{"id":96514,"date":"2016-09-22T11:15:22","date_gmt":"2016-09-22T11:15:22","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&p=96514"},"modified":"2017-01-17T10:10:59","modified_gmt":"2017-01-17T10:10:59","slug":"ket-hegeduverseny-egy-koncerten-alexandra-soumm-miskolcon","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/ket-hegeduverseny-egy-koncerten-alexandra-soumm-miskolcon\/","title":{"rendered":"Two Violin Concertos at one concert – Alexandra Soumm at Miskolc"},"content":{"rendered":"","protected":false},"template":"","class_list":["post-96514","concerts","type-concerts","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["hu","en"],"languages":{"hu":{"title":true,"content":false,"excerpt":false},"en":{"title":true,"content":false,"excerpt":false}}},"acf":{"alcim":"Kov\u00e1cs J\u00e1nos \u00e9s a Nemzeti Filharmonikus Zenekar","kiemelt_kep":{"ID":97863,"id":97863,"title":"fgt_6278","filename":"FGT_6278.jpg","filesize":256100,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/fgt_6278\/","alt":"","author":"3","description":"fot\u00f3: NF, Fej\u00e9r G\u00e1bor. heged\u0171","caption":"","name":"fgt_6278","status":"inherit","uploaded_to":0,"date":"2016-10-21 20:46:12","modified":"2016-10-21 20:50:12","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1229,"height":818,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-768x511.jpg","medium_large-width":640,"medium_large-height":426,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-1024x682.jpg","large-width":640,"large-height":426,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","1536x1536-width":1229,"1536x1536-height":818,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","2048x2048-width":1229,"2048x2048-height":818,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","person-size-2-width":165,"person-size-2-height":110,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-1229x722.jpg","slider-size-width":1229,"slider-size-height":722}},"megjegyzes":"","esemeny_datum":"20170126","esemeny_idopontja":"19.00 - 22.00","sajat_program":false,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87732,"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\u0171v\u00e9szetek H\u00e1za{:}{:en}House of Arts{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"muveszetek-haza","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\/muveszetek-haza\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Miskolc{:}{:en}Miskolc{:}","orszag":"{:hu}Magyarorsz\u00e1g{:}{:en}Hungary{:}","cim":"","megjegyzes":"","weboldal":""},"helyszin_kategoria":"videk","karmester":null,"hazigazda":null,"muvek":[{"ID":91897,"post_author":"1","post_date":"2016-09-08 08:57:58","post_date_gmt":"2016-09-08 08:57:58","post_content":"{:hu}

Stravinsky kis zenekarra \u00edrott, k\u00f6nnyed, n\u00e9hol szatirikus hangv\u00e9tel\u0171 k\u00e9t szvitje kor\u00e1bbi n\u00e9gykezes zongoradarabjainak meghangszerelt v\u00e1ltozata. Az eredetileg is k\u00e9t sorozatba rendezett n\u00e9gykezeseket Stravinsky \u00fagy kompon\u00e1lta meg, hogy azokat egy zen\u00e9t tanul\u00f3 gyermek egy feln\u0151ttel egy\u00fctt el\u0151 tudja adni: az els\u0151 sorozat (1914\/1915) h\u00e1rom t\u00e9tel\u00e9ben az als\u00f3 sz\u00f3lamot, m\u00edg a m\u00e1sodik sorozat (1916\/1917) \u00f6t t\u00e9tel\u00e9ben a fels\u0151 sz\u00f3lamot \u00edrta l\u00e9nyegesen egyszer\u0171bbre.<\/p>\r\n

