{"id":96582,"date":"2016-10-04T11:21:27","date_gmt":"2016-10-04T11:21:27","guid":{"rendered":"http:\/\/www.filharmonikusok.hu\/?post_type=concerts&#038;p=96582"},"modified":"2016-10-27T11:16:39","modified_gmt":"2016-10-27T11:16:39","slug":"turne-japanban-tokyo","status":"publish","type":"concerts","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/turne-japanban-tokyo\/","title":{"rendered":"Koncert Jap\u00e1nban &#8211; Toki\u00f3"},"content":{"rendered":"","protected":false},"template":"","class_list":["post-96582","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":false,"content":false,"excerpt":false}}},"acf":{"alcim":"Kobayashi Ken-ichiro vez\u00e9nylet\u00e9vel","kiemelt_kep":{"ID":96728,"id":96728,"title":"sumida-triphony-hall","filename":"Sumida-Triphony-Hall.jpg","filesize":100222,"url":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall.jpg","link":"https:\/\/www.filharmonikusok.hu\/en\/koncertek\/turne-japanban-tokyo\/sumida-triphony-hall-2\/","alt":"","author":"3","description":"","caption":"","name":"sumida-triphony-hall-2","status":"inherit","uploaded_to":96582,"date":"2016-10-04 11:03:22","modified":"2016-10-04 11:03:32","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.filharmonikusok.hu\/wp-includes\/images\/media\/default.png","width":1000,"height":732,"sizes":{"thumbnail":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-300x220.jpg","medium-width":300,"medium-height":220,"medium_large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-768x562.jpg","medium_large-width":640,"medium_large-height":468,"large":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall.jpg","large-width":640,"large-height":468,"1536x1536":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall.jpg","1536x1536-width":1000,"1536x1536-height":732,"2048x2048":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall.jpg","2048x2048-width":1000,"2048x2048-height":732,"person-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-165x165.jpg","person-size-width":165,"person-size-height":165,"person-size-2":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall.jpg","person-size-2-width":165,"person-size-2-height":121,"album-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-263x263.jpg","album-size-width":263,"album-size-height":263,"news-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-360x203.jpg","news-lead-size-width":360,"news-lead-size-height":203,"director-index-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-359x450.jpg","director-index-size-width":359,"director-index-size-height":450,"person-lead-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-555x555.jpg","person-lead-size-width":555,"person-lead-size-height":555,"slider-size":"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/10\/Sumida-Triphony-Hall-1000x722.jpg","slider-size-width":1000,"slider-size-height":722}},"megjegyzes":"","esemeny_datum":"20161025","esemeny_idopontja":"19.00 - 22.00","sajat_program":false,"esemeny_tipusa":["koncertek"],"esemeny_helyszine":{"ID":87877,"post_author":"1","post_date":"2016-09-08 08:02:39","post_date_gmt":"2016-09-08 08:02:39","post_content":"","post_title":"{:hu}Sumida Triphony Hall{:}{:en}Sumida Triphony Hall{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"sumida-triphony-hall","to_ping":"","pinged":"","post_modified":"2016-09-08 08:02:39","post_modified_gmt":"2016-09-08 08:02:39","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/places\/sumida-triphony-hall\/","menu_order":0,"post_type":"places","post_mime_type":"","comment_count":"0","filter":"raw","varos":"{:hu}Toki\u00f3{:}{:en}Tokyo{:}","orszag":"{:hu}Jap\u00e1n{:}{:en}Japan{:}","cim":"","megjegyzes":"","weboldal":""},"helyszin_kategoria":"kulfold","karmester":{"ID":86518,"post_author":"1","post_date":"2016-10-18 16:13:17","post_date_gmt":"2016-10-18 16:13:17","post_content":"{:hu}Kobayashi Ken-Ichiro 1940-ben sz\u00fcletett Jap\u00e1nban, karmesteri tanulm\u00e1nyait Watanabe Ake\u00f3n\u00e1l \u00e9s Yamada Kazu\u00f3n\u00e1l folytatta a Toki\u00f3i M\u0171v\u00e9szeti \u00e9s Zenei Egyetemen. 