nA szimf\u00f3nia cs\u00facspontja a rendk\u00edv\u00fcli z\u00e1r\u00f3t\u00e9tel, mely a chaconne vagy passacaglia n\u00e9ven ismeretes barokk vari\u00e1ci\u00f3s form\u00e1t eleven\u00edti fel. Brahms behat\u00f3an tanulm\u00e1nyozta a Bach-kant\u00e1t\u00e1kat, \u00e9s tagja volt az els\u0151 Bach-\u00f6sszkiad\u00e1s szerkeszt\u0151i bizotts\u00e1g\u00e1nak. \u00cdgy j\u00f3l ismerte a 150. kant\u00e1t\u00e1t is, amelyr\u0151l a modern Bach-kutat\u00e1s egy\u00e9bk\u00e9nt meg\u00e1llap\u00edtotta, hogy a legkor\u00e1bbi Bach-kant\u00e1t\u00e1k egyike, ha nem \u00e9ppen a legeslegkor\u00e1bbi. Ennek a m\u0171nek a v\u00e9g\u00e9n egy emelked\u0151 sk\u00e1labasszusra \u00edrott passacaglia \u00e1ll; Brahms ennek a t\u00e9m\u00e1j\u00e1t vette \u00e1t, egyetlen apr\u00f3 v\u00e1ltoztat\u00e1ssal, a szimf\u00f3nia fin\u00e1l\u00e9ja sz\u00e1m\u00e1ra. A forma l\u00e9nyege a \u201efolyamatos vari\u00e1l\u00e1s\u201d, vagyis az egyes vari\u00e1ci\u00f3k k\u00f6z\u00f6tt nincsen sz\u00fcnet. Minthogy a t\u00e9ma igen r\u00f6vid, \u00e9s a vari\u00e1ci\u00f3k meglehet\u0151sen gyorsan k\u00f6vetik egym\u00e1st, az egyes vari\u00e1ci\u00f3kat nem k\u00fcl\u00f6n-k\u00fcl\u00f6n, hanem egy nagy l\u00e9legzet\u0171 form\u00e1ba \u00e1gyaz\u00f3dva \u00e9szlelj\u00fck.\r\n

Brahms sz\u00e1m\u00e1ra fontos volt, hogy a vari\u00e1ci\u00f3k karaktere a t\u00e9tel sor\u00e1n egyre intenz\u00edvebb\u00e9 v\u00e1lj\u00e9k. A fin\u00e1l\u00e9 els\u0151 fele \u00edgy \u00e1lland\u00f3an emelked\u0151 \u00edvet \u00edr le. A t\u00e9ma el\u0151sz\u00f6r \u00f6nmag\u00e1ban jelenik meg a basszusban, majd egyetlen orgonapont k\u00eds\u00e9ret\u00e9ben halljuk. Ezut\u00e1n halk ellensz\u00f3lam t\u00e1rsul a t\u00e9m\u00e1hoz; ezt szenved\u00e9lyesebb hang\u00fa heged\u0171dallam k\u00f6veti, mely a teljes zenekaron kibontakoz\u00f3 crescend\u00f3ba torkollik. E tet\u0151pont ut\u00e1n a zene lecsillapszik, \u00e9s a h\u00e1rom k\u00f6zponti vari\u00e1ci\u00f3ban a basszust\u00e9ma temp\u00f3ja fel\u00e9re lassul (az \u00fctemjelz\u00e9s 3\/4-r\u0151l 3\/2-re v\u00e1lt). Var\u00e1zsos fuvolasz\u00f3l\u00f3 hangzik fel; a k\u00f6vetkez\u0151 vari\u00e1ci\u00f3ban a klarin\u00e9t \u00e9s az oboa domin\u00e1l, majd a h\u00e1rom harsona veszi \u00e1t a vezet\u00e9st. (Ez az a pont, ahol a zene e-mollb\u00f3l E-d\u00farra v\u00e1lt.) A t\u00e9tel elej\u00e9nek visszaid\u00e9z\u00e9se a szimf\u00f3nia energikus \u00e9s tragikus befejez\u00e9s\u00e9t k\u00e9sz\u00edti el\u0151, ahol a passacaglia-t\u00e9ma egyes\u00fcl az els\u0151 t\u00e9tel ereszked\u0151 terct\u00e9m\u00e1j\u00e1val, grandi\u00f3zus egys\u00e9gbe foglalva az eg\u00e9sz szimf\u00f3ni\u00e1t.<\/p>{:}{:en}

Brahms spent the summer of 1885 in M\u00fcrzzuschlag, during which time he created one of his most majestic compositions, his Fourth, crowning all of his symphonies. However, it did not always enjoy the popularity it does today. In its time even Brahms\u2019s closest friends failed to understand it. Max Kalbeck believed the work lacked unity, his suggested remedy being to omit the two last movements (and compose new ones instead), and Eduard Hanslick is alleged to have exclaimed, while listening to the opening movement, \u2018For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people.\u2019 Brahms, however, was unwilling to make any changes and his decision was justified by the immense success of the Meiningen premiere. Critics analysing the work believe that Brahms\u2019s insistence on leaving the work unchanged was more than just a rational decision. His obstinacy is thought to have been motivated by the confessional character of the symphony. The series of thirds in the first bars of the opening movement would reappear in his Four Serious Songs with the text \u2018O Tod, o Tod\u2019; the famous bass progression in the finale is related to the following line in J. S. Bach\u2019s cantata no. 150: \u2018My days spent in sorrow \/ God ends nevertheless with joy\u2019.<\/p>{:}","post_title":"{:hu}IV. (e-moll) szimf\u00f3nia, op. 98{:}{:en}Symphony No. 4 in E minor, op. 98{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iv-szimfonia-e-moll-op-98","to_ping":"","pinged":"","post_modified":"2020-09-28 03:28:25","post_modified_gmt":"2020-09-28 03:28:25","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/iv-szimfonia-e-moll-op-98\/","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":86216,"post_author":"1","post_date":"2020-04-22 08:00:24","post_date_gmt":"2020-04-22 08:00:24","post_content":"{:hu}

