{"id":83640,"date":"2016-08-08T13:28:39","date_gmt":"2016-08-08T13:28:39","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=83640"},"modified":"2017-02-01T08:26:24","modified_gmt":"2017-02-01T08:26:24","slug":"oratorikus-gyongyszemek-budapesten-10-4","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/oratorikus-gyongyszemek-budapesten-10-4\/","title":{"rendered":"Season Opening Concert with Works by B\u00e9la Bart\u00f3k"},"content":{"rendered":"

In keeping with tradition, the first night of the season will feature works by Bart\u00f3k, showing contrasting faces of the composer from different periods in his life. Mature works of his youth are represented by Two Images<\/em> (1910) and the undeservedly rarely heard symphonic cycle Four Pieces for Orchestra<\/em> with its late-Romantic passion and French colours. Premi\u00e8red in 1923, the Dance Suite<\/em> contrasts the characteristic motifs of the music of the Danube peoples in what is Bart\u00f3k\u2019s personal creed. Composed in New York, he dedicated his last completed work, the Piano Concerto No. 3<\/em>, to his wife. Dezs\u0151 R\u00e1nki is one of few artists who can boast this twilight masterpiece to be their musical vernacular.<\/p>\n","protected":false},"template":"","class_list":["post-83640","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":{"sajat_program":true,"alcim":"Dezs\u0151 R\u00e1nki and Zolt\u00e1n Kocsis","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"},"jegyarak":"5.200 Ft, 4.300 Ft, 3.600 Ft, 2.900 Ft, 2.100 Ft","jegyvasarlas_gomb":"http:\/\/nfz.jegy.hu\/program\/nyitohangverseny-bartok-muveibol-ranki-dezso-zongora-vezenyel-kocsis-zoltan-50808\/330382","esemeny_datum":"20160925","esemeny_idopontja":"19.30 - 22.00","karmester":{"ID":85860,"post_author":"1","post_date":"2016-10-25 09:23:04","post_date_gmt":"2016-10-25 09:23:04","post_content":"{:hu}Kocsis Zolt\u00e1n nemzetk\u00f6zi karrierje 18 \u00e9ves kor\u00e1ban a Magyar R\u00e1di\u00f3 Beethoven-verseny\u00e9nek megnyer\u00e9s\u00e9vel indult. N\u00e9h\u00e1ny \u00e9v alatt szinte berobbant a nemzetk\u00f6zi zenei vil\u00e1gba, megh\u00edv\u00e1s megh\u00edv\u00e1st k\u00f6vet Eur\u00f3pa, \u00c9szak- \u00e9s D\u00e9l-Amerika, valamint a T\u00e1vol-Kelet meghat\u00e1roz\u00f3 zenei k\u00f6zpontjaiba \u00e9s fesztiv\u00e1ljaira. Richtert\u0151l megh\u00edv\u00e1st kap fesztiv\u00e1lj\u00e1ra Franciaorsz\u00e1gba, amit k\u00f6z\u00f6s n\u00e9gykezes koncertek k\u00f6vetnek. Fell\u00e9pett a vil\u00e1g sz\u00e1mos vezet\u0151 zenekar\u00e1val, mint p\u00e9ld\u00e1ul a Berlini Filharmonikusok, a Royal Philharmonic Orchestra, a B\u00e9csi Filharmonikusok, a Chicag\u00f3i Szimfonikus Zenekar, a San Francisc\u00f3-i Szimfonikus Zenekar. Rendszeres szt\u00e1rvend\u00e9ge a nemzetk\u00f6zi zenei \u00e9let rangos fesztiv\u00e1ljainak: Edinburgh, P\u00e1rizs, Tours, Luzern, Salzburg, Pr\u00e1ga, Menton, stb., \u00e9s olyan kiemelked\u0151 karmesterekkel dolgozott, mint Claudio Abbado, Christoph von Dohn\u00e1nyi, Edo de Waart, Charles Mackerras, Lovro von Matacic, Charles Dutiot, Herbert Blomstedt, Michael Tilson Thomas.\r\n\r\n1983-ban Fischer Iv\u00e1nnal megalap\u00edtotta a Budapesti Fesztiv\u00e1lzenekart. 1987 \u00f3ta karmesterk\u00e9nt is fell\u00e9p \u00e9s zongoram\u0171v\u00e9szi p\u00e1ly\u00e1ja mellett kompon\u00e1l is. A kort\u00e1rs zene kiemelked\u0151 szem\u00e9lyis\u00e9geivel folytatott term\u00e9keny egy\u00fcttm\u0171k\u00f6d\u00e9s\u00e9t jelzi t\u00f6bbek k\u00f6z\u00f6tt Kurt\u00e1g Gy\u00f6rgy t\u00f6bb neki aj\u00e1nlott m\u0171v\u00e9nek vil\u00e1gbemutat\u00f3ja. A Denon, Hungaroton, Nippon Columbia, Phonogram \u00e9s Quintana lemezc\u00e9gek r\u00e9sz\u00e9re k\u00e9sz\u00edtett t\u00f6bb felv\u00e9tel ut\u00e1n Kocsis Zolt\u00e1n jelenleg a Philips Classics exkluz\u00edv m\u0171v\u00e9sze. Bart\u00f3k zongor\u00e1ra \u00e9s zenekarra \u00edrt m\u0171veinek Fischer Iv\u00e1nnal \u00e9s a Fesztiv\u00e1lzenekarral k\u00e9sz\u00fclt felv\u00e9telei\u00e9rt Edison-d\u00edjat kapott, Debussy-lemez\u00e9t Gramophone-d\u00edjjal \u00e9s az \u00c9v Hangszeres Felv\u00e9tele d\u00edjjal ismert\u00e9k el.\r\n\r\nKocsis Zolt\u00e1n 1997 \u0151sz\u00e9t\u0151l vette \u00e1t a Nemzeti Filharmonikus Zenekar - akkor m\u00e9g Magyar \u00c1llami Hangversenyzenekar - ir\u00e1ny\u00edt\u00e1s\u00e1t. M\u0171v\u00e9szi koncepci\u00f3j\u00e1nak megfelel\u0151en az\u00f3ta sz\u00e9lesedett az egy\u00fcttes reperto\u00e1rja, ir\u00e1ny\u00edt\u00e1sa alatt t\u00f6bb m\u0171 magyarorsz\u00e1gi \u0151sbemutat\u00f3j\u00e1ra sor ker\u00fclt. Az elm\u00falt \u00e9vekben a Nemzeti Filharmonikusokkal Eur\u00f3pa sz\u00e1mos orsz\u00e1g\u00e1ban, valamint Jap\u00e1nban \u00e9s az Egyes\u00fclt \u00c1llamokban vett r\u00e9szt karmesterk\u00e9nt \u00e9s sz\u00f3listak\u00e9nt kimagasl\u00f3 szakmai \u00e9s k\u00f6z\u00f6ns\u00e9gsikert arat\u00f3 k\u00f6rutakon, gyakran j\u00e1tszva a Bart\u00f3k, Debussy \u00e9s Ravel zongoram\u0171veib\u0151l k\u00e9sz\u00fclt \u00e1tiratait is. Meg\u00fajult zenekar\u00e1val adott koncertjeit mind a kritikusok, mind a k\u00f6z\u00f6ns\u00e9g vil\u00e1gszt\u00e1rokat megillet\u0151 lelkesed\u00e9ssel \u00fcnnepelte.{:}{:en}Zolt\u00e1n Kocsis<\/strong>\r\n\r\n \r\n\r\nBorn in Budapest in 1952, he began to play the piano at the age of five. In 1963, he entered the B\u00e9la Bart\u00f3k Music School, studying piano and composition and in 1968, entered the Franz Liszt Music Academy as a pupil of P\u00e1l Kadosa and Ferenc Rados. His international fame began at the age of eighteen when he won Hungarian Radio's International Beethoven Competition, and a scintillating solo career rapidly unfolded. He was invited to perform all over Europe, in North and South America as well as the Far East. In 1977, he was invited by Sviatoslav Richter to perform at his festival in France, and the two pianists also gave duet recitals together.\r\n\r\n \r\n\r\nHe has performed with leading world orchestras such as the Berlin Philharmonic, the Royal Philharmonic, the Vienna Philharmonic, the Chicago Symphony Orchestra and the San Francisco Orchestra. He has been a regular guest at international festivals in Edinburgh, Paris, Tours, Lucerne, Salzburg, Prague and Menton, and worked with such conductors as Claudio Abbado, Christoph von Dohn\u00e1nyi, Edo de Waart, Charles Mackerras, Lovro von Matacic, Charles Dutoit, Herbert Blomstedt and Michael Tilson Thomas.\r\n\r\n \r\n\r\nIn 1983, he co-founded the Budapest Festival Orchestra with Iv\u00e1n Fischer, and since 1987 has regularly conducted. He is also a recognised composer. He is deeply committed to contemporary music and has enjoyed a fruitful relationship with, amongst others, Gy\u00f6rgy Kurt\u00e1g, giving world premieres of numerous Kurt\u00e1g compositions, some of which are dedicated to him.\r\n\r\n \r\n\r\nZolt\u00e1n Kocsis has recorded for Denon, Hungaroton, Nippon Columbia, Phonogram and Quintana, but is now an exclusive Philips Classics artist. He received an Edison prize for his recordings with Iv\u00e1n Fischer and the Budapest Festival Orchestra of the three Bart\u00f3k concertos.\r\n\r\n \r\n\r\nHis Debussy recordings won the Gramophone prize as well as the \"Instrumental Recording of the year\" award.\r\n\r\n \r\n\r\nIn Autumn 1997, he became general music director of the National Philharmonic Orchestra (formerly the Hungarian State Orchestra). As a result, the orchestra's repertoire has broadened considerably, and since his appointment, several works have been given their world premiere.\r\nIn recent years, he has toured nine European countries and Japan with the orchestra as both conductor and soloist, and enjoyed immense critical acclaim.{:}","post_title":"{:hu}Kocsis Zolt\u00e1n{:}{:en}Zolt\u00e1n Kocsis{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kocsis-zoltan-2","to_ping":"","pinged":"","post_modified":"2017-10-08 16:07:45","post_modified_gmt":"2017-10-08 16:07:45","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=85860","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91528,"post_author":"1","post_date":"2016-09-08 08:57:52","post_date_gmt":"2016-09-08 08:57:52","post_content":"{:hu}

