\"Gal\u00e1nt\u00e1n t\u00f6lt\u00f6tte a szerz\u0151 gyermekkora legszebb h\u00e9t esztendej\u00e9t. H\u00edres volt akkor a gal\u00e1ntai banda, Mih\u00f3k pr\u00edm\u00e1s alatt. De m\u00e9g h\u00edresebb lehetett sz\u00e1z \u00e9vvel azel\u0151tt. 1800 t\u00e1j\u00e1n B\u00e9csben t\u00f6bb f\u00fczet magyar t\u00e1nc jelent meg. Egyiknek c\u00edme \u00edgy jel\u00f6li meg forr\u00e1s\u00e1t: \"von verschidenen (sic!) Zigeunern aus Galantha\". (...) Hadd folytassa ez a kis m\u0171 a r\u00e9gi gal\u00e1ntai hagyom\u00e1nyt.\" - \u00edrja a szerz\u0151 Gal\u00e1ntai t\u00e1ncok c\u00edm\u0171 darabja el\u00e9.\r\nKod\u00e1ly Zolt\u00e1n (1882-1967) 1933-ban, a Budapesti Filharm\u00f3niai T\u00e1rsas\u00e1g megalakul\u00e1s\u00e1nak 80. \u00e9vfordul\u00f3j\u00e1ra kompon\u00e1lta m\u00e1ig egyik legn\u00e9pszer\u0171bb szimfonikus m\u0171v\u00e9t. A bemutat\u00f3ra ugyanebben az \u00e9vben ker\u00fclt sor.<\/p>\r\n
A t\u00e9tov\u00e1z\u00f3 bevezet\u00e9sben a csell\u00f3, majd a k\u00fcrt hozza a jellegzetes, lass\u00fa verbunkos mot\u00edvumot. A dallamt\u00f6red\u00e9kek k\u00f6z\u00f6tt a t\u00f6bbi muzsikus mintha keresg\u00e9ln\u00e9, merre is fejlessze tov\u00e1bb ezt a zenei anyagot. Az els\u0151heged\u0171k mel\u00f3di\u00e1ja ut\u00e1n a klarin\u00e9t mutatja meg az utat: r\u00f6gt\u00f6nz\u00e9sszer\u0171 kadenci\u00e1ja a darab f\u0151t\u00e9m\u00e1j\u00e1ba, a szerz\u0151i utas\u00edt\u00e1s szerint \"m\u00e9lt\u00f3s\u00e1gteljesen l\u00e9pked\u0151\" verbunkosba torkollik. Az ism\u00e9tl\u00e9sn\u00e9l szenved\u00e9lyesebb\u00e9 v\u00e1l\u00f3 dallam megsz\u00f3laltat\u00e1s\u00e1ban m\u00e1r a teljes zenekar r\u00e9szt vesz.<\/p>\r\n
Az els\u0151 k\u00f6zj\u00e1t\u00e9kban ugr\u00f3t\u00e1ncot id\u00e9z\u0151, pizzicat\u00f3val k\u00eds\u00e9rt, csipkel\u0151d\u0151 faf\u00fav\u00f3s-, \u00e9s komoly, sodr\u00f3 erej\u0171 von\u00f3s\u00e1ll\u00e1sok v\u00e1ltj\u00e1k egym\u00e1st. Szellemes szerz\u0151i megold\u00e1s az ism\u00e9tl\u00e9sn\u00e9l a faf\u00fav\u00f3sok dallam\u00e1t kopul\u00e1zni; a fuvola \u00e9s a pikol\u00f3 kvintp\u00e1rhuzamban halad. Az ism\u00e9t megjelen\u0151 rond\u00f3t\u00e9ma szenved\u00e9lyess\u00e9g\u00e9t az \u00fcstdobtremol\u00f3k \u00e9s a dallamsorv\u00e9gi crescend\u00f3k fokozz\u00e1k.<\/p>\r\n
Az oboasz\u00f3l\u00f3val kezd\u0151d\u0151 szakasz dudat\u00e1ncot imit\u00e1l. Kontrasztanyaga f\u00e9nyes \u00e9s \u00e1ttetsz\u0151 a triangulum cseng\u0151-bong\u00f3 hangja, a pikol\u00f3 magas fricsk\u00e1i, a von\u00f3sok \u00fcveghangjai miatt. Azt\u00e1n a von\u00f3skar kiemelked\u00e9s\u00e9vel mintha a dudasz\u00f3l\u00f3ra kontr\u00e1zna r\u00e1 a n\u00e9pi zenekar. A visszat\u00e9r\u0151 andante maestoso t\u00e9m\u00e1t p\u00e1r \u00fctem ut\u00e1n els\u00f6pri az egyre sodr\u00f3bb \u00e9s extatikusabb harmadik k\u00f6zj\u00e1t\u00e9k. A von\u00f3sok ind\u00edtj\u00e1k, majd fokozatosan minden hangszercsoport bekapcsol\u00f3dik a hajszolt t\u00e1ncba.<\/p>\r\n
\"Kicsit \u00e1zottan\" - lehetne az alc\u00edme a harmadik, negyedik k\u00fcrt ind\u00edtotta r\u00e9sznek. A klarin\u00e9tsz\u00f3l\u00f3 ak\u00e1r egy r\u00e9szeg ember dudor\u00e1sz\u00e1s\u00e1t is evok\u00e1lhatja, amint der\u0171sen, de m\u00e1r szinte eszm\u00e9letlen\u00fcl pr\u00f3b\u00e1l hazat\u00e1molyogni.<\/p>\r\n