<\/p>\r\n

Az els\u0151 sorozatot Stravinsky 1915 febru\u00e1rj\u00e1ban R\u00f3m\u00e1ban a C\u00e1ri Orosz Balett igazgat\u00f3j\u00e1val, Szergej Gyagilevvel is elj\u00e1tszotta, aki \u2013 Stravinsky besz\u00e1mol\u00f3ja szerint \u2013 az egyik t\u00e9tel ihlet\u0151j\u00e9nek is tekinthet\u0151: \u201eA Polk\u00e1hoz \u00e9rve megmondtam neki, hogy kompon\u00e1l\u00e1s k\u00f6zben \u0151 j\u00e1rt a fejemben mint cirkuszigazgat\u00f3 a porondon, frakkban \u00e9s cilinderben, ostorcsattogtatva hajkur\u00e1szva egy m\u0171lovarn\u0151t. El\u0151sz\u00f6r bosszankodott, nem tudta biztosan, meg kell-e s\u00e9rt\u0151dnie, vagy sem. De a v\u00e9g\u00e9n j\u00f3t nevett\u00fcnk rajta.\u201d A m\u00e1sodik sorozatot Stravinsky id\u0151sebb gyermekei sz\u00e1m\u00e1ra \u00edrta, s 1916-os spanyolorsz\u00e1gi \u00e9s 1917-es n\u00e1polyi \u00fatj\u00e1nak eml\u00e9keit is meg\u00f6r\u00f6k\u00edtette benne. A k\u00e9t sorozat t\u00e9teleit 1917 \u00e9s 1925 k\u00f6z\u00f6tt hangszerelte meg kis zenekarra.\r\nA hangszerelt v\u00e1ltozatban Stravinsky \u201e\u00fajraosztotta\u201d a t\u00e9teleket, az els\u0151 szvitbe az egyes nemzeti zenei st\u00edlusokra utal\u00f3 darabok (1. Andante; 2. Napolitana; 3. Espa?ola; 4. Balalaika), m\u00edg a m\u00e1sodikba t\u00e1ncok, zs\u00e1nerdarabok ker\u00fcltek (1. Indul\u00f3; 2. Kering\u0151; 3. Polka; 4. Galopp). Id\u0151rend szerint a m\u00e1sodik szvit hangszerel\u00e9se k\u00e9sz\u00fclt el el\u0151bb, 1921-ben egy p\u00e1rizsi mulat\u00f3 felk\u00e9r\u00e9s\u00e9re, egy kis kabar\u00e9sz\u00e1m k\u00f6zzen\u00e9j\u00e9\u00fcl. Ezzel kapcsolatos tapasztalatair\u00f3l \u00edgy \u00edrt Stravinsky: \u201eB\u00e1r zenekarom t\u00f6bb mint szer\u00e9ny volt, m\u0171vemet abban a form\u00e1ban, ahogyan meg\u00edrtam, csak az els\u0151 n\u00e9h\u00e1ny el\u0151ad\u00e1son j\u00e1tszott\u00e1k. Amikor egy h\u00f3nappal k\u00e9s\u0151bb elmentem, hogy megn\u00e9zzem, l\u00e1ttam: alig maradt valami abb\u00f3l, amit \u00edrtam. Mindent teljesen elrontottak. Egyes hangszerek hi\u00e1nyoztak, egyeseket m\u00e1sokkal helyettes\u00edtettek, a zene maga pedig ennek a sz\u00e1nalmas band\u00e1nak az el\u0151ad\u00e1s\u00e1ban felismerhetetlenn\u00e9 v\u00e1lt. J\u00f3 lecke volt\u2026\u201d\r\nA r\u00f6vid t\u00e9telek zeneileg kett\u0151s arcot mutatnak. Egyr\u00e9szt m\u00e9g Stravinsky \u201eoroszos\u201d korszak\u00e1nak hangv\u00e9tel\u00e9t id\u00e9zik, s keletkez\u00e9si idej\u00fcket tekintve is oda sorolhat\u00f3k, m\u00e1sr\u00e9szt viszont m\u00e1r a neoklasszikus Stravinsky hangj\u00e1t is felfedezhetj\u00fck benn\u00fck, k\u00fcl\u00f6n\u00f6sen a stiliz\u00e1lt t\u00e1ncokban, az Alfredo Casell\u00e1nak aj\u00e1nlott Indul\u00f3ban, az Erik Satie-nak aj\u00e1nlott Kering\u0151ben \u00e9s a Szergej Gyagilevnek aj\u00e1nlott Polk\u00e1ban.<\/p>{:}{:en}Stravinsky\u2019s two light-hearted, occasionally satirical suites for small orchestra are transcriptions for orchestra of two of his earlier four-hand piano cycles, originally composed between 1917 and 1925. Stravinsky composed the four-hand pieces in a way that a child learning to play the piano, together with an adult, could perform them.\r\n\r\n\r\n\r\nThe bottom part in three movements of the first series (1914\/1915) and the top part in five of the second series (1916\/1917, composed for his children) are considerably easier to play. That was confirmed by the fact that he had Sergei Diaghilev, founder of the Ballets Russes, play the first cycle in February 1915.\r\n\r\nIn the orchestrated version Stravinsky \u201credistributed\u201d the movements. The first suite contains pieces representative of national styles (1. Andante; 2. Napolitana; 3. Espa\u00f1ola; 4. Balalaika) and the second consists of dances and genre pieces (1. March; 2. Waltz; 3. Polka; 4. Gallop). The short movements are two-faced. On the one hand they are evocative of Stravinksy\u2019s \u201cRussian\u201d period, and on the other, the stylised dances presage the neo-Classical Stravinsky.{:}","post_title":"{:hu}I. \u00e9s II. szvit kis zenekarra{:}{:en}Suite No. 1 and 2 for Small Orchestra{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"i-es-ii-szvit-kis-zenekarra","to_ping":"","pinged":"","post_modified":"2017-02-01 08:45:04","post_modified_gmt":"2017-02-01 08:45:04","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/i-es-ii-szvit-kis-zenekarra\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Stravinsky"]},{"ID":91090,"post_author":"1","post_date":"2016-09-08 08:57:47","post_date_gmt":"2016-09-08 08:57:47","post_content":"{:hu}Az e-moll m\u0171 Mendelssohn utols\u00f3 alkot\u00f3korszak\u00e1ban keletkezett.\r\n\r\nA Heged\u0171verseny csillog\u00f3 felsz\u00edne, a szinte t\u00fcntet\u0151en egyszer\u0171 tematika, a fin\u00e1l\u00e9 \u201eszentiv\u00e1n\u00e9ji\u201d hangulata azonban n\u00e9mileg megt\u00e9veszt\u0151: Mendelssohn sz\u00e1mos formai \u00faj\u00edt\u00e1snak is teret engedett e m\u0171v\u00e9ben, melyek a korabeli k\u00f6z\u00f6ns\u00e9g sz\u00e1m\u00e1ra igencsak meglep\u0151ek lehettek \u2013 szemben a mai hallgat\u00f3k gyan\u00fatlan t\u00f6bbs\u00e9g\u00e9vel, akik sz\u00e1m\u00e1ra r\u00e9szben \u00e9pp e m\u0171 testes\u00edti meg a mindenkori viszony\u00edt\u00e1si alapul szolg\u00e1l\u00f3 \u201eA heged\u0171verseny\u201d-t.\r\n\r\n\u00cdgy p\u00e9ld\u00e1ul a sz\u00f3lista azonnali bel\u00e9p\u00e9se akkoriban m\u00e9g sokkal v\u00e1ratlanabb hat\u00e1st kelthetett, aminthogy az egyes t\u00e9telek k\u00f6z\u00f6tti \u201e\u00e1tk\u00f6t\u00e9s\u201d is (a lass\u00fa t\u00e9tel el\u0151tt a fagott kitartott hangj\u00e1val, majd a fin\u00e1l\u00e9t megel\u0151z\u0151, tematik\u00e1j\u00e1ban egyben a nyit\u00f3t\u00e9telre is visszautal\u00f3 r\u00f6vid, szinte besz\u00e9dszer\u0171 heged\u0171sz\u00f3l\u00f3val) egy addig csak m\u00e1s m\u0171fajokb\u00f3l ismert megold\u00e1s felbukkan\u00e1s\u00e1nak meglepet\u00e9s\u00e9t v\u00e1lthatta ki. S \u00e9pp\u00edgy k\u00e1r volna \u00e1tsiklanunk afelett a kisebb forradalom felett, amelyet az els\u0151 t\u00e9tel sz\u00f3l\u00f3kadenci\u00e1j\u00e1nak ki\u00edr\u00e1sa (teh\u00e1t nem az el\u0151ad\u00f3 saj\u00e1t improviz\u00e1ci\u00f3j\u00e1ra b\u00edz\u00e1sa), s egy\u00fattal a f\u0151t\u00e9ma visszat\u00e9r\u00e9se el\u00e9 helyez\u00e9se jelentett (a megszokottabb, k\u00f6zvetlen\u00fcl a t\u00e9tel v\u00e9ge el\u0151tti megsz\u00f3lal\u00e1ssal szemben).\r\n\r\n \r\n\r\n \r\n

