A k\u00f6vetkez\u0151 k\u00eds\u00e9rlet, egy k\u00f6zeli j\u00f3bar\u00e1t, Tristan Klingsor verseinek megzen\u00e9s\u00edt\u00e9se viszont m\u00e1r eljutott a befejez\u00e9sig. A h\u00e1rom dalb\u00f3l \u00e1ll\u00f3 Seherez\u00e1d\u00e9-ciklus 1903-ban sz\u00fcletett, s az azt megel\u0151z\u0151 F-d\u00far von\u00f3sn\u00e9gyes viszonylagos szigor\u00fas\u00e1ga ut\u00e1n (\"konstrukt\u00edv zenei fel\u00e9p\u00edt\u00e9sre t\u00f6rekedtem\" - mondta arr\u00f3l Ravel) szinte l\u00edrai kompenz\u00e1ci\u00f3nak is mondhatn\u00e1nk az \u00e9letm\u0171ben. Zenei nyelv\u00e9n egy\u00e9rtelm\u0171en Debussy hat\u00e1sa \u00e9rezhet\u0151; az ink\u00e1bb besz\u00e9l\u0151, mint \u00e9nekl\u0151 vok\u00e1lis sz\u00f3lam n\u00e9hol mintha az \u0151 Pell\u00e9as \u00e9s M\u00e9lisande-j\u00e1t id\u00e9zn\u00e9. Ez a hat\u00e1s az els\u0151, Asie (\"\u00c1zsia\") c\u00edm\u0171 dalban a legvil\u00e1gosabb, de ennek gazdag zenekari anyag\u00e1ban Ravel egyszersmind a f\u00e9lbehagyott Seherez\u00e1d\u00e9-opera t\u00f6red\u00e9keit is felhaszn\u00e1lta. A m\u00e1sodik dal, \"A var\u00e1zsfuvola\" (La Fl?te enchant\u00e9e<\/em>) az Asie p\u00e1tosz\u00e1val intimebb hangv\u00e9telt \u00e1ll\u00edt szembe; a zenekar szinte \u00e1ttetsz\u0151v\u00e9 v\u00e1lik. A sorozatot z\u00e1r\u00f3 L'Indiff\u00e9rent (\"A k\u00f6z\u00f6ny\u00f6s\") - mintha a k\u00f6zvetlen Debussy-hat\u00e1st\u00f3l val\u00f3 megszabadul\u00e1s \u00fatj\u00e1t j\u00e1rn\u00e1nk v\u00e9gig - imm\u00e1r dallamosabb \u00e9neksz\u00f3lam\u00e1val kelt m\u00e9g ink\u00e1bb \"raveles\" hat\u00e1st.<\/p>\r\n E dalciklussal Ravel egy\u00e9bk\u00e9nt kor\u00e1ntsem \"\u00edrta ki mag\u00e1b\u00f3l\" a Kelet t\u00e9m\u00e1j\u00e1t: sz\u00e1mos bar\u00e1tj\u00e1nak eml\u00e9kezete szerint a harmincas \u00e9vekben, nem sokkal hal\u00e1la el\u0151tt is egy az Ezeregy\u00e9jszak\u00e1b\u00f3l mer\u00edt\u0151, arab t\u00e9m\u00e1j\u00fa meseopera \u00edr\u00e1s\u00e1nak gondolata foglalkoztatta.<\/p>{:}{:en} From early childhood, Maurice Ravel was irresistibly attracted by the world of Eastern tales. As a composer, he made his first attempts at the end of the 1890s to express this attraction in music, but his opera Sheherazade, based on the 1704 Antoine Galland translation of \"A Thousand and One Nights\" (upon which, as he said, Russian\u00a0 music exercised a great influence) was to remain incomplete. Only the overture was performed publicly (in May 1899) and its cool reception dissuaded Ravel from continuing. Years later, he remarked \"the overture is impoverished and so full of whole tone scales that I've had enough of them to last a lifetime.