1974-ben ker\u00fclt be a nemzetk\u00f6zi zenei \u00e9let k\u00f6z\u00e9ppontj\u00e1ba, amikor els\u0151 d\u00edjat nyert a Magyar Telev\u00edzi\u00f3 I. Nemzetk\u00f6zi Karmesterverseny\u00e9n. Sikere az\u00f3ta is t\u00f6retlen, a legnevesebb zenekarokat dirig\u00e1lja N\u00e9metorsz\u00e1gban, Ausztri\u00e1ban \u00e9s Angli\u00e1ban. A Magyar \u00c1llami Hangversenyzenekar (ma Nemzeti Filharmonikus Zenekar) vezet\u0151 karmestere 1987-t\u0151l, \u00f6r\u00f6k\u00f6s tiszteletbeli eln\u00f6k-karnagya 1992-t\u0151l. 1994-ben megkapta a Magyar K\u00f6zt\u00e1rsas\u00e1g egyik legmagasabb kit\u00fcntet\u00e9s\u00e9t. Jelenleg a Jap\u00e1n Filharmonikusok vezet\u0151 karmestere.{:}{:en}Born in 1940. He studied conducting under WATANABE Akeo and YAMADA Kazuo at the Tokyo National University of Fine Arts and Music. It was in 1974 when he studied gaining international attention after receiving first prize at the International Conductors Competition of the Hungarian Television. Since then he has gained a reputation by conducting major orchestras in countries such as Germany, Austria and the UK. He was appointed Principal Conductor of the Hungary State Symphony Orchestra (Hungary National Philharmonic Orchestra nowaday) in 1987, and General Director of the Orchestra in 1992. In 1994, he received \"Middle Cross with the Star of the Order of the Republic of Hungary\". The Japan Philharmonic appointed him Chief Conductor in 1998, Principal Conductor in 1990, and Chief Guest Principal Conductor in 1994.\r\nIn 1997, he returns to the Japan Philharmonic as Chief Conductor.{:}","post_title":"{:hu}Kobayashi Ken-Ichiro{:}{:en}Ken-Ichiro Kobayashi{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"kobayashi-ken-ichiro","to_ping":"","pinged":"","post_modified":"2018-05-30 08:13:14","post_modified_gmt":"2018-05-30 08:13:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=86518","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw"},"hazigazda":null,"muvek":[{"ID":91113,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu}<p style=\"text-align: justify;\">A Les Pr\u00e9ludes Liszt egyik leggyakrabban el\u0151adott szimfonikus k\u00f6ltem\u00e9nye. A kompoz\u00edci\u00f3 genezise eg\u00e9szen 1844-ig vezethet\u0151 vissza. Az els\u0151 hall\u00e1sra furcs\u00e1nak t\u0171n\u0151 c\u00edmet (El\u0151j\u00e1t\u00e9kok) Alphonse de Lamartine (1790-1869) K\u00f6lt\u0151i elm\u00e9lked\u00e9sek c\u00edm\u0171 munk\u00e1ja ihlette. A darab k\u00f6lt\u0151i programj\u00e1t a vers alapj\u00e1n \u00edgy hat\u00e1rozta meg Liszt: &quot;Mi m\u00e1s az \u00e9let\u00fcnk, mint el\u0151j\u00e1t\u00e9kok sorozata ahhoz az ismeretlen \u00e9nekhez, amelynek els\u0151 hangj\u00e1t a hal\u00e1l csend\u00edti meg?