I. Vir\u00e1gz\u00e1s; II. A falu t\u00e1nca<\/p>\r\n

A \"k\u00e9p\" sz\u00f3 haszn\u00e1lata Bart\u00f3k op. 10-es zenekari m\u0171v\u00e9nek c\u00edm\u00e9ben k\u00e9ts\u00e9gtelen\u00fcl Claude Debussy hat\u00e1s\u00e1nak tudhat\u00f3 be. (Az eredeti c\u00edm m\u00e9g francia nyelv\u0171 is volt: Deux images.)\u00a0 A francia mester zen\u00e9j\u00e9vel Bart\u00f3k 1907-ben ismerkedett meg, amikor Kod\u00e1ly t\u00f6bb Debussy-partit\u00far\u00e1t hozott haza P\u00e1rizsb\u00f3l. 1910 nyar\u00e1n Bart\u00f3k sokat gondolhatott Debussy zongor\u00e1ra \u00edrott Images-aira, melyeknek a K\u00e9t k\u00e9p els\u0151 t\u00e9tel\u00e9re gyakorolt hat\u00e1s\u00e1t m\u00e1r sokan, sokszor emlegett\u00e9k. (Debussy zenekari Images-ciklusa csak 1912-re k\u00e9sz\u00fclt el.) M\u00edg azonban Debussy \"k\u00e9pei\" (a zongor\u00e1ra \u00e9s zenekarra \u00edrottak egyar\u00e1nt) mindig h\u00e1rmas ciklusokba rendez\u0151dtek, Bart\u00f3k a Liszt magyar rapsz\u00f3di\u00e1ib\u00f3l ismert k\u00e9tr\u00e9szes, lass\u00fa-friss szerkezetet vette \u00e1t. Ugyanez a forma m\u00e1r a kor\u00e1bbi K\u00e9t arck\u00e9pben (op. 5) is ott volt, \u00e9s Bart\u00f3k m\u00e9g t\u00f6bbsz\u00f6r visszat\u00e9rt hozz\u00e1 a k\u00e9s\u0151bbiekben.<\/p>\r\n