\"<\/p>\r\n <\/p>\r\n This next attempt, setting to music verses by his close friend Tristan Klingsor, did reach completion. The Sheherazade cycle was written in 1903, and following the relative rigour of his preceding composition, the string quartet in F major (\"I endeavoured to build constructive music\" reported Ravel), it comes as almost lyrical compensation. In its musical language, the influence is Debussy is self-evident; the conversational rather than sung vocal line in places seem to evoke Pell\u00e9as et M\u00e9lisande. This influence is most apparent in the first song Asie (Asia), but in its rich orchestral material Ravel also employs fragments from his abandoned Sheherazade opera. The second song \"The enchanted flute\" (La Fl?te enchant\u00e9e) contrasts a more intimate atmosphere with the pathos of Asie; the orchestration also becomes more transparent. The final song L'Indiff\u00e9rent (\"The Indifferent\") seems to represent Ravel escaping from the clutches of Debussy. Its much more melodic vocal line becomes recognisably Ravelian.<\/p>\r\n Ravel certainly did not exorcise his fascination for Eastern themes with this song cycle: many of his friends recall that in the nineteen thirties, shortly before his death, Ravel was still contemplating a fairy tale opera with an Arab theme, drawing on the Thousand and One Nights.<\/p>{:}","post_title":"{:hu}Seherez\u00e1d\u00e9 - dalciklus{:}{:en}Sheherazade - song cycle{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"seherezade-dalciklus","to_ping":"","pinged":"","post_modified":"2017-02-01 10:10:29","post_modified_gmt":"2017-02-01 10:10:29","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/seherezade-dalciklus\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Ravel"]},{"ID":91115,"post_author":"1","post_date":"2016-09-08 08:57:48","post_date_gmt":"2016-09-08 08:57:48","post_content":"{:hu} Viktor Hartman, kiv\u00e1l\u00f3 \u00e9p\u00edt\u00e9sz, fest\u0151\u00a0 eml\u00e9k\u00e9re rendezett ki\u00e1ll\u00edt\u00e1s adta a zeneszerz\u0151nek az \u00f6tletet, hogy zongoraszvitet \u00edrjon a k\u00e9pek keltette benyom\u00e1sok alapj\u00e1n. A m\u0171v\u00e9sz\u00a0 Muszorgszkij j\u00f3 bar\u00e1tja volt, 1874-ben halt meg, 39 \u00e9ves kor\u00e1ban.<\/p>\r\n <\/p>\r\n \"Micsoda sz\u00f6rny\u0171 csap\u00e1s!\" - fakadt ki Muszorgszkij Vlagyimir Sztaszovhoz, a neves kritikushoz \u00edrott level\u00e9ben. \"Mi\u00e9rt \u00e9l egy kutya, egy l\u00f3, egy patk\u00e1ny, ha egy Hartmannak meg kell halnia?\" Viktor Hartman, kiv\u00e1l\u00f3 \u00e9p\u00edt\u00e9sz, fest\u0151 \u00e9s Muszorgszkij j\u00f3 bar\u00e1tja, 1874-ben halt meg, 39 \u00e9ves kor\u00e1ban. Az eml\u00e9k\u00e9re rendezett ki\u00e1ll\u00edt\u00e1s adta a zeneszerz\u0151nek az \u00f6tletet, hogy zongoraszvitet \u00edrjon a k\u00e9pek keltette benyom\u00e1sok alapj\u00e1n. A darab azonban Muszorgszkij \u00e9let\u00e9ben el\u0151adatlan \u00e9s kiadatlan maradt, \u00e9s csak akkor v\u00e1lt sz\u00e9les k\u00f6rben ismertt\u00e9, amikor Maurice Ravel 1922-ben meghangszerelte. A zongorist\u00e1k csak azut\u00e1n fedezt\u00e9k fel maguknak a m\u0171vet, amikor az zenekari form\u00e1j\u00e1ban m\u00e1r n\u00e9pszer\u0171v\u00e9 v\u00e1lt.