<\/p>{:}{:en}Mendelssohn composed his first violin concerto in D minor at the age of thirteen. Twenty-three years had to pass for him to revisit the genre. The E-minor concerto was written in his last creative period, presumably as a kind of summary of his efforts, even if he chose a lighter genre to do so in comparison with the Elijah oratorio, completed around the same period. The glittering surface of the Violin Concerto, the conspicuously simple theme, the \u201cMidsummer Night\u2019s\u201d feel of the finale, however, are somewhat misleading. Mendelssohn incorporated numerous formal innovations in his work, which would have taken the audiences of the time by surprise \u2013 as opposed to the majority of unsuspecting audiences of our day, for whom the work is The Violin Concerto, an ultimate point of reference. For example, the soloist\u2019s entry at the very beginning (with none of the \u201cobligatory\u201d orchestral introduction) would have been unexpected at the time, as were the \u201ctransitions\u201d between the movements, such as the extended note of the bassoon before the slow movement, and the short, almost speech-like, violin solo preceding the finale, whose theme refers back to the opening movement. These would have undoubtedly elicited surprise at the employment of solutions familiar from other genres. Mention must also be made of Mendelssohn\u2019s truly revolutionary solution of writing out of the solo cadence in the first movement, leaving no space for the soloist\u2019s improvisation, and placing it before the recapitulation of the main theme, as opposed to its usual place at the end of the movement.\r\n\r\n {:}","post_title":"{:hu}Heged\u0171verseny e-moll, op. 64{:}{:en}Violin Concerto in E minor, Op. 64{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"hegeduverseny-e-moll-op-64","to_ping":"","pinged":"","post_modified":"2018-05-17 17:25:33","post_modified_gmt":"2018-05-17 17:25:33","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/hegeduverseny-e-moll-op-64\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Mendelssohn"]},{"ID":91549,"post_author":"1","post_date":"2016-09-08 08:57:53","post_date_gmt":"2016-09-08 08:57:53","post_content":"{:hu}I. Marcia. Maestoso II. Menuetto III. Rondeau. Allegretto\r\n\r\nAz olasz serenata (\"szeren\u00e1d\") sz\u00f3 val\u00f3sz\u00edn\u0171leg nemcsak a sera-val (\"este\") f\u00fcgg \u00f6ssze, hanem a sereno-val (\"b\u00e9k\u00e9s, der\u0171s\") is; a k\u00e9t sz\u00f3 egy\u00fctt fejezi ki a m\u0171faj l\u00e9nyeg\u00e9t: esti zen\u00e9r\u0151l van sz\u00f3, melyet vagy a szabadban adnak el\u0151 (esetleg egy ifj\u00fa h\u00f6lgy ablaka alatt), vagy valamilyen m\u00e1s, de hasonl\u00f3an \u00f6r\u00f6mteli esem\u00e9ny alkalm\u00e1b\u00f3l. A szeren\u00e1d, \u00e9s a t\u0151le gyakran szinte megk\u00fcl\u00f6nb\u00f6ztethetetlen divertimento \u00e9s cassatio, fontos szerepet j\u00e1tszott a fiatal Mozart m\u0171v\u00e9szet\u00e9ben.\r\nA Serenata notturna r\u00f6videbb, mint Mozart legt\u00f6bb szeren\u00e1dja; mind\u00f6ssze h\u00e1romt\u00e9teles, m\u00edg a t\u00f6bbiek k\u00f6z\u00fcl n\u00e9melyiknek h\u00e9t t\u00e9tele is van. A keletkez\u00e9si id\u0151b\u0151l (1776 janu\u00e1r) vil\u00e1gos, hogy Mozart nem gondolhatott szabadt\u00e9ri el\u0151ad\u00e1sra, b\u00e1r nem tudjuk, milyen alkalomra \u00edrta m\u0171v\u00e9t. A szeren\u00e1d el\u0151ad\u00f3-egy\u00fcttese a barokk concerto grosso gyakorlatot k\u00f6vet\u0151en k\u00e9t csoportra oszlik: egy sz\u00f3l\u00f3csoportra, \u00e9s egy ripieno (\"teljes\") zenekarra. A sz\u00f3l\u00f3egy\u00fcttes von\u00f3sn\u00e9gyes, melyben a csell\u00f3t nagyb\u0151g\u0151 helyettes\u00edti, ami a janu\u00e1ri m\u0171nek kiss\u00e9 \"ny\u00e1ri\" hangulatot k\u00f6lcs\u00f6n\u00f6z: a b\u0151g\u0151s \u00e1llva is tudott j\u00e1tszani a szabadt\u00e9ri el\u0151ad\u00e1sokon.\u00a0 A ripien\u00f3ban pedig csak csell\u00f3 van, b\u0151g\u0151 nincs, tal\u00e1n mivel Mozartnak csak egyetlen b\u0151g\u0151s \u00e1llott rendelkez\u00e9s\u00e9re.\r\n\r\nA m\u0171 lass\u00fa indul\u00f3val kezd\u0151dik, melynek jellege ink\u00e1bb l\u00edrai, mint katon\u00e1s. A m\u00e1sodik t\u00e9tel men\u00fcett, melynek tri\u00f3szakasz\u00e1t a sz\u00f3list\u00e1k j\u00e1tssz\u00e1k. A z\u00e1r\u00f3rond\u00f3 a m\u0171 leghosszabb \u00e9s legegy\u00e9nibb hang\u00fa r\u00e9sze. Vid\u00e1m f\u0151t\u00e9m\u00e1j\u00e1t v\u00e1ratlanul eleg\u00e1ns Adagio-dallam szak\u00edtja f\u00e9lbe, mely a francia barokkot id\u00e9zi fel; majd ez a t\u00e9ma is megszakad, \u00e9s friss kontrat\u00e1nc-dallam hangzik fel helyette. Mozart val\u00f3sz\u00edn\u0171leg egy akkort\u00e1jt n\u00e9pszer\u0171 dalt id\u00e9zett, amely az\u00f3ta r\u00e9g feled\u00e9sbe mer\u00fclt. A m\u0171vet a rond\u00f3t\u00e9ma utols\u00f3 visszat\u00e9r\u00e9se z\u00e1rja.{:}{:en}I. Marcia. Maestoso II. Menuetto III. Rondeau. Allegretto\r\n\r\n \r\n\r\n\"Serenity\" is an apt word to describe Serenata notturna. The word sereno (\"serene\") probably has something to do with the origin of the word serenata (\"serenade\"), along with sera (\"evening\"). Serenades, then, are pieces written for a quiet and serene evening, performed mostly outdoors, sometimes under a young lady's window and sometimes at festivities of various kinds. The genre (closely related to, and sometimes indistinguishable from, divertimentos and cassations) occupy a central place in the output of Mozart's early years.\r\n\r\n \r\n\r\nThe present work is unusual among Mozart's serenades in that it is relatively short, having only three movements (the others can have up to seven). The date of the autograph, January 1776, suggests that it was not intended for an outdoor performance, though precisely what kind of venue Mozart had in mind is not known. Mozart followed the Baroque concerto grosso practice here, with its small group of soloists contrasted with a larger complement, called ripieno (\"full\"). The small group is a string quartet in which the cello is replaced by a double bass. This gives the January work a somewhat \"summery\" sound: a double bass, which could be played standing up, would have been more appropriate for an outdoor performance than a cello. Yet the ripieno has cellos but no bass,\u00a0 presumably because Mozart could count on only one bass player for the occasion.\r\n\r\n \r\n\r\nThe Serenata notturna opens with a slow march that is more lyrical than military in character. Next comes a Minuet, with a Trio played by the solo group alone. The final Rondo is the longest and most individual movement of the work. Its cheerful main theme is suddenly interrupted by an elegant Adagio alluding to French Baroque music; the Adagio is cut off in its turn and a quick contredanse melody appears. (Mozart was probably quoting a tune popular at a time but long since forgotten.) A last return of the rondo theme brings the work to its conclusion.{:}","post_title":"{:hu}Serenata\u00a0notturna\u00a0D-d\u00far,\u00a0K.\u00a0239\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0{:}{:en}Serenata notturna in D major, K. 239{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"serenata-notturna-d-dur-k-239","to_ping":"","pinged":"","post_modified":"2016-10-19 19:53:36","post_modified_gmt":"2016-10-19 19:53:36","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/serenata-notturna-d-dur-k-239\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Mozart"]},{"ID":91550,"post_author":"1","post_date":"2016-09-08 08:57:53","post_date_gmt":"2016-09-08 08:57:53","post_content":"{:hu}