A K\u00e9t k\u00e9pben francia \u00e9s magyar, keleti \u00e9s nyugati hat\u00e1sok olvadnak \u00f6ssze, de a legfontosabb m\u0171v\u00e9szi felfedez\u00e9s az, hogy a kett\u0151 tulajdonk\u00e9ppen egy \u00e9s ugyanaz: a pentat\u00f3nia, mely k\u00f6zponti szerepet j\u00e1tszik a magyar n\u00e9pzene r\u00e9gi r\u00e9teg\u00e9ben, ugyanannyira fontos Debussy zen\u00e9j\u00e9ben is. \u00cdgy az els\u0151 k\u00e9p (\"Vir\u00e1gz\u00e1s\") ereszked\u0151 pentaton dallama egy kis kromatikus elv\u00e1ltoztat\u00e1st lesz\u00e1m\u00edtva ak\u00e1r egy magyar n\u00e9pdalb\u00f3l is sz\u00e1rmazhatna, de ugyan\u00edgy levezethet\u0151 volna Debussyb\u0151l is. (Bart\u00f3k k\u00f6zvetlen mint\u00e1ja a H\u00e1rom nokt\u00fcrn els\u0151 t\u00e9tele lehetett.) K\u00e9t k\u00fcl\u00f6nb\u00f6z\u0151 patak egyes\u00fcl teh\u00e1t egy nagy foly\u00f3v\u00e1, \u00e9s ez adja a k\u00e9tt\u00e9teles m\u0171 formai egys\u00e9g\u00e9t: a m\u00e1sodik t\u00e9tel (\"A falu t\u00e1nca\") egy\u00e9rtelm\u0171en a n\u00e9pi hagyom\u00e1nyra t\u00e1maszkodik, de jelen van a Debussy sz\u00e1m\u00e1ra oly fontos eg\u00e9szhang\u00fa sk\u00e1la is. A K\u00e9t k\u00e9p n\u00e9mely harm\u00f3niai \u00e9s hangszerel\u00e9si \u00f6tlet\u00e9t a k\u00e9s\u0151bbi \u00e9vek nagy m\u0171veiben, A k\u00e9kszak\u00e1ll\u00fa herceg v\u00e1r\u00e1ban, A f\u00e1b\u00f3l faragott kir\u00e1lyfiban \u00e9s a T\u00e1ncszvitben bontotta ki r\u00e9szletesebben Bart\u00f3k.<\/p>\r\n

A \"Vir\u00e1gz\u00e1s\" t\u00e9tel a kezd\u0151mot\u00edvum csod\u00e1latos kit\u00e1rulkoz\u00e1s\u00e1val szolg\u00e1l r\u00e1 a c\u00edm\u00e9re, mely f\u0151leg a gazdag hangszerel\u00e9s \u00e1ltal val\u00f3sul meg, h\u00e1la a r\u00e9zf\u00fav\u00f3knak, az \u00fcstdobnak, \u00e9s k\u00fcl\u00f6n\u00f6sen a h\u00e1rf\u00e1knak. \"A falu t\u00e1nca\" komplex rond\u00f3form\u00e1ja sok tematikus \u00e9s textur\u00e1lis kontrasztot olvaszt mag\u00e1ba. K\u00fcl\u00f6n\u00f6sen eml\u00e9kezetes, ahogy Bart\u00f3k a darab v\u00e9g\u00e9n egyetlen \u00fctemnyi zen\u00e9t egyre gyorsul\u00f3 temp\u00f3ban ism\u00e9telget; ez az accelerando vezet a m\u0171 er\u0151teljes lez\u00e1r\u00e1s\u00e1hoz.<\/p>{:}{:en}

Bart\u00f3k's choice of the word \"pictures\" in the title of his op.10 is an unmistakable sign of the influence of Claude Debussy, whose music he had first encountered when Kod\u00e1ly brought some scores back from Paris in 1907. (He even used the French title Deux images.) The French master's Images for piano must have been much on Bart\u00f3k's mind during the summer of 1910, and his direct stylistic influence on the first of the Two Pictures has frequently been remarked upon. (Debussy's orchestral Images were not completed until 1912.) Yet whereas Debussy always arranged his Images (whether for orchestra or piano) in groups of three, Bart\u00f3k adopted the two-movement lass\u00fa-friss (slow-fast) pattern familiar from Liszt's Hungarian rhapsodies. He had himself used this pattern previously in Two Portraits, op. 5, and was to return to it several times in his later works.<\/p>\r\n

French and Hungarian - Western and Eastern - influences are combined in Two Pictures, but the principal artistic discovery is that the two are really one: the pentatonic scale, central to the old layer of Hungarian folk music, is equally prominent in the music of Debussy. Thus, the opening melody of the first Picture (\"In full flower\"), modelled on a descending pentatonic line, could come out of a Hungarian folksong (albeit with chromatic alterations); at the same time, it could also be construed as deriving from Debussy. (Bart\u00f3k's immediate model seems to have been the first of Debussy's Three Nocturnes.) This merging of two separate streams into one major river guarantees the unity of the two-movement work, whose second half (\"Village Dance\") is firmly rooted in the folk music tradition, although the whole-tone scale, so important in Debussy's work, is also present. Many of the harmonic and orchestrational ideas of this work were developed on a larger scale in such subsequent works as Bluebeard's Castle, The Wooden Prince or the Dance Suite.<\/p>\r\n