<\/p>\r\n Az Egy ki\u00e1ll\u00edt\u00e1s k\u00e9pei kezdett\u0151l fogva szinte ki\u00e1ltott a hangszerel\u00e9s\u00e9rt, r\u00e9szben mivel fakt\u00far\u00e1ja nem igaz\u00e1n \"zongoraszer\u0171\" a sz\u00f3 schumanni, chopini vagy liszti \u00e9rtelm\u00e9ben, r\u00e9szben pedig az\u00e9rt, mert olyan \u00e9les karakterellent\u00e9tekre \u00e9p\u00fcl, amelyek nagyzenekari k\u00f6nt\u00f6sben \u00e9rv\u00e9nyes\u00fclnek a legjobban. B\u00e1r t\u00f6bben is meghangszerelt\u00e9k a darabot, Ravel verzi\u00f3ja h\u00f3d\u00edtotta meg a vil\u00e1got. Nem csoda, hogy Ravel annyira lelkesedett Muszorgszkij darabj\u00e1\u00e9rt: a francia mester maga is gyakran \u00f6nt\u00f6tt vizu\u00e1lis \u00e9lm\u00e9nyeket zenei form\u00e1ba. Muszorgszkij zongoram\u0171v\u00e9t kb. 1900 \u00f3ta ismerte; tudjuk, hogy bar\u00e1taival h\u00e1zimuzsika-\u00f6sszej\u00f6veteleken v\u00e9gigj\u00e1tszotta. Debussyhez hasonl\u00f3an Ravel is a k\u00f6zelm\u00falt egyik legfontosabb zeneszerz\u0151j\u00e9nek tekintette Muszorgszkijt.<\/p>\r\n Muszorgszkij t\u00edz Hartman-k\u00e9pet v\u00e1lasztott ki szvitje sz\u00e1m\u00e1ra. Az egyes k\u00e9pek k\u00f6z\u00f6tt, legal\u00e1bbis a m\u0171 els\u0151 fel\u00e9ben, vissza-visszat\u00e9r\u0151 \"Promenade\"-dallamot hallunk, mely a ki\u00e1ll\u00edt\u00e1s l\u00e1togat\u00f3j\u00e1t jelen\u00edti meg, amint egyik k\u00e9pt\u0151l a m\u00e1sikig s\u00e9t\u00e1l. A \"Promenade\"-t\u00e9ma minden egyes visszat\u00e9r\u00e9skor v\u00e1ltozik: a l\u00e1togat\u00f3 m\u00e9g az im\u00e9nt l\u00e1tott k\u00e9p hat\u00e1sa alatt \u00e1ll, mik\u00f6zben tov\u00e1bbhalad a k\u00f6vetkez\u0151 k\u00e9p fel\u00e9.<\/p>\r\n Az els\u0151 k\u00e9p, \"A gn\u00f3m\", egy t\u00f6rpeform\u00e1j\u00fa j\u00e1t\u00e9k di\u00f3t\u00f6r\u0151t \u00e1br\u00e1zolt. Muszorgszkij elk\u00e9pzelte, hogyan mozogna ez a b\u00e1bu, ha valaha \u00e9letre kelne, mint E. T. A. Hoffmann di\u00f3t\u00f6r\u0151je, melynek nyom\u00e1n Csajkovszkij (18 \u00e9vvel Muszorgszkij \"Gn\u00f3m\"-ja ut\u00e1n) meg\u00edrta vil\u00e1gh\u00edr\u0171 balettj\u00e9t. A di\u00f3t\u00f6r\u0151 groteszk \u00e9s v\u00e1ratlan mozdulatait igen \u00e9rz\u00e9kletesen \u00e1br\u00e1zolja a zene. A \"Promenade\" ut\u00e1n bel\u00e9p\u00fcnk \"Az \u00f3don kast\u00e9ly\"-ba, ahol egy trubad\u00far \u00e9rzelmes dalt \u00e9nekel. Zenekari v\u00e1ltozat\u00e1ban Ravel ezt a dallamot az altszaxofonra b\u00edzta.<\/p>\r\n A k\u00f6vetkez\u0151 k\u00e9pnek, melyet ism\u00e9t \"Promenade\" vezet be, francia nyelv\u0171 a c\u00edme: Tuileries: Dispute d'enfants apr\u010ds jeux (\"A Tuileri\u00e1k kertje - veszeked\u0151 gyermekek\").\u00a0 A h\u00edres p\u00e1rizsi parkban j\u00e1tsz\u00f3d\u00f3 jelenetet minden \u00e1tmenet n\u00e9lk\u00fcl k\u00f6veti a Bydlo-t\u00e9tel, melyben egy \u00f6k\u00f6r vontatta szekeret l\u00e1tunk Lengyelorsz\u00e1gban k\u00f6zeledni, majd elt\u00e1volodni a s\u00e1ros orsz\u00e1g\u00faton. A s\u00falyos j\u00e1r\u00e1s\u00fa dallam egyre hangosabb, majd egyre halkabb lesz.