&quot; Ma m\u00e1r tudjuk, hogy ezt a programot Liszt az utols\u00f3 pillanatban, a m\u0171 elk\u00e9sz\u00fclte ut\u00e1n illesztette a zenekari darabhoz, ezzel azt a l\u00e1tszatot keltette, mintha a Lamartine-sz\u00f6veg inspir\u00e1lta volna. A partit\u00far\u00e1hoz k\u00e9sz\u00fclt el\u0151sz\u00f3 t\u00f6bb v\u00e1ltozata is ismert, nyomtat\u00e1sban v\u00e9g\u00fcl egy Hans von B\u00fclow \u00e1ltal fogalmazott sz\u00f6veg jelent meg. Az 1854-ben, Weimarban bemutatott m\u0171 - a karmester maga Liszt Ferenc volt - tartalmilag ugyan laz\u00e1n kapcsol\u00f3dik Lamartine meditat\u00edv \u00edr\u00e1s\u00e1hoz (ebben is, abban is vannak pasztor\u00e1lis \u00e9s harcias r\u00e9szletek), de e laza kapcsolat is elegend\u0151 ahhoz, hogy Liszt szimfonikus k\u00f6ltem\u00e9ny\u00e9nek \u00e9rtelmez\u00e9s\u00e9t hossz\u00fa id\u0151n \u00e1t - s\u0151t m\u00e9g napjainkban is - alapvet\u0151en meghat\u00e1rozza. S b\u00e1r a m\u0171 keletkez\u00e9st\u00f6rt\u00e9nete egy eg\u00e9szen m\u00e1s interpret\u00e1ci\u00f3ra ad lehet\u0151s\u00e9get, nem szabad megfeledkezn\u00fcnk arr\u00f3l, hogy a Lamartine-hoz kapcsolhat\u00f3 gondolatot maga Liszt helyezte az \u00e9rtelmez\u00e9s el\u0151ter\u00e9be.<\/p>\n<p style=\"text-align: justify;\">&nbsp;<\/p>\n<p style=\"text-align: justify;\">A Les Pr\u00e9ludes zen\u00e9j\u00e9t eredetileg Joseph Autran (1813-1877) k\u00f6ltem\u00e9nyei inspir\u00e1lt\u00e1k. Liszt \u00e9s Autran 1844-ben ismerkedett meg egym\u00e1ssal Marseille-ben. Autran lelkesen m\u00e9ltatta a helyi \u00fajs\u00e1gban Liszt m\u0171v\u00e9szet\u00e9t, m\u00e9g alkalmi k\u00f6ltem\u00e9nnyel is kedveskedett a zongoram\u0171v\u00e9sznek. A vers - Les Aquilons (Az \u00e9szaki sz\u00e9l) - elnyerte Liszt tetsz\u00e9s\u00e9t, \u00e9s a sz\u00e1rnyal\u00f3 szabads\u00e1ghimnusz sz\u00f6veg\u00e9re k\u00f3rusm\u0171vet kompon\u00e1lt. Egy \u00e9vvel k\u00e9s\u0151bb, spanyolorsz\u00e1gi turn\u00e9ja k\u00f6zben, Autran tov\u00e1bbi h\u00e1rom vers\u00e9t is megzen\u00e9s\u00edtette: Les Flots (A hull\u00e1mok), Les Astres (A csillagok), La Terre (A f\u00f6ld). A n\u00e9gy k\u00f3rust cikluss\u00e1 szervezve Liszt a Les Quatre \u00c9l\u00e9ments (A n\u00e9gy elem) c\u00edmet adta volna a kompoz\u00edci\u00f3nak. A k\u00f3rusokat zenekari nyit\u00e1ny (Prel\u00fadium) vezette be, melyet el\u0151sz\u00f6r Conradi hangszerelt meg. Ezt 1850 k\u00f6r\u00fcl Raff \u00e1tdolgozta, majd Liszt az eg\u00e9sz hangszerel\u00e9st megv\u00e1ltoztatta (1852-1854). Ebben az alkot\u00f3i f\u00e1zisban sz\u00fcletett meg a kompoz\u00edci\u00f3 c\u00edme \u00e9s a Lamartine-ra val\u00f3 utal\u00e1s. A zene anyaga viszont tov\u00e1bbra is a N\u00e9gy elemb\u0151l k\u00e9sz\u00fclt. Az egyt\u00e9teles m\u0171 n\u00e9gy r\u00e9szre tagolhat\u00f3, az egyes r\u00e9szek \u00f6n\u00e1ll\u00f3 karakter\u0171 t\u00e9telekk\u00e9nt is \u00e9rtelmezhet\u0151k. Az els\u0151 r\u00e9sz (Andante - Andante maestoso) a darab k\u00e9t t\u00e9m\u00e1j\u00e1t (zenei gondolat\u00e1t) expon\u00e1lja. Az els\u0151 t\u00e9m\u00e1t a von\u00f3sok hull\u00e1mz\u00f3 k\u00eds\u00e9rete felett a r\u00e9zf\u00fav\u00f3sok mutatj\u00e1k be, a l\u00edrai m\u00e1sodik t\u00e9ma k\u00fcrt\u00f6k\u00f6n \u00e9s m\u00e9lyheged\u0171k\u00f6n (dolce, espressivo ma tranquillo) csend\u00fcl fel.<\/p>\n<p style=\"text-align: justify;\">&nbsp;<\/p>\n<p style=\"text-align: justify;\">Lisztre jellemz\u0151 m\u00f3don mindk\u00e9t t\u00e9m\u00e1t egy gy\u00f6k\u00e9rb\u0151l, egy h\u00e1rom hangb\u00f3l \u00e1ll\u00f3 mot\u00edvumcs\u00edr\u00e1b\u00f3l fejlesztette ki. A tov\u00e1bbi &quot;t\u00e9telekben&quot; is e cs\u00edra fejl\u0151dik tov\u00e1bb \u00faj \u00e9s \u00faj alakot \u00f6ltve. A m\u00e1sodik r\u00e9sz (Allegro ma non troppo) viharr\u00e1 duzzad\u00f3, mozgalmas zene. A harmadik epiz\u00f3dban (Allegretto pastorale) a k\u00e9t t\u00e9ma t\u00e1voli vari\u00e1nsait halljuk viszont. A t\u00e9telt z\u00e1r\u00f3 dr\u00e1mai fokoz\u00e1s a t\u00e9m\u00e1k eredeti alakj\u00e1t hozza vissza. A fin\u00e1l\u00e9 (Allegro marziale animato) harci riad\u00f3 \u00e9s gy\u0151zelmi fanf\u00e1r, melyben az eredetileg l\u00e1gy m\u00e1sodik dallam is kem\u00e9ny indul\u00f3 karakter\u0171v\u00e9 alakul \u00e1t. E metamorf\u00f3zis egy\u00e9rtelm\u0171en vil\u00e1g\u00edt r\u00e1 a szimfonikus k\u00f6ltem\u00e9ny k\u00e9t uralkod\u00f3 t\u00e9m\u00e1j\u00e1nak k\u00f6z\u00f6s gy\u00f6ker\u00e9re.