A Haffner-csal\u00e1d tagjai Salzburgban Mozart\u00e9k k\u00f6zeli bar\u00e1tai voltak. Id. Sigmund Haffner (1699-1772), j\u00f3m\u00f3d\u00fa keresked\u0151 \u00e9s a v\u00e1ros polg\u00e1rmestere, gyakran rendezett h\u00e1zi koncerteket otthon\u00e1ban, melyeken Leopold \u00e9s Wolfgang Mozart is k\u00f6zrem\u0171k\u00f6d\u00f6tt. A bar\u00e1ti kapcsolatok a polg\u00e1rmester hal\u00e1la ut\u00e1n sem szakadtak meg, \u00e9s amikor 1776-ban Haffner l\u00e1ny\u00e1nak, Maria Elisabeth-nek (1753-1786) az esk\u00fcv\u0151j\u00e9re k\u00e9sz\u00fcltek, Wolfgangot k\u00e9rt\u00e9k meg, \u00edrjon \u00fcnnepi zen\u00e9t. A h\u00e9tt\u00e9teles Haffner-szeren\u00e1dnak (K. 250) akkora sikere volt, hogy hat \u00e9vvel k\u00e9s\u0151bb, amikor \u00fajra \u00fcnnepelt a csal\u00e1d, Mozart \u00fajabb megrendel\u00e9st kapott. Ez\u00fattal ifj. Sigmund Haffner (1756-1787) nemesi oklevel\u00e9nek megszerz\u00e9se volt az alkalom.<\/p>\r\n