<\/p>\r\n Egy er\u0151sen ler\u00f6vid\u00edtett, l\u00edrai \"Promenade\" vezet \u00e1t a k\u00f6vetkez\u0151 t\u00e9telbe: \"Kiscsib\u00e9k t\u00e1nca a toj\u00e1sh\u00e9jban\". Hartman jelmezterveket k\u00e9sz\u00edtett a szentp\u00e9terv\u00e1ri Mariinszkij Sz\u00ednh\u00e1z egyik balettprodukci\u00f3j\u00e1hoz, melynek koreogr\u00e1fi\u00e1j\u00e1t a kor vezet\u0151 t\u00e1ncm\u0171v\u00e9sze, Marius Petipa k\u00e9sz\u00edtette. A produkci\u00f3ban egy csoport gyerek kan\u00e1rimad\u00e1rnak volt \u00f6lt\u00f6zve. M\u00e1sok, egy korabeli le\u00edr\u00e1s szerint, \"toj\u00e1sh\u00e9jba voltak z\u00e1rva, mint valami p\u00e1nc\u00e9lba\" - csak a l\u00e1buk l\u00e1tszott ki.<\/p>\r\n A k\u00f6vetkez\u0151 t\u00e9tel, 'Samuel' Goldenberg \u00e9s 'Schmuyle', Hartmannak a sandomierzi gett\u00f3ban k\u00e9sz\u00edtett portr\u00e9v\u00e1zlatain alapszik. Az egyik k\u00e9p gazdag zsid\u00f3t \u00e1br\u00e1zol sz\u0151rmekalapban, a m\u00e1sikon egy szeg\u00e9ny embert l\u00e1tunk, amint lehajtott fejjel \u00fcl. A v\u00e1zlatok mind k\u00fcl\u00f6n-k\u00fcl\u00f6n mutatj\u00e1k a szerepl\u0151ket; Muszorgszkij volt az, aki \u00f6sszehozta \u0151ket zen\u00e9j\u00e9ben. A t\u00e9telt \u00e1ltal\u00e1ban \u00fagy \u00e9rtelmezik, mint a gazdag \u00e9s a szeg\u00e9ny zsid\u00f3 k\u00f6z\u00f6tti vit\u00e1t. Goldenberg lassan mozg\u00f3 unisono-dallama a b\u0151v\u00edtett szekundhangk\u00f6zt hangs\u00falyozza, amely \"keleti\" hangk\u00f6znek sz\u00e1m\u00edt, \u00e9s gyakran fordul el\u0151 a Muszorgszkij \u00e1ltal ismert zsid\u00f3 liturgikus \u00e9s n\u00e9pi dallamokban. Schmuyle panaszos t\u00e9m\u00e1ja \u00e1lland\u00f3an egyetlen hangot ism\u00e9tel, mintha a szeg\u00e9nyember a k\u00f6nnyeit\u0151l alig tudna besz\u00e9lni.\u00a0 K\u00e9s\u0151bb egyszerre halljuk mind a k\u00e9t dallamot. Ravel hangszerel\u00e9s\u00e9ben az eg\u00e9sz von\u00f3skar a Goldenberg\u00e9, m\u00edg Schmuyle egy sz\u00e1l szordin\u00e1lt trombit\u00e1val pr\u00f3b\u00e1l v\u00e9dekezni.<\/p>\r\n A Limoges le march\u00e9 (La grande nouvelle)\u00a0 (A limoges-i piac: A nagy \u00fajs\u00e1g) c. t\u00e9tel a francia v\u00e1ros piac\u00e1ra vezet el, ahol nagyban folyik az alkudoz\u00e1s meg a pletyk\u00e1lkod\u00e1s.\u00a0 Muszorgszkij k\u00e9zirat\u00e1ban a k\u00f6vetkez\u0151 program olvashat\u00f3 (a zeneszerz\u0151 ugyan k\u00e9s\u0151bb kih\u00fazta, de \u00edgy is tanuls\u00e1gos):\r\nA nagy \u00fajs\u00e1g: Puissangeot \u00far megtal\u00e1lta elveszett tehen\u00e9t. De a j\u00f3 limoges-i asszonyokat ez a h\u00edr nem \u00e9rdekli, mert Remboursacn\u00e9 \u00e9ppen most kapta meg \u00faj porcel\u00e1n m\u0171fogsor\u00e1t, \u00e9s Panta-Pantal\u00e9on \u00farnak m\u00e9g mindig gondot okoz hatalmas orra, mely olyan v\u00f6r\u00f6s, mint a m\u00e1kvir\u00e1g.<\/p>\r\n A kontraszt aligha lehetne nagyobb a piacjelenet \u00e9s a k\u00f6vetkez\u0151 k\u00e9p, a Katakomb\u00e1k k\u00f6z\u00f6tt. Hartman v\u00edzfestm\u00e9nye \u00f6narck\u00e9p, melyen a m\u0171v\u00e9sz egy bar\u00e1tja \u00e9s egy l\u00e1mp\u00e1st tart\u00f3 vezet\u0151 t\u00e1rsas\u00e1g\u00e1ban kutatja a p\u00e1rizsi f\u00f6ldalatti s\u00edrokat. Jobbra kopony\u00e1k \u00e1llnak nagy halomban, \u00e9s Muszorgszkij fant\u00e1zi\u00e1ja szerint egyszer csak vil\u00e1g\u00edtani kezdenek. Ezen a ponton jelenik meg \u00fajra az egy ideje nem hallott \"Promenade\"-t\u00e9ma, szinte \"megdics\u0151\u00fclve\". A kotta felirata szerint: cum mortuis in lingua mortua (\"halottakkal a halottak nyelv\u00e9n\"). (Muszorgszkij k\u00fcl\u00f6nben con mortuis-t \u00edrt, keverve a latint az olasszal.)