<\/p>{:}{:en}<p style=\"text-align: justify;\">\n<meta content=\"text\/html; charset=utf-8\" http-equiv=\"Content-Type\">\n<meta content=\"Word.Document\" name=\"ProgId\">\n<meta content=\"Microsoft Word 12\" name=\"Generator\">\n<meta content=\"Microsoft Word 12\" name=\"Originator\">\n<link href=\"file:\/\/\/C:%5CUsers%5CHORVAT%7E1%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml\" rel=\"File-List\">\n<link href=\"file:\/\/\/C:%5CUsers%5CHORVAT%7E1%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx\" rel=\"themeData\">\n<link href=\"file:\/\/\/C:%5CUsers%5CHORVAT%7E1%5CAppData%5CLocal%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml\" rel=\"colorSchemeMapping\"><!--[if gte mso 9]><xml>\n \n  Normal\n  0\n  \n  \n  \n  21\n  \n  \n  false\n  false\n  false\n  \n  HU\n  X-NONE\n  X-NONE\n  \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n  \n  MicrosoftInternetExplorer4\n  \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n   \n  \n<\/xml><![endif]--><!--[if gte mso 9]><![endif]--><!--[if !mso]>\n<style>\nst1:*{behavior:url(#ieooui) }\n<\/style>\n<![endif]--><style type=\"text\/css\">\n<!--\n \/* Font Definitions *\/\n @font-face\n\t{font-family:\"Cambria Math\";\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;}\n@font-face\n\t{font-family:Verdana;\n\tpanose-1:2 11 6 4 3 5 4 4 2 4;}\n \/* Style Definitions *\/\n p.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{\n\tmso-style-parent:\"\";\n\tmargin:0cm;\n\tmargin-bottom:.0001pt;\n\tfont-size:12.0pt;\n\tfont-family:\"Times New Roman\",\"serif\";\n\tmso-fareast-font-family:\"Times New Roman\";}\np\n\t{\n\tmargin-right:0cm;\n\tmargin-left:0cm;\n\tfont-size:12.0pt;\n\tfont-family:\"Times New Roman\",\"serif\";\n\tmso-fareast-font-family:\"Times New Roman\";}\n.MsoChpDefault\n\t{\n\tfont-size:10.0pt;}\n@page Section1\n\t{size:612.0pt 792.0pt;\n\tmargin:70.85pt 70.85pt 70.85pt 70.85pt;}\ndiv.Section1\n\t{page:Section1;}\n-->\n<\/style><!--[if gte mso 10]>\n<style>\n \/* Style Definitions *\/\n table.MsoNormalTable\n\t{mso-style-name:\"Norm\u00e1l t\u00e1bl\u00e1zat\";\n\tmso-style-parent:\"\";\n\tfont-size:11.0pt;\n\tfont-family:\"Calibri\",\"sans-serif\";\n\tmso-fareast-font-family:\"Times New Roman\";\n\tmso-bidi-font-family:\"Times New Roman\";}\n<\/style>\n<![endif]--><span>Les Pr\u00e9ludes is one the most frequently performed of Liszt&rsquo;s symphonic poems. We can trace the genesis of this work back to 1844. At first hearing, its title is distinctly odd: it bears no resembles to the preludes of Bach or Chopin. The explanation can be found in the work of the poet Alphone de Lamartine (1790-1869.) Liszt defined the programme of Les Pr\u00e9ludes by referring to the following Lamartine lines: &bdquo;What else is our life except a series of preludes to an unknown song, the first note of which is extinguished by death?&rdquo; We now know however, that Liszt only appended this explanation at the very last moment, once the composition was complete, creating the misleading impression that it was the Larmartine text that inspired it. We know of a number of earlier versions for the frontispiece to the score, but the final printed version used words by Hans von B\u00fclow. In 1854, the symphonic poem was premiered in Weimar, conducted by Franz Liszt himself, and although it was loosely linked to Lamartine&rsquo;s meditative writing (in the sense that there are pastoral and military sections), this loose relationship was enough to fundamentally influence the interpretation of Liszt&rsquo;s symphonic poem for many decades. Although the origin of the work offers a quite different interpretation, we should not lose sight of the fact that Liszt himself chose the Lamartine poem as the centre of interpretation.