Gener\u00e1ci\u00f3ja egyik legnagyobb zongorist\u00e1jak\u00e9nt ismerik el. Karrierje t\u00edz \u00e9vvel ezel\u0151tt kezd\u0151d\u00f6tt, amikor arany\u00e9rmet nyert a 11. Van Cliburn Nemzetk\u00f6zi Zongoraversenyen 2001-ben. A m\u00e1sodik els\u00f6pr\u0151 sikere 2004-ben New York City-ben t\u00f6rt\u00e9nt, a magasan \u00e9rt\u00e9kelt New York City sz\u00f3l\u00f3koncertj\u00e9n a Carnegie Zankel Hallban. \u00c9l\u00e9nk sz\u00ednpadi jelenl\u00e9t\u00e9vel \u00e9s szenved\u00e9lyesen magabiztos zeneis\u00e9g\u00e9vel, k\u00fcl\u00f6nleges technik\u00e1j\u00e1val, egyar\u00e1nt elb\u0171v\u00f6li k\u00f6z\u00f6ns\u00e9g\u00e9t \u00e9s a kritikusokat is a felt\u0171n\u0151en fiatal zongorista. Olga Kern 2006 november\u00e9ben Sosztakovics 1. zongoraverseny\u00e9vel mutatkozott be a Royal Philharmonikus Zenekarnak, Leonard Slatkin vez\u00e9nylete alatt. Olga Kern sz\u00e1mos vil\u00e1gh\u00edr\u0171 hangversenyteremben j\u00e1tszott, \u00e9s vil\u00e1gszerte fell\u00e9p zenei fesztiv\u00e1lokon.\r\nOlga Kern olyan muzsikus csal\u00e1dba sz\u00fcletett, akik k\u00f6zvetlen\u00fcl kapcsol\u00f3dtak Csajkovszkijhoz \u00e9s Rachmaninovhoz. \u00d6t \u00e9ves kor\u00e1ban kezdett zongor\u00e1zni. Tizenh\u00e9t \u00e9ves volt, amikor megnyerte a Rachmaninov Nemzetk\u00f6zi Zongorversenyt \u00e9s mintegy tizenegy nemzetk\u00f6zi verseny d\u00edjazottja volt. Nemcsak haz\u00e1j\u00e1ban, Oroszorsz\u00e1gban turn\u00e9zik, hanem az Egyes\u00fclt \u00c1llamokban \u00e9pp\u00fagy, mint Jap\u00e1nban, D\u00e9l-Afrik\u00e1ban vagy Kore\u00e1ban. Lemezeinek exkluziv kiad\u00f3ja a Harmonia Mundi.<\/p>{:}{:en}

She is recognized as one of her generation\u2019s great pianists, Olga Kern\u2019s career began one decade ago with her award winning gold-medal performance at the Eleventh Van Cliburn International Piano Competition in 2001. Her second catapulting triumph came in New York City on May 4, 2004, with a highly acclaimed New York City recital debut at Carnegie\u2019s Zankel Hall.\r\nWith her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking young Russian pianist continues to captivate fans and critics alike.\r\nOlga Kern made her London debut with the Royal Philharmonic Orchestra in November 2006 playing Shostakovich Piano Concerto No. 1 with Leonard Slatkin conducting.\r\nOlga Kern has performed in many of the world's most important venues, and has appeared at the music festivals around the world.\r\nOlga Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninov and began studying piano at the age of five. Winner of the first Rachmaninov International Piano Competition when she was seventeen, she is a laureate of eleven international competitions and has toured throughout her native Russia, Europe, and the United States, as well as in Japan, South Africa, and South Korea.\r\nOlga Kern records exclusively for Harmonia Mundi.<\/p>\r\n {:}","post_title":"{:hu}Olga Kern{:}{:en}Olga Kern{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"olga-kern","to_ping":"","pinged":"","post_modified":"2020-10-14 12:07:27","post_modified_gmt":"2020-10-14 12:07:27","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86216","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}zongora{:}{:en}piano{:}"}],"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":"link","jegyarak":"HUF 5,500 \/ 4,500 \/ 4,000 \/ 3,500 \/ 2,500","jegyvasarlas_gomb":"https:\/\/nfz.jegy.hu\/program\/passacaglia-kobayashi-i-116145\/660109?lang=en","elkeltek_a_jegyek":false,"youtube_id":"","old_id":"","hivatkozas_gomb_szovege":"CANCELLED!","hivatkozas_gomg_url-je":""},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/114058","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=114058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}