The title \"In full flower\" is justified by a veritable blossoming that takes place in the course of the movement as the opening melody grows to a powerful climax thanks, above all, to the lush orchestration with the highly effective use of the brass, the timpani, and especially the harps. The \"Village Dance\" combines elements of a folk-dance with segments of the whole-tone scale; the simple opening melody is developed into a rondo of some complexity, with many thematic and textural contrasts along the way. A particularly memorable moment is the long-drawn-out accelerando (speeding up of the tempo) over a single measure of music that is repeated over and over again; this accelerando provides the momentum for the energetic conclusion.<\/p>{:}","post_title":"{:hu}K\u00e9t k\u00e9p, op. 10, Sz. 46, BB 59{:}{:en}Two Pictures, Op. 10, Sz. 46, BB 59{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ket-kep-op-10-sz-46-bb-59","to_ping":"","pinged":"","post_modified":"2017-02-01 08:27:43","post_modified_gmt":"2017-02-01 08:27:43","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/ket-kep-op-10-sz-46-bb-59\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Bart\u00f3k"]},{"ID":90947,"post_author":"1","post_date":"2016-09-08 08:57:46","post_date_gmt":"2016-09-08 08:57:46","post_content":"{:hu}

\u00c9lete utols\u00f3 h\u00f3napjaiban, 1945 nyar\u00e1n-kora \u0151sz\u00e9n alkotta Bart\u00f3k harmadik zongoraverseny\u00e9t. Feles\u00e9g\u00e9nek, Ditt\u00e1nak sz\u00e1nta; r\u00e9szben ez is magyar\u00e1zza a kompoz\u00edci\u00f3nak az el\u0151z\u0151 zongoraversenyt\u0151l olyannyira el\u00fct\u0151 karakter\u00e9t. A hagyom\u00e1nyos m\u00f3don szon\u00e1taszerkezet\u0171 els\u0151 t\u00e9tel a von\u00f3sok \"erd\u0151zsong\u00e1s\u00e1val\" kezd\u0151dik (az E-d\u00far hangnem is Wagner erdei zen\u00e9j\u00e9re utal). A zongora ehhez eleg\u00e1ns, verbunkos-\u00edz\u0171 mel\u00f3di\u00e1t t\u00e1rs\u00edt. \u00c9rdekes, hogy a verbunkos, amelyt\u0151l fiatalkor\u00e1ban Bart\u00f3k undorral elfordult, k\u00e9sei m\u0171veiben (m\u00e1r az 1938-ban befejezett Heged\u0171versenyben is) szinte \"megnemesedve\" t\u00e9r vissza. A n\u00e9gy hangos kezd\u0151\u00f6tletet (amely ma a Bart\u00f3k R\u00e1di\u00f3 sz\u00fcnetjele) a t\u00e9tel sor\u00e1n sokf\u00e9le v\u00e1ltozatban halljuk viszont, pentaton form\u00e1ban \u00e9s k\u00fcl\u00f6nf\u00e9le ford\u00edt\u00e1sokban is.<\/p>\r\nA lass\u00fat\u00e9tel felirata egyed\u00fcl\u00e1ll\u00f3 Bart\u00f3k \u00e9letm\u0171v\u00e9ben: Adagio religioso. A \"vall\u00e1sos\" adagio Beethoven egy h\u00edres von\u00f3sn\u00e9gyes t\u00e9tel\u00e9re eml\u00e9keztet, an\u00e9lk\u00fcl, hogy azt sz\u00f3 szerint id\u00e9zn\u00e9: az Op. 132-es a-moll kvartett lass\u00faj\u00e1ra, amelynek Beethoven a \"felgy\u00f3gyult beteg h\u00e1la\u00e9neke lyd hangnemben\" c\u00edmet adta. A zenekar imit\u00e1ci\u00f3s bevezet\u0151je ut\u00e1n a zongora kor\u00e1lszer\u0171, egyszer\u0171 harm\u00f3ni\u00e1kkal k\u00eds\u00e9rt mel\u00f3di\u00e1t j\u00e1tszik, majd \u00fajra v\u00e1ltakozva imit\u00e1ci\u00f3 \u00e9s kor\u00e1lsor k\u00f6vetkezik - ahogy Beethovenn\u00e9l. Nem alaptalan ebben szem\u00e9lyes vallom\u00e1st l\u00e1tnunk: 1945 nyar\u00e1n, Saranac Lake \u00fcd\u00fcl\u0151helyen Bart\u00f3k \u00e1tmenetileg val\u00f3ban \u00fagy \u00e9rezhette, gy\u00f3gyul, v\u00e9gre jobbra fordul minden. A t\u00e9tel k\u00f6z\u00e9pr\u00e9sze ugyancsak a saranaci nyaral\u00e1s eml\u00e9k\u00e9t \u0151rzi: itt jegyzett fel ugyanis Bart\u00f3k - szokott pontoss\u00e1g\u00e1val --mad\u00e1r\u00e9nekeket. K\u00f6z\u00fcl\u00fck t\u00f6bbet sz\u00f3 szerint felhaszn\u00e1lt a kompoz\u00edci\u00f3ban. \u00c9rdekes \u00f6sszef\u00fcgg\u00e9s, s bizonnyal tudatos: a t\u00e9tel elej\u00e9n megsz\u00f3lal\u00f3 kor\u00e1l-dallam sem m\u00e1s, mint egy ilyen mad\u00e1rzene lass\u00edtott t\u00fck\u00f6rford\u00edt\u00e1sa.\r\n\r\nA z\u00e1r\u00f3t\u00e9tel lend\u00fcletes 3\/8-os rond\u00f3, amelybe m\u00e9g egy j\u00e1t\u00e9kos fuga is belef\u00e9r. Vid\u00e1m hangulat\u00fa darab, mit sem tud a trag\u00e9di\u00e1r\u00f3l -- amely azonban m\u00e9g a m\u0171 befejez\u00e9se el\u0151tt bek\u00f6vetkezett. Bart\u00f3k a tiszt\u00e1zatot nem tudta v\u00e9gig\u00edrni. Beh\u00fazatta az \u00fctemvonalakat P\u00e9ter fi\u00e1val, 17 \u00fctem azonban a partit\u00far\u00e1b\u00f3l \u00fcresen maradt. Serly Tibor v\u00e9gezte el az utols\u00f3 retust. K\u00f6zel f\u00e9l \u00e9vvel a zeneszerz\u0151 hal\u00e1la ut\u00e1n, 1946. febru\u00e1r 8-\u00e1n, S\u00e1ndor Gy\u00f6rgy sz\u00f3l\u00f3j\u00e1val hangzott el el\u0151sz\u00f6r a m\u0171, s \u00f3ri\u00e1si sikert aratott. Ditta azonban sok\u00e1ig nem j\u00e1tszotta el. Sz\u00e1m\u00e1ra t\u00fal sok szomor\u00fa eml\u00e9k tapadt\u00a0 hozz\u00e1.{:}{:en}