<\/span>      <\/meta>\n<\/meta>\n<\/meta>\n<\/meta>\n<\/p>\n<p>\n<meta content=\"text\/html; charset=utf-8\" http-equiv=\"Content-Type\">\n<meta content=\"Word.Document\" name=\"ProgId\">\n<meta content=\"Microsoft Word 12\" name=\"Generator\">\n<meta content=\"Microsoft Word 12\" name=\"Originator\"> <\/meta>\n<\/meta>\n<\/meta>\n<\/meta>\n<\/p>\n<p style=\"text-align: justify;\"><span>The music of Les Pr\u00e9ludes was originally inspired by the poems of Joseph Autran (1813-1877). Liszt first became acquainted with Autran in 1844 in Marseille. Autran enthusiastically praised Liszt&rsquo;s work in the local newspaper and broke into verse for the occasion. The verse &ndash; Les Aquilons (the North Wind) &ndash; won Liszt&rsquo;s approval and he composed a choral work to the text which was an expansive hymn to freedom. A year later, during a Spanish tour, Liszt set a further three Autran verses to music: Les Flots (The Waves), Les Astres (The Stars), La Terre (The Eearth). Liszt intended to create a choral cycle from these works which he called Les Quatre \u00c9l\u00e9ments (The Four Elements.) A choruses were prefaced with an orchestral introduction (Prel\u00fadium) which first Conradi orchestrated. Around 1850. Raff was asked to rework it and then Liszt himself altered the entire orchestration between 1852 and 1854. It was only in this final phase of creative work that Liszt came up with the work&rsquo;s title and the allusion to Lamartine. The musical material however, continued to be mined from the Four Elements. The finished one movement work can be subdivided into four sections, each one being interpretable as an independent movement. The first part (Andante - Andante maestoso) presents the work&rsquo;s two themes (its musical thought.) The first theme is introduced by the brass instruments above an undulating string accompaniment. The lyrical second theme (dolce, espressivo ma tranquillo) is heard on viola and the horns.<\/span><\/p>\n<p style=\"text-align: justify;\"><span>Typical of Liszt, both themes derive from an embryonic three note motif. In the subsequent &bdquo;movements&rdquo;, this embryo develops, taking on further guises. The second section (Allegro ma non troppo) is stormy music. In the third episode (Allegretto pastorale) we hear two distant variations of the themes. In the dramatic climax of the movement, these themes are brought back in their original form. The finale (Allegro marziale animato) is a triumphant military fanfare in which the originally soft second melody is transformed into a tune with a harsh march character. This metamorphosis unmistakably illuminates the mutual roots of the two prevailing themes.<\/span><\/p>\n<p>&nbsp;<\/p>{:}","post_title":"{:hu}Les Pr\u00e9ludes{:}{:en}Les Pr\u00e9ludes{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"les-preludes","to_ping":"","pinged":"","post_modified":"2016-09-08 08:57:48","post_modified_gmt":"2016-09-08 08:57:48","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/les-preludes\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Liszt"]},{"ID":91156,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu}<p style=\"text-align: justify;\">Liszt Ferenc 1838-ban Marie d'Agoult-val j\u00e1rt Pis\u00e1ban, ahol megtekintett\u00e9k a v\u00e1ros h\u00edres temet\u0151j\u00e9t, a