A mulats\u00e1g azonban n\u00e9lk\u00fcle is folytat\u00f3dik. Egyre sodr\u00f3bb lend\u00fclete csak egyetlenegyszer torpan meg, \u00e9pp a tet\u0151pontj\u00e1n. A fortissimo a-moll ter\u00fclet ut\u00e1n egy pianissimo gisz-moll akkord: h\u00e1tborzongat\u00f3 pillanat. A m\u00e9lt\u00f3s\u00e1gteljes, keser\u00e9des f\u0151t\u00e9ma v\u00e9gigvonul a fuvol\u00e1n \u00e9s az obo\u00e1n, majd vissza\u00e9rkezik oda, ahonnan elindult, a s\u00edrva vigad\u00f3 klarin\u00e9thoz. A darab v\u00e9g\u00e9re a t\u00e9ma k\u00f6zj\u00e1t\u00e9kszer\u0171 megjelen\u00e9se el\u0151ttr\u0151l ismer\u0151s, sz\u00e9d\u00edt\u0151en \u00f6rv\u00e9nyl\u0151 t\u00e1nc tesz pontot - azaz felki\u00e1lt\u00f3jelet.<\/p>{:}{:en}
\u201eThe composer spent the most beautiful seven years in Galanta. At that time, the Galanta band was famous when Mih\u00f3k was the first violinist. But it was even more famous a hundred years before. Around 1800, several books of Hungarian dances were published in Vienna. One of these described its sources as: \u201evon verschidenen (sic!) Zigeunern aus Galantha\u201d. (\u2026) Let this small work follow this old Galanta tradition\u201d \u2013 wrote Kod\u00e1ly on the published manuscript.\r\nZolt\u00e1n Kod\u00e1ly (1882\u20131967) composed what remains one of his most popular symphonic works in 1933 for the 80th anniversary of the Budapest Philharmonic Society and it was premiered the same year.<\/p>\r\n
\r\nIn the hesitant introduction, the cello and then the horn introduce the characteristic slow verbunk motif. It is as if the other musicians are searching among the melodic fragments how to develop this musical material. Following the melody of the first violins, the clarinet shows the way: its improvisatory cadenza leads to the work's main theme, a \"dignified stepping\" verbunk, according to Kod\u00e1ly's instructions. When it is repeated, it is more passionate still and the entire orchestra takes part.\r\nIn the first interlude, serious, powerful string and woodwind passages alternate with pizzicato strings, evoking a leaping dance. There is a witty compositional solution in the repeat, with flute and piccolo employed in parallel fifths. The recurring rondo theme is made all the more passionate by timpani tremolos and melodic crescendi.\r\nThe section commencing with an oboe solo imitates a bagpipe dances. The contrasting material is bright and transparent because of the sound of the triangle and the harmonics produced on violin, accompanied by piccolo. Then we seem to hear a folk band evoking a bagpipe solo, as a contrast to the elevation of the orchestra. After a few bars, an increasingly ecstatic third interlude sweeps away the returning andante maestoso theme. The strings launch things, then every instrumental group joins in the dance.\r\n\u201eA bit tipsy\u201d \u2013 could be the subtitle of the fourth section, introduced by the horn. The clarinet solo perhaps evokes the crooning of someone who has drunk too much, merry but not quite conscious, as they try to get home.\r\nBut the party continues without him. Its sweeping momentum is broken only once, and then at its climax. After a fortissimo A minor, we heard a pianissimo G sharp minor chord: it is a spine chilling moment. The dignified, bittersweet principal theme departs on flute and oboe, and returns to where it began, on the clarinet. The interlude like appearance of the theme placed at the end puts a full stop to the end of this dizzy dance - or rather, an exclamation mark.<\/p>\r\n