<\/p>\r\n

Id\u0151k\u00f6zben azonban Mozart elhagyta Salzburgot \u00e9s B\u00e9csbe k\u00f6lt\u00f6z\u00f6tt, ahol h\u00edrneve n\u0151tt\u00f6n-n\u0151tt. Amikor 1782 j\u00falius\u00e1ban megkapta a felk\u00e9r\u00e9st Salzburgb\u00f3l, \u00e9ppen t\u00fal volt a Sz\u00f6ktet\u00e9s a szer\u00e1jb\u00f3l bemutat\u00f3j\u00e1n, \u00e9s az opera dallamainak f\u00fav\u00f3s\u00e1tirat\u00e1n dolgozott (nehogy valaki, azokban a szerz\u0151i jogd\u00edjat nem ismer\u0151 id\u0151kben, megel\u0151zze \u00e9s jelent\u0151s bev\u00e9telt\u0151l fossza meg). Esk\u00fcv\u0151je Constanze Weberrel augusztus 4-re volt kit\u0171zve, \u00e9s az ifj\u00fa p\u00e1r \u00e9ppen k\u00f6lt\u00f6zk\u00f6dni k\u00e9sz\u00fclt. Az adott k\u00f6r\u00fclm\u00e9nyek k\u00f6z\u00f6tt a kompon\u00e1l\u00e1s nem eg\u00e9szen a Mozartt\u00f3l megszokott temp\u00f3ban haladt, \u00e9s Leopold odahaza f\u00e9lt, hogy a szimf\u00f3nia nem fog id\u0151re elk\u00e9sz\u00fclni.<\/p>\r\n

Aggodalomra azonban m\u00e9gsem volt ok; Leopold augusztus folyam\u00e1n megkapta a partit\u00far\u00e1t, \u00e9s 24-\u00e9n fia \u00edgy \u00edrt neki: \"Boldog vagyok, hogy a szimf\u00f3nia megnyerte tetsz\u00e9s\u00e9t.\"<\/p>\r\n

A zenei anyagb\u00f3l l\u00e1tszik, hogy a darab eredetileg egy m\u00e1sodik Haffner-szeren\u00e1dnak k\u00e9sz\u00fclt: hangja kicsattan\u00f3an vid\u00e1m, dr\u00e1mai fesz\u00fclts\u00e9gnek \u00e9s szomor\u00fas\u00e1gnak nyoma sincs. A nyit\u00f3t\u00e9ma, a maga k\u00e9tokt\u00e1vos ugr\u00e1saival, dallamnak meglehet\u0151sen szokatlan, \u00e9s\u00a0 tov\u00e1bbfejleszt\u00e9se is m\u00e9lt\u00f3 ehhez a rendk\u00edv\u00fcli ind\u00edt\u00e1shoz. M\u00e1s tematikus anyag alig van a t\u00e9telben, m\u00e9g a mell\u00e9kt\u00e9m\u00e1t is a f\u0151t\u00e9m\u00e1b\u00f3l vezeti le Mozart, azzal az \u00faj \u00f6tlettel megtoldva, hogy a mot\u00edvumot ez\u00fattal halkan j\u00e1tszatja \u00e9s kontrapunktikusan kezeli.<\/p>\r\n

Alig akad pillanat az els\u0151 t\u00e9telben, ahol valamilyen form\u00e1ban ne hallan\u00e1nk ennek a mot\u00edvumnak legal\u00e1bb a ritmus\u00e1t. A kidolgoz\u00e1si r\u00e9szben a dallamnak ism\u00e9t \u00faj oldala t\u00e1rul el\u00e9nk, a moll hangnem fut\u00f3 \u00e9rint\u00e9s\u00e9vel \u00e9s egy \u00e9rzelmes s\u00f3hajmot\u00edvum hozz\u00e1t\u00e9tel\u00e9vel, melyet az obo\u00e1ra \u00e9s a fagottra b\u00edz Mozart. A visszat\u00e9r\u00e9s nagyj\u00e1b\u00f3l k\u00f6veti az expoz\u00edci\u00f3t, kiv\u00e9ve a t\u00e9tel v\u00e9g\u00e9t, ahol az utols\u00f3 mot\u00edvum gyors, sz\u00e9tv\u00e1lasztott staccato hangok helyett kromatikus sk\u00e1l\u00e1val kieg\u00e9sz\u00fclve sz\u00f3lal meg, mint valami enyh\u00e9n ironikus b\u00facs\u00fav\u00e9tel.<\/p>\r\n