Campo Sant\u00f3t. A s\u00edrkertet g\u00f3tikus, befel\u00e9 nyitott kereng\u0151 \u00f6vezi, melynek k\u00fcls\u0151 fal\u00e1n egyetlen ablakot sem nyitottak. Az \u00edgy kialak\u00edtott hatalmas, egybef\u00fcgg\u0151 falfel\u00fclet val\u00f3s\u00e1ggal k\u00edn\u00e1lja, hogy nagym\u00e9ret\u0171 fresk\u00f3kkal bor\u00edts\u00e1k. A kereng\u0151 fest\u0151i d\u00edsz\u00edt\u00e9se - melyet Giotto tan\u00edtv\u00e1nyai kezdtek meg - t\u00f6bb mint egy \u00e9vsz\u00e1zadig tartott. Az egyik legk\u00fcl\u00f6n\u00f6sebb \u00e9s legizgalmasabb fresk\u00f3 A hal\u00e1l diadala (Trionfo della Morte), melyet 1350 k\u00f6r\u00fcl festett Francesco Traini. Liszt kor\u00e1ban a m\u0171vet Orcagn\u00e1nak tulajdon\u00edtott\u00e1k, k\u00e9s\u0151bb felmer\u00fclt m\u00e9g Lorenzetti \u00e9s Bonamico Buffalmacco neve is. A k\u00e9p egyik oldal\u00e1n eleg\u00e1ns d\u00e1m\u00e1kat l\u00e1tunk j\u00f3k\u00e9p\u0171 lovagok t\u00e1rsas\u00e1g\u00e1ban. Zen\u00e9t hallgatnak, a lovagok kez\u00e9ben vad\u00e1szs\u00f3lymok pihennek, az egyik h\u00f6lgy \u00e9ppen egy \u00f6lebbel j\u00e1tszik.<\/p>\r\n<p style=\"text-align: justify;\">A k\u00e9p m\u00e1sik oldal\u00e1n egy hasonl\u00f3an el\u0151kel\u0151 t\u00e1rsas\u00e1g lovagol kereszt\u00fcl egy erd\u0151n, de a menet \u00fatj\u00e1t v\u00e1ratlanul h\u00e1rom kopors\u00f3 \u00e1llja el, benn\u00fck oszl\u00e1snak indult holttetemekkel, melyek a hal\u00e1l diadal\u00e1ra eml\u00e9keztetik \u0151ket. A lovak fenyeget\u0151 riadts\u00e1ggal torpannak meg a hal\u00e1l birodalm\u00e1nak e hat\u00e1rmezsgy\u00e9j\u00e9n. A kuty\u00e1k nyugtalanul szimatolnak a leveg\u0151ben. N\u00e9ma iszonyat uralkodik az eg\u00e9sz jeleneten, s a szerepl\u0151k hideglel\u0151s borzong\u00e1s\u00e1ban l\u00e1that\u00f3v\u00e1 v\u00e1lik a f\u00e9lelem. Liszt k\u00e9pzelet\u00e9t m\u00e1r ekkor, 1838-ban megragadta ez a hallatlanul expressz\u00edv \u00e9s borzongat\u00f3 fresk\u00f3, s azonnal \u00f6ssze is kapcsolta a Dies Irae gregori\u00e1n dallammal. A kompoz\u00edci\u00f3s alap\u00f6tlet - a Dies Irae-dallam vari\u00e1ci\u00f3s feldolgoz\u00e1sa egy zongoraverseny keret\u00e9ben - m\u00e1r ekkor megsz\u00fcletett, a m\u0171 befejez\u00e9se m\u00e9gis sok\u00e1ig v\u00e1ratott mag\u00e1ra. Liszt t\u00f6bb verzi\u00f3t is k\u00e9sz\u00edtett, v\u00e9g\u00fcl a kompoz\u00edci\u00f3 \u0151sbemutat\u00f3j\u00e1ra az \u00f6tlet megsz\u00fclet\u00e9se ut\u00e1n majd harminc \u00e9vvel, 1865-ben ker\u00fclt sor. A zongorasz\u00f3l\u00f3t Hans von B\u00fclow j\u00e1tszotta.<\/p>{:}{:en}<p style=\"text-align: justify;\">Franz Liszt travelled to Pisa in 1938 with Marie d'Agoult, where they visited the city's famous graveyard, Campo Santo. This is protected by a Gothic cloister opening inwards, on the outer wall of which there is not a single window. The immense, continuous wall surface invited the painting of grand frescos. The work on the cloister, which was begun by pupils of Giotto, lasted for more than a century. One of the most remarkable and exciting frescos is The Triumph of Death (Trionfo della morte), which Francesco Traini painted around 1350. In Liszt's time, it was attributed to Orgagna and later, variously to Lorenzetti and Bonamico Buffalmacco. On one side of the picture, we see elegant ladies in the company of handsome knights. They are listening to music, while on the knights' arms repose hunting falcons.