Bart\u00f3k composed his third piano concerto in the summer and early autumn of 1945, in what were to be the final weeks of his life. He intended it for his wife, Ditta, to perform, which partly explains why it is so different in character from the abrasive Second Concerto. The first movement is in traditional sonata form and begins with the strings evoking the awakening of nature (its E major tonality perhaps a reference to Wagner's own forest music). The piano joins in with a melody that betrays verbunk influence. Interesting, this popular recruiting dance disgusted the young Bart\u00f3k, who felt it was a perversion of true Hungarian folk music. But in later years, he returned to it (for example in the 1938 Violin Concerto), incorporating it into his universal musical language. The four note opening idea (which incidentally is used as a call signal for Hungary's Bart\u00f3k Radio music channel) is heard repeatedly throughout the movement in different versions, in both pentatonic form and in various inversions.<\/p>\r\nThe slow movement bears a title unique in Bart\u00f3k's oeuvre: Adagio religioso. This is evidently a homage to the extraordinary \"religious\" slow movement of Beethoven's A minor quartet Op. 132, which Beethoven prefaced as \"A hymn of thanks to the Almighty from a patient recovered from illness in the Lydian mode.\" After the imitational orchestral introduction, the piano contributes a chorale like melody, with simple harmonies. Imitation and chorale then follow - something we find in the Beethoven. We have every reason to understand this music as a personal confession: in the summer of 1945, as he worked alongside Lake Saranac, Bart\u00f3k began to believe he had recovered from his lengthy illness (diagnosed as leukaemia) of the previous two years. The central section of the slow movement is an example of Bart\u00f3k's night music, furnished with literal \"quotes\" from the birdsong that Bart\u00f3k had meticulously notated during his lakeside stay. It is interesting to note that even the chorale melody heard at the beginning is nothing other than a slowed inversion of one of the bird themes.\r\n\r\nThe final movement is a spirited rondo in 3\/8 time, which even incorporates a playful fugue. The concerto is suffused with joy, and there is so sense of the impending tragedy which befell the composer before he finally completed the work. He was unable to complete the full score. His 17 year old son P\u00e9ter took down his instructions for the percussion part, but the final 17 bars remained unorchestrated. These were completed posthumously by his friend Tibor Serly. Six months after Bart\u00f3k's death on February 8th 1946, the work was premiered by pianist Gy\u00f6rgy S\u00e1ndor was a great success. For many years, Bart\u00f3k's wife Ditta Pasztory would not play it, because of the painful memories she associated with it.{:}","post_title":"{:hu}III. zongoraverseny Sz. 119, BB 127{:}{:en}Piano Concerto No. 3, Sz.119, BB 127{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"iii-zongoraverseny-sz-119-bb-127","to_ping":"","pinged":"","post_modified":"2017-02-01 08:28:52","post_modified_gmt":"2017-02-01 08:28:52","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/iii-zongoraverseny-sz-119-bb-127\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Bart\u00f3k"]},{"ID":91019,"post_author":"1","post_date":"2016-09-08 08:57:47","post_date_gmt":"2016-09-08 08:57:47","post_content":"{:hu}I. Preludio - Moderato II. Scherzo - Allegro III. Intermezzo - Moderato IV. Marcia funebre - Maestoso\r\n

Bart\u00f3k B\u00e9la N\u00e9gy zenekari darabja a 12-es opus-sz\u00e1mot viseli, vagyis az op. 11-es K\u00e9kszak\u00e1ll\u00fa, \u00e9s az op. 13-as F\u00e1b\u00f3l faragott kir\u00e1lyfi k\u00f6z\u00f6tt keletkezett. A kompon\u00e1l\u00e1s els\u0151 f\u00e1zis\u00e1ban (1912-ben) azonban a zeneszerz\u0151 nem fejezte be a m\u0171vet: a hangszerel\u00e9st egyel\u0151re csak v\u00e1zlatosan jegyezte fel, \u00f6nmaga sz\u00e1m\u00e1ra. A t\u00edzes \u00e9vek el\u0151ad\u00f3i \u00e9s zeneszerz\u0151i visszavonults\u00e1g\u00e1ban Bart\u00f3k nem is vette el\u0151 \u00fajra a kompoz\u00edci\u00f3t (\"kompon\u00e1lni csak mint mag\u00e1nember szoktam, csup\u00e1n csal\u00e1di haszn\u00e1latra\" - mondogatta ekkort\u00e1jt keser\u0171en), s v\u00e9g\u00fcl csak 1921 nyar\u00e1n - \u00faj kiad\u00f3ja, a b\u00e9csi Universal biztat\u00e1s\u00e1ra - k\u00e9sz\u00edtette el a teljes partit\u00far\u00e1t. A m\u0171vet a k\u00f6vetkez\u0151 esztend\u0151ben, Dohn\u00e1nyi Ern\u0151 vez\u00e9nylet\u00e9vel mutatt\u00e1k be a Budapesti Filharmonikusok.\r\nBart\u00f3k n\u00e9h\u00e1ny megnyilatkoz\u00e1s\u00e1b\u00f3l \u00fagy sejthetj\u00fck, a N\u00e9gy zenekari darab els\u0151 kett\u0151je, a Preludio \u00e9s a Scherzo, a teljes cikluson bel\u00fcl is szorosabban \u00f6sszetartoz\u00f3 p\u00e1rt alkot. Ezt t\u00e1masztja al\u00e1 az is, hogy m\u00edg el\u0151bbi a K\u00e9t k\u00e9p (op. 10) els\u0151, \"Vir\u00e1gz\u00e1s\" t\u00e9tel\u00e9vel mutat rokons\u00e1got (\"zenei eszk\u00f6z\u00f6kkel festett plein air tabl\u00f3\" - mondja r\u00f3la Lampert Vera), ut\u00f3bbi a K\u00e9t arck\u00e9p (op. 5) m\u00e1sodikj\u00e1nak torzalakj\u00e1t id\u00e9zi fel - csak tal\u00e1n m\u00e9g f\u00e9lelmetesebben. A harmadik t\u00e9tel, az Intermezzo, mintha m\u00e1r a Concerto \"megszak\u00edtott k\u00f6zj\u00e1t\u00e9k\u00e1t\" el\u0151legezn\u00e9 a f\u0151r\u00e9sz nyugodt siciliano-ritmik\u00e1j\u00e1val \u00e9les kontrasztot ad\u00f3 k\u00f6z\u00e9ps\u0151 szakasz\u00e1val, majd a ciklust - diadalmas fin\u00e1l\u00e9 helyett - f\u00e1jdalmas Marcia funebre z\u00e1rja.<\/p>{:}{:en}I. Preludio - Moderato\u00a0 II. Scherzo - Allegro\u00a0 III. Intermezzo - Moderato\u00a0 IV. Marcia funebre - Maestoso\r\n