A m\u00e1sodik t\u00e9tel (\"Andante\") nem annyira lass\u00fa, mint m\u00e1s lass\u00fa t\u00e9telek: ink\u00e1bb (ami a fentiek ut\u00e1n aligha lesz meglep\u0151) egyfajta k\u00f6nnyed, der\u0171s szeren\u00e1dhangot \u00fct meg. Egyik gy\u00f6ny\u00f6r\u0171 dallam a m\u00e1sik ut\u00e1n, \u00e9s mindegyiknek van valami apr\u00f3 megk\u00fcl\u00f6nb\u00f6ztet\u0151 jegye, ami m\u00e1s zeneszerz\u0151nek soha nem jutott volna esz\u00e9be.\r\nA fanf\u00e1rszer\u0171 t\u00e9m\u00e1ra \u00e9p\u00fcl\u0151 r\u00f6vid \u00e9s t\u00f6m\u00f6r men\u00fcettben fontos szerephez jutnak a trombit\u00e1k \u00e9s az \u00fcstdob. A \"k\u00fcrt-st\u00edlusban\" (tercekkel, kvintekkel \u00e9s szextekkel) harmoniz\u00e1lt\u00a0 tri\u00f3szakaszt l\u00e1that\u00f3lag n\u00e9pszer\u0171 L\u00e4ndler-dallamok ihlett\u00e9k.<\/p>\r\n

Mozart fennmaradt megjegyz\u00e9se szerint a Presto final\u00e9 temp\u00f3ja \"a lehet\u0151 leggyorsabb\" kell hogy legyen. A meglehet\u0151sen egyszer\u0171 f\u0151t\u00e9ma kidolgoz\u00e1sa rendk\u00edv\u00fcl v\u00e1ltozatos. A von\u00f3sokon el\u0151sz\u00f6r halkan megsz\u00f3lal\u00f3 dallamot hamarosan \u00e1tveszi a teljes zenekar. A kontraszt\u00e1l\u00f3 mell\u00e9kt\u00e9m\u00e1t von\u00f3sok \u00e9s faf\u00fav\u00f3k mutatj\u00e1k be. A r\u00f6vid k\u00f3da aff\u00e9le zenei ut\u00f3iratk\u00e9nt megism\u00e9tli a kor\u00e1bbi halk-hangos j\u00e1t\u00e9kot, miel\u0151tt a teljes zenekar \u00fcnnep\u00e9lyes hangon pontot tesz a darab v\u00e9g\u00e9re.<\/p>\r\n

A Haffner-szimf\u00f3ni\u00e1t hamar megismert\u00e9k Salzburg hat\u00e1r\u00e1n t\u00fal. A m\u0171 nagy sikert aratott B\u00e9csben is, ahol, a kor szok\u00e1sa szerint az els\u0151 h\u00e1rom t\u00e9tel \u00e9s a fin\u00e1l\u00e9 k\u00f6z\u00e9 sok m\u00e1s darabot - zongoram\u0171veket, vok\u00e1lis zen\u00e9t, improviz\u00e1ci\u00f3t - iktattak be. Mozart \u00edgy \u00edrt apj\u00e1nak a b\u00e9csi bemutat\u00f3 ut\u00e1n:\r\nA terem teljesen megtelt...\u00a0 minden p\u00e1holy foglalt volt.\u00a0 Legnagyobb \u00f6r\u00f6m\u00f6mre \u0150fels\u00e9ge, a cs\u00e1sz\u00e1r is jelen volt, \u00e9s, Istenem! milyen boldog volt \u00e9s hogy tapsolt nekem! Neki az a szok\u00e1sa, hogy a koncert el\u0151tt k\u00fcld p\u00e9nzt a sz\u00ednh\u00e1zba; ha nem \u00edgy tett volna, m\u00e9g nagyobb \u00f6sszegre is sz\u00e1m\u00edthattam volna, hiszen lelkesed\u00e9se nem ismert hat\u00e1rt. 25 duk\u00e1tot k\u00fcld\u00f6tt.<\/p>\r\n

A m\u0171vet m\u00e9g Mozart \u00e9let\u00e9ben el\u0151adt\u00e1k a h\u00edres p\u00e1rizsi \"Concerts spirituels\" keret\u00e9ben, valamint t\u00f6bb n\u00e9met v\u00e1rosban. A Magazin der Musik n\u00e9vtelen kritikusa \u00edgy sz\u00e1molt be 1786-ban:\r\nA koncert Mozartnak egy \u00faj D-d\u00far szimf\u00f3ni\u00e1j\u00e1val kezd\u0151d\u00f6tt, aminek nagyon \u00f6r\u00fcltem, mert m\u00e1r r\u00e9g\u00f3ta szerettem volna hallani. A 45 vagy 46, nagyr\u00e9szt fiatal m\u0171v\u00e9szb\u0151l \u00e1ll\u00f3 zenekart Lehritter kamarazen\u00e9sz vezette, nagy t\u0171zzel \u00e9s lelkesed\u00e9ssel, ami nagy csod\u00e1lattal t\u00f6lt\u00f6tt el.... V\u00e9lem\u00e9nyem szerint Mozart szimf\u00f3ni\u00e1ja val\u00f3di zenei mesterm\u0171.<\/p>{:}{:en}