<\/p>\r\n<p style=\"text-align: justify;\">One of the ladies can be seen playing with a dog. On the other side of the picture, a similarly well to do group are riding through a forest, but suddenly, they encounter three coffins in their path. In them are putrefying corpses which remind them of the triumph of death. The knights recoil with horror as they stand astride the border land of the kingdom of the death. The dogs restlessly paw the air. A dumb loathing prevails across the whole scene, and fear becomes visible in terms of the shivering horror of the company. In 1838 Liszt's imagination was fired by this exceptionally expressive and horrific fresco and he immediately linked it to the Gregorian Dies Irae melody. The basic compositional idea - working the melody in variation form within a piano concerto format - was born then, but a considerable length of time was to elapse before it was completed. As so often with Liszt, he wrote a number of versions. Its world premiere finally took placed a mere thirty five years after the event that inspired it, in 1865. On that occasion, the piano solo was played by Hans von B\u00fclow.<\/p>{:}","post_title":"{:hu}Hal\u00e1lt\u00e1nc{:}{:en}Totentanz{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"halaltanc-parafrazis-a-dies-irae-dallamara","to_ping":"","pinged":"","post_modified":"2020-09-30 12:51:38","post_modified_gmt":"2020-09-30 12:51:38","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/halaltanc-parafrazis-a-dies-irae-dallamara\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":91158,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco\r\n\r\nHogy 300 doll\u00e1r sok-e vagy kev\u00e9s - n\u00e9z\u0151pont k\u00e9rd\u00e9se. Egy este elverni nagy felel\u0151tlens\u00e9g. Egy olyan zenekari szimf\u00f3ni\u00e1\u00e9rt azonban, amely m\u00e1r a bemutat\u00f3n tombol\u00f3 tetsz\u00e9st arat, szinte nevets\u00e9ges alamizsna. J\u00f3 sz\u00e1zt\u00edz \u00e9vvel ezel\u0151tt persze m\u00e1s volt a p\u00e9nz \u00e9rt\u00e9ke. \u00a0Anton\u00edn Dvo\u0159\u00e1k bizony\u00e1ra el\u00e9gedetten tette zsebre az adom\u00e1nyt. Az sem nyugtalan\u00edtotta k\u00fcl\u00f6n\u00f6sebben, hogy a New York-i Nemzeti Konzervat\u00f3rium p\u00e1ly\u00e1zat\u00e1n ki\u00edrt d\u00edjat v\u00e9letlen\u00fcl \u00e9pp egy Anton\u00edn Dvo\u0159\u00e1k nev\u0171 professzor javaslata alapj\u00e1n nyerte Anton\u00edn Dvo\u0159\u00e1k zeneszerz\u0151. Ma parlamenti botr\u00e1ny kerekedne ilyesmib\u0151l, az \u00e9rtelmis\u00e9g napokig g\u00fanyosan mosolyogna \u00e9s \u00f6sszef\u00e9rhetetlens\u00e9gr\u0151l besz\u00e9lne. 1893-ban senki sem r\u00f6k\u00f6ny\u00f6d\u00f6tt meg. Az igazs\u00e1got v\u00e9gt\u00e9re is el kell fogadni. S mit tegyen a b\u00edr\u00e1l\u00f3, ha meg van gy\u0151z\u0151dve r\u00f3la, a p\u00e1ly\u00e1zatra be\u00e9rkezett m\u0171vek k\u00f6z\u00fcl \u00e9pp az \u00f6v\u00e9 az, amelyik kimagaslik. Csakis ez k\u00e9pviseli m\u00e9lt\u00f3an az amerikai m\u0171v\u00e9szetet\u2026\r\n\r\nMivelhogy alapj\u00e1ban v\u00e9ve ez volt a t\u00e9t. Amerika ugyan k\u00e9ts\u00e9gk\u00edv\u00fcl a korl\u00e1tlan lehet\u0151s\u00e9gek haz\u00e1ja, \u00e1m a zenem\u0171v\u00e9szet ter\u00fclet\u00e9n egyel\u0151re kullog a v\u00e9n Eur\u00f3pa m\u00f6g\u00f6tt. Ez nem maradhat \u00edgy, gondolta a 19. sz\u00e1zad v\u00e9ge fel\u00e9 Thurber milliomos gyarmat\u00e1ru-keresked\u0151 kicsit unatkoz\u00f3, kult\u00far\u00e1ra szomjas feles\u00e9ge, Jeanette asszony. \u0150 az, akinek h\u00edv\u00e1s\u00e1ra a nagyh\u00edr\u0171 cseh mester v\u00e1llalkozott a tengerent\u00fali \u00fatra, s arra, hogy \u00faj m\u0171veivel egyfajta mint\u00e1t adjon az amerikai komponist\u00e1knak. 1892-ben foglalta el az \u00faj New York-i konzervat\u00f3rium igazgat\u00f3i \u00e1ll\u00e1s\u00e1t, s hatalmas el\u00e1nnal l\u00e1tott neki a feladatnak. 