B\u00e9la Bart\u00f3k's Four Orchestral Pieces bear the opus number 12, which places it between Blue Beard op. 11 and the Wooden Prince op. 13. During the first phase of its composition (1912), Bart\u00f3k did not complete the work: the orchestration remained in obscure sketch form only. During the 1910s, Bart\u00f3k became disenchanted because of the reception accorded to his works, and temporarily lost interest in writing music (\"I only compose as solitary person, for family use only\", he remarked bitterly.) He eventually recovered his enthusiasm, but only completed the full score of the Four Orchestral Piece in the summer of 1921, for his new publisher Universal of Vienna. The work was premiered by the Budapest Philharmonic Orchestra in the following year, conducted by Ern\u0151 Dohn\u00e1nyi.\r\nWe can suppose from some of Bart\u00f3k's quoted comments that the first two pieces of the Four Orchestral Pieces, the Preludio and Scherzo, form a closely linked pair within the entire cycle. This is supported by the observation that while the first shows similarities to the \"In Bloom\" movement of the Two Pictures (op. 10), the Scherzo evokes the \"distorted\" second portrait (from Two Portraits), op. 5, perhaps in an even more frightening form. The Third Movement, is marked Intermezzo. With its central section strongly contrasting with the relaxed Siciliano rhythm of the principal section, it seems to prefigure the \"Interrupted Serenade\" of the Concerto for Orchestra. Instead of a triumphant finale, the last of the Four Orchestral Pieces is a painful funeral march.<\/p>{:}","post_title":"{:hu}N\u00e9gy zenekari darab, op. 12. Sz. 51, BB 64{:}{:en}Four Orchestral Pieces, Op. 12., Sz. 51, BB 64{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"negy-zenekari-darab-op-12-sz-51-bb-64","to_ping":"","pinged":"","post_modified":"2017-02-01 08:29:54","post_modified_gmt":"2017-02-01 08:29:54","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/negy-zenekari-darab-op-12-sz-51-bb-64\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Bart\u00f3k"]},{"ID":91063,"post_author":"1","post_date":"2016-09-08 08:57:47","post_date_gmt":"2016-09-08 08:57:47","post_content":"{:hu}I. Moderato II. Allegro molto III. Allegro vivace IV. Molto tranquillo V. Comodo VI. Finale - Allegro\r\n