The members of the Haffner family were good friends of the Mozarts in Salzburg. Sigmund Haffner the Elder (1699-1772) had been a wealthy merchant and the mayor of the city in whose house a great deal of music was made, with both Leopold and Wolfgang Mozart frequently participating. The relations continued after the mayor's death, and when his daughter Maria Elisabeth Haffner (1753-1784) was going to be married in 1776, Mozart was asked to write some festive music for the wedding. The \"Haffner\" Serenade (K. 250) was so successful that six years later, when another cause for celebration arose, the composer received another commission from the family. This time the occasion was Sigmund Haffner the Younger's (1756-1787) elevation to nobility.<\/p>\r\n

<\/p>\r\n

In the meantime, Mozart had left his native city and moved to Vienna, where his fame was rapidly advancing. When the request from Salzburg reached him in July 1782, his opera The Abduction from the Seraglio had just been premiered. He was busy arranging selections from it for wind ensemble (in those pre-copyright days, someone else could beat him to it and secure the not inconsiderable profits!). In addition, his wedding with Constanze Weber was imminent (August 4) and he was preparing to move to new quarters.\u00a0 In these circumstances, the composition of the new symphony went slower than father Leopold - anxious for the symphony to arrive in time for the festivities - might have wished.<\/p>\r\n

Nevertheless, Mozart seems to have managed to send the score to Salzburg before the end of August, since on the 24th of that month he was able to write to his father: \"I am delighted that the symphony is to your taste.\"<\/p>\r\n

We can tell from the music that the symphony had originally been intended as a second \"Haffner\" Serenade. Its tone is bright and exuberant, without any dramatic outbursts or the slightest trace of sadness and gloom. The opening theme - with its wide octave leaps in unison - is quite an exceptional melody, and it is handled in a most original fashion. It is, in fact, the only significant melodic material in the movement, and is reintroduced when we would expect a second theme, with the only difference that it is now played softly and treated contrapuntally.<\/p>\r\n

There is hardly a moment in the symphony when we don't hear at least the rhythm of the theme. The development section invests the melody with yet another character, exploring briefly the minor mode and adding a sensual sigh-motif as a counterpoint played by the oboe and the bassoon. The recapitulation runs exactly parallel to the exposition, except for the very end, where the last motif is changed from a jaunty staccato (short, separated notes) to a delicate chromatic scale as a mock-tearful farewell gesture.<\/p>\r\n

The second movement, marked Andante, is less slow than most second movements.\u00a0 Its tone, not surprisingly after what we know about the symphony's genesis, is that of an easy-going, peaceful serenade. The exquisite melodies flow one after another, and each has a distinctive touch that no other composer could ever have invented.<\/p>\r\n

\u00a0The brief and concise third-movement Minuet is based on a fanfare motif in which the trumpets and timpani play an important part. The movement's Trio section, whose melody is harmonized in the so-called \"horn\" style (using thirds, fifths, and sixths), seems to have been inspired by popular L\u00e4ndler tunes.<\/p>\r\n

Mozart wrote that the fourth-movement Presto finale should go \"as fast as possible.\"\u00a0 It is an extremely lively piece based on a simple tune, developed and varied in a most ingenious way. It starts softly on the strings, but the entire orchestra with trumpets and kettledrums soon joins in. The second theme, by contrast, is scored for strings and woodwinds only. There is a brief coda, or a sort of musical postscript, which repeats the soft-loud scheme of the main melody a final time, before the jubilant ending played by the full orchestra.<\/p>\r\n

The \"Haffner\" Symphony soon became known beyond Salzburg.\u00a0 It was an instant success in Vienna. As Mozart wrote to his father after the Viennese premiere (which, according to the custom of the day, opened with the first three movements of the symphony and closed with the Finale, with piano music, improvisation, and vocal selections in between):\r\nThe theatre could not have been more crowded and....every box was full.\u00a0 But what pleased me most of all was that His Majesty the Emperor [Joseph II] was present and, goodness! - how delighted he was and how he applauded me!\u00a0 It is his custom to send money to the box office before going to the theatre; otherwise I should have been fully justified in counting on a larger sum, for really his delight was beyond all bounds.\u00a0 He sent 25 ducats.<\/p>\r\n

The \"Haffner\" Symphony was performed in Mozart's lifetime in several cities outside Vienna, including Paris, where it was heard in the famous concert series \"Concerts spirituels.\" After a 1786 concert in Germany, an anonymous correspondent wrote in the Magazin der Musik:\r\nThe concert began with a new Symphony in D by Mozart, which was all the more welcome to me because I had already long been desirous of hearing it. Chamber-musician Lehritter....led the orchestra - which consisted of approximately 45 or 46 mostly young artists - with so much fire and solidity that I stood there full of astonishment... I consider Mozart's symphony itself a masterpiece of harmony.<\/p>{:}","post_title":"{:hu}Szimf\u00f3nia D-d\u00far \"Haffner\", no. 35, K. 385{:}{:en}Symphony No. 35 in D major \"Haffner\", K. 385{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"szimfonia-d-dur-haffner-no-35-k-385","to_ping":"","pinged":"","post_modified":"2017-02-01 08:51:40","post_modified_gmt":"2017-02-01 08:51:40","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/szimfonia-d-dur-haffner-no-35-k-385\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Mozart"]}],"kozr_szemelyek":[{"ID":86022,"post_author":"1","post_date":"2016-09-21 08:39:18","post_date_gmt":"2016-09-21 08:39:18","post_content":"{:hu}