<\/p>{:}","post_title":"{:hu}Gal\u00e1ntai t\u00e1ncok{:}{:en}Dances from Gal\u00e1nta{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"galantai-tancok","to_ping":"","pinged":"","post_modified":"2019-04-29 13:31:03","post_modified_gmt":"2019-04-29 13:31:03","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/galantai-tancok\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":[]},{"ID":96583,"post_author":"3","post_date":"2016-09-26 12:04:38","post_date_gmt":"2016-09-26 12:04:38","post_content":"Edvard Hagerup Grieg, a skandin\u00e1v nemzeti romantika legismertebb zeneszerz\u0151je mind\u00f6ssze huszon\u00f6t \u00e9ves kor\u00e1ban, 1868-ban kompon\u00e1lta zongoraverseny\u00e9t, a romantikus versenym\u0171-irodalom egyik legn\u00e9pszer\u0171bb darabj\u00e1t. A versenym\u0171vet gyakran \u00e1ll\u00edtj\u00e1k p\u00e1rba Robert Schumann szint\u00e9n h\u00e1romt\u00e9teles \u00e9s a-moll hangnem\u0171 zongoraverseny\u00e9vel. Grieg r\u00e1ad\u00e1sul ismerte is Schumann m\u0171v\u00e9t, hiszen Clara Schumann el\u0151ad\u00e1s\u00e1ban hallotta azt di\u00e1k\u00e9veiben. Schumann zen\u00e9je mellett a norv\u00e9g n\u00e9pzene is inspir\u00e1lta Grieget a versenym\u0171 kompon\u00e1l\u00e1sa folyam\u00e1n, norv\u00e9g n\u00e9pt\u00e1nc- \u00e9s n\u00e9pi hangszerimit\u00e1ci\u00f3kat is felfedezhet\u00fcnk a darabban.\r\n\r\nGrieg 1870-ben ismerkedett meg Liszt Ferenccel, s m\u00e1sodik tal\u00e1lkoz\u00e1suk alkalm\u00e1val megmutatta neki zongoraversenye k\u00e9zirat\u00e1t. Liszt els\u0151 l\u00e1t\u00e1sra lej\u00e1tszotta a m\u0171vet, \u00e9s m\u00e9g n\u00e9h\u00e1ny hangszerel\u00e9si javaslatot is adott a fiatal norv\u00e9g zeneszerz\u0151nek. A zongoraverseny m\u00e1r ekkor nagy hat\u00e1st tett a jelenl\u00e9v\u0151kre, m\u00e9g akkor is, ha Grieg szerint Liszt t\u00fal gyorsan j\u00e1tszotta az els\u0151 t\u00e9telt.","post_title":"{:hu}Zongoraverseny a-moll, op. 16{:}{:en}Piano Concerto in A minor, op. 16{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"zongoraverseny-a-moll-op-16","to_ping":"","pinged":"","post_modified":"2018-02-08 16:56:19","post_modified_gmt":"2018-02-08 16:56:19","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=muvek&p=96583","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Grieg"]},{"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":91113,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu}
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: "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?" 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
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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
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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 "t\u00e9telekben" 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}
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