A T\u00e1ncszvit \u00fcnnepi koncertre k\u00e9sz\u00fclt: Buda, Pest \u00e9s \u00d3buda egyes\u00edt\u00e9s\u00e9nek f\u00e9l\u00e9vsz\u00e1zados jubileuma alkalm\u00e1b\u00f3l k\u00e9rte fel a v\u00e1ros vezet\u00e9se (Kod\u00e1ly \u00e9s Dohn\u00e1nyi mellett) Bart\u00f3kot az \u00faj kompoz\u00edci\u00f3 meg\u00edr\u00e1s\u00e1ra. B\u00e9k\u00fcl\u00e9keny gesztus volt ez akkoriban, hiszen az \u00fan. Tan\u00e1csk\u00f6zt\u00e1rsas\u00e1g zenei direkt\u00f3rium\u00e1ban v\u00e1llalt (meglehet\u0151sen form\u00e1lis) tags\u00e1g miatt \u00e9ppen e h\u00e1rom mestert \u00e9veken \u00e1t k\u00fcl\u00f6nf\u00e9le t\u00e1mad\u00e1sok \u00e9rt\u00e9k: Kod\u00e1ly ellen m\u00e9g fegyelmi is indult. 1923-ra meg\u00e9rett a helyzet a b\u00e9k\u00fcl\u00e9sre, s ezt nem csak a politikusok, a megb\u00e1ntott muzsikusok is \u00edgy \u00e9rezt\u00e9k. Kod\u00e1ly egyik legnagyobb remek\u00e9ben, a Psalmusban \u00f6nt\u00f6tte ki \"keser\u0171 haragj\u00e1t\". K\u00e9ts\u00e9gk\u00edv\u00fcl ennek a m\u0171nek volt az 1923. november 19-i bemutat\u00f3n a legnagyobb visszhangja. Dohn\u00e1nyi \u00dcnnepi nyit\u00e1ny\u00e1t ink\u00e1bb csak udvarias taps fogadta, Bart\u00f3k T\u00e1ncszvitj\u00e9nek f\u0151 mondanival\u00f3j\u00e1t pedig, \u00fagy t\u0171nik, nemigen \u00e9rtette a publikum.\r\nHolott Bart\u00f3k a maga m\u00f3dj\u00e1n nagyon is id\u0151szer\u0171 gondolatokat fogalmazott meg. A T\u00e1ncszvit alapj\u00e1ban v\u00e9ve Trianonr\u00f3l sz\u00f3l, egy ide\u00e1lis, a r\u00e9gi b\u0171n\u00f6ket t\u00f6bb\u00e9 soha el nem k\u00f6vet\u0151, n\u00e9peket egyes\u00edt\u0151 \u00e1llam - nincs mi\u00e9rt k\u00f6nt\u00f6rfalaznunk: egy ide\u00e1lis Nagy-Magyarorsz\u00e1g - l\u00e1tom\u00e1s\u00e1t jelen\u00edti meg. Igaz, az eredeti koncepci\u00f3 az alkot\u00f3munka sor\u00e1n m\u00f3dosult, s az is igaz, k\u00e9s\u0151bb egy rom\u00e1n zenetud\u00f3snak \u00edrt level\u00e9ben maga Bart\u00f3k is leplezni igyekezett a m\u0171nek ezt az eszmei h\u00e1tter\u00e9t. Eredetileg a Duna menti n\u00e9pek n\u00e9pzen\u00e9j\u00e9nek jellegzetes mot\u00edvumvil\u00e1g\u00e1t \u00e1ll\u00edtotta volna a t\u00e1ncsorozat egym\u00e1s mell\u00e9, \u00fagy, hogy k\u00f6zt\u00fck az \u00f6sszek\u00f6t\u0151 elemet egy \u00f6sszet\u00e9veszthetetlen\u00fcl magyaros mel\u00f3dia visszat\u00e9r\u00e9sei alkotj\u00e1k. Ut\u00f3bb azonban Bart\u00f3k a szlov\u00e1k epiz\u00f3dot nem tartotta el\u00e9g \u00e9rdekesnek - viszont kompon\u00e1lt egy f\u00e9lrehallhatatlanul arabosat. Ezzel term\u00e9szetesen az eredeti elk\u00e9pzel\u00e9st feladta, pontosabban sz\u00f3lva: \u00e1ltal\u00e1nosabb\u00e1 t\u00e1g\u00edtotta. Kelet-K\u00f6z\u00e9p-Eur\u00f3pa j\u00f3l k\u00f6r\u00fclhat\u00e1rolhat\u00f3 nemzetei helyett imm\u00e1r az eg\u00e9sz emberis\u00e9g sorsk\u00f6z\u00f6ss\u00e9g\u00e9r\u0151l sz\u00f3l a zene - de v\u00e1ltozatlanul a magyaros mel\u00f3dia visszat\u00e9r\u00e9seivel. Mintha a h\u00e1bor\u00fa ut\u00e1n a legt\u00f6bbet vesztett, legjobban megcsonk\u00edtott orsz\u00e1g szellemi vezet\u00e9se volna arra hivatott, hogy a tanuls\u00e1gokat levonva \u00e9l\u00e9re \u00e1lljon minden olyan mozgalomnak, amely az emberek testv\u00e9ris\u00e9g\u00e9t hirdeti.\r\nHat r\u00e9szb\u0151l \u00e9s fin\u00e1l\u00e9b\u00f3l \u00e1ll a t\u00e1ncf\u00fcz\u00e9r. Az els\u0151 t\u00e9ma a legkisebb hangk\u00f6zb\u0151l, a kisszekundb\u00f3l indul ki, majd a nagyobb l\u00e9p\u00e9s (nagyszekund), illetve kisterc k\u00f6vetkezik. A hangk\u00f6z\u00f6k fokozatos t\u00e1g\u00edt\u00e1s\u00e1nak tendenci\u00e1ja k\u00e9s\u0151bb is megfigyelhet\u0151. A m\u00e1sodik r\u00e9sz karakterisztikus hangk\u00f6ze a kisterc, a k\u00f6vetkez\u0151 kvarttal indul - \u00e9s \u00edgy tov\u00e1bb. A \"fejl\u0151d\u00e9s\" persze nem mechanikus. A legsz\u0171kebb j\u00e1r\u00e1s\u00fa dallamok \u00e9ppens\u00e9ggel a negyedik (Bart\u00f3k saj\u00e1t \u00e9rtelmez\u00e9se szerint arabos) epiz\u00f3dban tal\u00e1lhat\u00f3k. Az \u00f6t\u00f6dik epiz\u00f3d t\u00e9m\u00e1ja pedig - Bart\u00f3k eml\u00edtett \u00edr\u00e1sos \u00f6n-elemz\u00e9se szerint - \"annyira primit\u00edv, hogy nem lehet m\u00e1sr\u00f3l besz\u00e9lni, mint primit\u00edv paraszti jellegr\u0151l \u00e9s le kell mondani a nemzetis\u00e9g szerinti oszt\u00e1lyoz\u00e1sr\u00f3l\".<\/p>{:}{:en}I. Moderato\u00a0 II. Allegro molto\u00a0 III. Allegro vivace\u00a0 IV. Molto tranquillo\u00a0 V. Comodo\u00a0 VI. Finale - Allegro\r\n

The Dance Suite was composed for a gala concert marking the fifty year anniversary of the unification of Buda, Pest and \u00d3buda into the metropolis known as Budapest. Bart\u00f3k was requested to composed a special work, as were fellow composers Kod\u00e1ly and Dohn\u00e1nyi. This itself represented a thaw in attitudes on behalf of the commissioners. After the First World War, Budapest was the scene of its own Russian style revolution, that led to Republic of Counsels (which collapsed after 133 days). All three composers accepted an invitation to sit on the board of a musical directorium, and all three later suffered as a result. By 1923, enough water had flown under the bridge to enable a degree of reconciliation, which this triple commission symbolised. Kod\u00e1ly poured out his \"bitter rage\" in his greatest composition, the Psalmus Hungaricus. At the November 19th premiere, it was Kod\u00e1ly's work that received the greatest applause. Dohn\u00e1nyi's Festival Overture was politely received, but Bart\u00f3k's Dance Suite seemed to go right over the audience's head.\r\nIn talking about this work, we are entering the murky world of Hungarian national politics, and the non-Hungarian reader should be warned that attitudes to these events still divide people to this day. After the First World War, Hungary had about two thirds of its territory stripped from it as part of the Trianon Peace Treaty. This had a traumatic effect on Hungarians, as can be imagined, although one should not forget that only 45% of the population of pre-war (Greater) Hungary were ethnic Hungarians. Greater Hungary, then, was ethnically very diverse. Some have argued that the Dance Suite is secretly about the Trianon Treaty: that it is Bart\u00f3k's vision of a Greater Hungary, where all nationalities are united into a single state. The problem with such speculation is that it owes more to speculators than to evidence, and tells us nothing useful about the music. What is undisputed is that Bart\u00f3k planned a sequence of dances, using motifs characteristic of the various ethnic styles of folk music of those peoples living in the region. Later, Bart\u00f3k felt that the Slovak episode was musically insufficiently interesting, and instead composed music deriving from Arab music which he had also studied in depth. Dance Suite comprises of six section and a finale. The first theme begins with the smallest interval, the minor second, and this is followed by a greater step (major second), and then a minor third. This tendency to gradually widen the interval can also be observed later. The characteristic interval of the second section is also the minor third, while the next commences with a fourth - and so on. This \"development\" is not mechanical. The melodies with the narrowest compass can be found in the fourth episode (which Bart\u00f3k confirmed was Arabic music.) The theme of the fifth episode - which we know from Bart\u00f3k's own writings - \"is so primitive that you can only talk about its primitive peasant character and give up trying to classify it according to nationality.\"<\/p>{:}","post_title":"{:hu}T\u00e1ncszvit Sz. 77, BB 86{:}{:en}Dance Suite, Sz. 77, BB 86{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"tancszvit-sz-77-bb-86","to_ping":"","pinged":"","post_modified":"2017-02-01 08:30:54","post_modified_gmt":"2017-02-01 08:30:54","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/tancszvit-sz-77-bb-86\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Bart\u00f3k"]}],"kozr_szemelyek":[{"ID":85522,"post_author":"1","post_date":"2016-09-21 08:12:26","post_date_gmt":"2016-09-21 08:12:26","post_content":"{:hu}