A francia heged\u0171m\u0171v\u00e9szn\u0151 Moszkv\u00e1ban sz\u00fcletett. \u00d6t\u00e9vesen kezdett heged\u00fclni, els\u0151 tan\u00e1ra \u00e9desapja volt. H\u00e9t\u00e9vesen adta els\u0151 koncertj\u00e9t. K\u00e9t \u00e9vvel k\u00e9s\u0151bb B\u00e9csbe k\u00f6lt\u00f6z\u00f6tt, hogy a h\u00edres pedag\u00f3gust\u00f3l, Boris Kuschnirt\u00f3l tanuljon. 2004-ben megnyerte az Eurov\u00edzi\u00f3s Versenyt. Nagyon sokr\u00e9t\u0171 m\u0171v\u00e9sz, aki egyar\u00e1nt otthon \u00e9rzi mag\u00e1t a sz\u00f3l\u00f3 j\u00e1t\u00e9kban illetve a kamarazen\u00e9ben. Olyan ismert zenekarokkal l\u00e9pett fel, mint a Frankfurti radio Szimfonikus Zenekara, az Orosz Nemzeti Filharmonikusok, az Izraeli Filharmonikusok vagy a Toki\u00f3i V\u00e1rosi Szimfonikusok. R\u00e9szt vett a BBC Radio 3 \u00daj Gener\u00e1ci\u00f3 M\u0171v\u00e9szei 2010-2012 programj\u00e1ban, \u00e9s ez alatt a BBC szinte minden egy\u00fcttes\u00e9vel kapcsolatba ker\u00fclt. Kamara egy\u00fcttes tagjak\u00e9nt fell\u00e9pett a p\u00e1rizsi Auditorium du Louvre-ben, a br\u00fcsszeli Palais des Beaux Arts-ban, a londoni Wigmore Hall-ban \u00e9s a t\u00f3ki\u00f3i Toppan Hallban. Rendszeres fell\u00e9p\u0151je a nemzetk\u00f6zi fesztiv\u00e1loknak. Jelenleg P\u00e1rizsban \u00e9l, ahol 2012-ben k\u00e9t m\u00e1sik t\u00e1rs\u00e1val egy\u00fctt megalak\u00edtotta az Esperanz\u2019Arts-ot, amely a m\u0171v\u00e9szeteken kereszt\u00fcl igyekszik lehet\u0151s\u00e9get teremteni a h\u00e1tr\u00e1nyos helyzetben l\u00e9v\u0151knek. Alexandra egy 1785 t\u00e1j\u00e9k\u00e1r\u00f3l sz\u00e1rmaz\u00f3 Giovanni Baptista Guadagnini heged\u0171n, az \u00fagynevezett \u2018ex-Kavakos\u2019-on j\u00e1tszik.\r\nfot\u00f3: Dan Carabas<\/p>{:}{:en}

Born in Moscow, French violonist started to learn the violin with her father at the age of five and gave her first concert when she was seven. She later moved to Vienna to study with the famous pedagogue Boris Kuschnir and won the Eurovision Competition in 2004. She is a multi-faceted artist who is equally at home in concerto and chamber repertoire. She performed with such renowned orchestras as the Frankfurt Radio Symphony Orchestra, the National Philharmonic of Russia, the Israel Philharmonic or the Tokyo Metropolitan Symphony. In the UK, she was a member of BBC Radio 3\u2019s New Generation Artist scheme 2010-12, during which time she worked with most of the BBC ensembles. As a chamber musician she has given recitals at the Auditorium du Louvre (Paris), Palais des Beaux Arts (Brussels), Wigmore Hall (London), and Toppan Hall (Tokyo). She regularly appears at international festivals. Now based in Paris, she, along with two friends, founded non-profit organisation Esperanz\u2019Arts in 2012, a charity project aimed at creating opportunities through the arts. She plays a Giovanni Baptista Guadagnini violin made in Turin c.1785 and is known as the \u2018ex-Kavakos\u2019.\r\nPhoto: Dan Carabas<\/p>{:}","post_title":"{:hu}Alexandra Soumm{:}{:en}Alexandra Soumm{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alexandra-soumm","to_ping":"","pinged":"","post_modified":"2016-10-26 17:05:59","post_modified_gmt":"2016-10-26 17:05:59","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86022","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}heged\u0171{:}{:en}violin{:}"}],"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"}],"jegyarak":"","jegyvasarlas_gomb":"http:\/\/www.filharmonia.hu","kozr_szemelyek_feluldefinialasa":"","youtube_id":"","old_id":"","muvekrol_reszletesen":null,"muveszekrol_reszletesen":null,"kiemelt_kep_en":{"ID":97863,"id":97863,"title":"fgt_6278","filename":"FGT_6278.jpg","filesize":256100,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/fgt_6278\/","alt":"","author":"3","description":"fot\u00f3: NF, Fej\u00e9r G\u00e1bor. heged\u0171","caption":"","name":"fgt_6278","status":"inherit","uploaded_to":0,"date":"2016-10-21 20:46:12","modified":"2016-10-21 20:50:12","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1229,"height":818,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-300x200.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-768x511.jpg","medium_large-width":640,"medium_large-height":426,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-1024x682.jpg","large-width":640,"large-height":426,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","1536x1536-width":1229,"1536x1536-height":818,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","2048x2048-width":1229,"2048x2048-height":818,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278.jpg","person-size-2-width":165,"person-size-2-height":110,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/FGT_6278-1229x722.jpg","slider-size-width":1229,"slider-size-height":722}},"gombtipus":"link","elkeltek_a_jegyek":false,"hivatkozas_gomb_szovege":"Tov\u00e1bb","hivatkozas_gomg_url-je":"http:\/\/www.filharmonia.hu"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/96514","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=96514"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}