1893 els\u0151 fel\u00e9ben k\u00e9sz\u00fclt el az \u00faj szimf\u00f3nia, \u00e9v v\u00e9g\u00e9n ker\u00fclt sor a bemutat\u00f3ra.\r\n\r\nA k\u00f6zismert c\u00edmet \u2013 \u201eAz \u00dajvil\u00e1gb\u00f3l\" - a szerz\u0151 csak a kompon\u00e1l\u00e1s befejez\u00e9se ut\u00e1n adta darabj\u00e1nak. Nem k\u00e9ts\u00e9ges azonban, hogy kezdett\u0151l fogva tudatosan t\u00f6rekedett arra, hogy a kompoz\u00edci\u00f3nak saj\u00e1tos \"amerikai\" jellege legyen. A lass\u00fa bevezet\u00e9ssel indul\u00f3 nagyszab\u00e1s\u00fa, szon\u00e1ta jelleg\u0171 els\u0151 t\u00e9telben p\u00e9ld\u00e1ul a mell\u00e9kt\u00e9ma pentaton dallam. Nem \"n\u00e9pdal\", de m\u00e9gis olyan jelleg\u0171, amilyeneket Dvo\u0159\u00e1k korabeli gy\u0171jtem\u00e9nyekben l\u00e1thatott, s tal\u00e1n m\u00e9g az utc\u00e1n is hallhatott. A m\u00e1sodik t\u00e9telben ugyancsak felt\u0171nik ez a mel\u00f3diavil\u00e1g. Ezt az eredetileg Legenda c\u00edmmel is ell\u00e1tott darabot egy olvasm\u00e1ny\u00e9lm\u00e9ny ihlette: Longfellow indi\u00e1nokr\u00f3l sz\u00f3l\u00f3 k\u00f6ltem\u00e9nye, a Hiawatha \u00e9neke. A harmadik darab mintha szembe\u00e1ll\u00edtan\u00e1 a \"modern nagyv\u00e1ros\" ny\u00fczsg\u0151, hajszolt \u00e9let\u00e9t a t\u00e1voli K\u00f6z\u00e9p-Eur\u00f3pa, a nosztalgikusan felid\u00e9zett cseh falu idilli vil\u00e1g\u00e1val. Izgatott, sz\u0171kmenet\u0171 imit\u00e1ci\u00f3kban, egym\u00e1st szinte kerget\u0151 t\u00e9m\u00e1kban gazdag f\u0151r\u00e9sze ut\u00e1n nyugodt C-d\u00far t\u00e1nc sz\u00f3lal meg k\u00f6z\u00e9pr\u00e9szk\u00e9nt. A hallatlanul energikus dallammal indul\u00f3 fin\u00e1l\u00e9ban az \u00faj mel\u00f3di\u00e1k, t\u00e9m\u00e1k (k\u00f6zt\u00fck egy v\u00e9rpezsd\u00edt\u0151 polka) mellett az el\u0151z\u0151 t\u00e9teleknek minden fontosabb zenei gondolata szerepet kap.","post_title":"{:hu}IX. szimf\u00f3nia e-moll \"Az \u00dajvil\u00e1gb\u00f3l\", op. 95{:}{:en}Symphony No. 9 \u201cFrom the New World\u201d, op. 95{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"ix-szimfonia-e-moll-az-ujvilagbol-op-95","to_ping":"","pinged":"","post_modified":"2018-01-23 16:11:55","post_modified_gmt":"2018-01-23 16:11:55","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/ix-szimfonia-e-moll-az-ujvilagbol-op-95\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Dvo\u0159\u00e1k"]}],"kozr_szemelyek":[{"ID":96730,"post_author":"3","post_date":"2016-10-26 13:27:13","post_date_gmt":"2016-10-26 13:27:13","post_content":"","post_title":"Tomoharu Ushida","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"tomoharu-ushida","to_ping":"","pinged":"","post_modified":"2016-10-26 13:27:13","post_modified_gmt":"2016-10-26 13:27:13","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&#038;p=96730","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}<img class=\"size-medium wp-image-115524 alignnone\" src=\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/>\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}<img class=\"size-medium wp-image-115524 alignnone\" src=\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\" \/>\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 <em>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&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;{:}","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":"https:\/\/sell.pia.jp\/inbound\/selectTicket.php?eventCd=1618263&rlsCd=008&langCd=eng","kozr_szemelyek_feluldefinialasa":"","youtube_id":"","old_id":"","muvekrol_reszletesen":null,"muveszekrol_reszletesen":null,"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\/96582","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=96582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}