R\u00e1nki Dezs\u0151 Budapesten v\u00e9gezte tanulm\u00e1nyait, 1973-ban szerzett diplom\u00e1t a Zeneakad\u00e9mi\u00e1n, Kadosa P\u00e1l \u00e9s Rados Ferenc n\u00f6vend\u00e9kek\u00e9nt. M\u00e9g tanul\u00f3\u00e9vei alatt, 1969-ben, 18 \u00e9vesen nyerte meg a zwickaui nemzetk\u00f6zi Schumann-verseny I. d\u00edj\u00e1t, ez id\u0151 \u00f3ta koncertezik vil\u00e1gszerte. Rendszeresen fell\u00e9pett Eur\u00f3pa legt\u00f6bb orsz\u00e1g\u00e1ban, t\u00f6bb \u00edzben \u00c9szak- \u00e9s D\u00e9l-Amerik\u00e1ban, \u00e9s 2-3 \u00e9vente Jap\u00e1nban. J\u00e1tszott t\u00f6bbek k\u00f6z\u00f6tt a Berlini Filharmonikusokkal, a Londoni Filharmonikusokkal, az amszterdami Concertgebouw zenekar\u00e1val, a p\u00e1rizsi Orchestre National-lal, a toki\u00f3i NHK zenekar\u00e1val, \u00e9s sz\u00e1mos neves karmesterrel, pl. Solti Gy\u00f6rggyel, V\u00e9gh S\u00e1ndorral, Lorin Maazellel, Zubin Meht\u00e1val. Jelent\u0151s szerepet j\u00e1tszik \u00e9let\u00e9ben a kamarazene, az ut\u00f3bbi k\u00e9t \u00e9vtizedben \u00e9vi 10-15 koncertet ad Klukon Edit t\u00e1rsas\u00e1g\u00e1ban n\u00e9gykezes \u00e9s k\u00e9tzongor\u00e1s m\u0171vekkel.<\/p>{:}{:en}

Dezs\u0151 R\u00e1nki completed his studies in 1973, when he graduated from the Budapest Music Academy as a pupil of P\u00e1l Kadosa and Ferenc Rados. While still an 18 year old student, he won first prize at the Zwickau International Schumann Competition and has given concerts ever since. He regularly performs in most European countries and has toured both North and South America on a number of occasions. He visits Japan every 2 to 3 years. He has played among others with the Berlin Philharmonic, the London Philharmonic, the Amsterdam Concertgebouw, the Orchestre National de Paris, the Tokyo NHK Orchestra and worked with a host of distinguished conductors such as Sir Georg Solti, S\u00e1ndor V\u00e9gh, Lorin Maazel and Zubin Mehta. He is an active chamber music performer and in recent years, has given 10 to 15 concerts a year with his partner and wife Edit Klukon, performing music for\u00a0 piano duet and two pianos. (photo: Zsuzsa Pet\u0151)<\/p>{:}","post_title":"{:hu}R\u00e1nki Dezs\u0151{:}{:en}Dezs\u0151 R\u00e1nki{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ranki-dezso","to_ping":"","pinged":"","post_modified":"2020-04-26 11:00:37","post_modified_gmt":"2020-04-26 11:00:37","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=85522","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}zongora{:}{:en}piano{:}"}],"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"}],"megjegyzes":"","kozr_szemelyek_feluldefinialasa":"","helyszin_kategoria":"budapest","kiemelt_kep":{"ID":97754,"id":97754,"title":"pp-81028196-mupa-peto-zsuzsa","filename":"pp-81028196-mupa-Pet\u0151-Zsuzsa-2.jpg","filesize":377825,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/mozart-zongoraverseny-es-mahler-szimfonia\/pp-81028196-mupa-peto-zsuzsa-3\/","alt":"","author":"1","description":"","caption":"","name":"pp-81028196-mupa-peto-zsuzsa-3","status":"inherit","uploaded_to":83638,"date":"2016-10-21 07:44:35","modified":"2016-10-28 11:09:15","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\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-300x88.jpg","medium-width":300,"medium-height":88,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-768x224.jpg","medium_large-width":640,"medium_large-height":187,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-1024x299.jpg","large-width":640,"large-height":187,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2.jpg","1536x1536-width":1536,"1536x1536-height":448,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2.jpg","2048x2048-width":1920,"2048x2048-height":560,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2.jpg","person-size-2-width":165,"person-size-2-height":48,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/08\/pp-81028196-mupa-Pet\u0151-Zsuzsa-2-1600x560.jpg","slider-size-width":1600,"slider-size-height":560}},"youtube_id":"7M7xR_e69J4","old_id":"","muvekrol_reszletesen":true,"muveszekrol_reszletesen":true,"kiemelt_kep_en":null,"gombtipus":"jegy","elkeltek_a_jegyek":false},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/83640","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=83640"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}