<\/p>\r\n Baba-Jaga csirkel\u00e1bon forg\u00f3 kunyh\u00f3ja k\u00f6vetkezik. Az orosz n\u00e9pmes\u00e9k boszork\u00e1nya lakik ebben a nevezetes \u00e9p\u00fcletben, ahov\u00e1 el\u0151szeretettel csalogatja a gyerekeket, hogy azut\u00e1n megegye \u0151ket. A mese egyik verzi\u00f3ja szerint \"csontjaikat egy hatalmas mozs\u00e1rban morzsolja sz\u00e9t, \u00e9s ebben a mozs\u00e1rban \u00fclve sz\u00e1guld az erd\u0151n kereszt\u00fcl, a mozs\u00e1rt\u00f6r\u0151vel l\u00f6kve el\u0151re mag\u00e1t.\" Hartman terve az volt, hogy fali\u00f3r\u00e1t k\u00e9sz\u00edt a kunyh\u00f3-mot\u00edvum felhaszn\u00e1l\u00e1s\u00e1val; a terv csak v\u00e1zlatk\u00e9nt maradt fenn. A Muszorgszkij-t\u00e9tel ritmik\u00e1j\u00e1ban van valami az \u00f3ri\u00e1s fali\u00f3ra tiktakkol\u00e1s\u00e1b\u00f3l; egy titokzatos hangulat\u00fa k\u00f6z\u00e9pr\u00e9sz ut\u00e1n visszat\u00e9r a f\u00e9lelmetes nyit\u00f3szakasz.\r\nA boszork\u00e1nyzene k\u00f6zvetlen\u00fcl a z\u00e1r\u00f3t\u00e9telbe, \"A kijevi nagykapu\"-ba torkollik.\u00a0 Hartman nagyszab\u00e1s\u00fa kaputerv\u00e9t beny\u00fajtotta egy p\u00e1ly\u00e1zatra, de a terv nem val\u00f3sult meg. A hatalmas \u00e9p\u00edtm\u00e9nyt grandi\u00f3zus, orosz egyh\u00e1zi \u00e9nekre eml\u00e9keztet\u0151, gazdagon harmoniz\u00e1lt dallam jelen\u00edti meg, melyet nyugodtabb, kor\u00e1lszer\u0171 mell\u00e9kt\u00e9ma v\u00e1lt fel. A t\u00e9tel v\u00e9ge fel\u00e9 \u00fajra megjelenik, diadalmasan, a \"Promenade\"-t\u00e9ma, \u00e9s ebb\u0151l \u00e9p\u00fcl fel a m\u0171 v\u00e9gs\u0151 dr\u00e1mai cs\u00facspontja, melyben a kapu Oroszorsz\u00e1g r\u00e9gi dics\u0151s\u00e9g\u00e9nek jelk\u00e9p\u00e9v\u00e9 v\u00e1lik.<\/p>{:}{:en} A commemorative exhibit of\u00a0 Victor Hartmann's paintings inspired Mussorgsky to pay a musical tribute to his friend by writing a piano suite based on his impressions of the paintings. He was a gifted architect and painter and a close friend of Mussorgsky's, had recently passed away at the age of 39.<\/p>\r\n <\/p>\r\n \"What a terrible blow!\" Mussorgsky exclaimed in a letter to the critic Vladimir Stasov in 1874. \"Why should a dog, a horse, a rat, live on, when creatures like Hartman must die?\" Victor Hartman, a gifted architect and painter and a close friend of Mussorgsky's, had recently passed away at the age of 39. A commemorative exhibit of his painting inspired Mussorgsky to pay a musical tribute to his friend by writing a piano suite based on his impressions of the paintings. The suite was not performed or published during the composer's lifetime, however, and it did not become universally known until Maurice Ravel orchestrated it in 1922. Pianists discovered the original version only after the work had already been popularized by symphony orchestras.<\/p>\r\n From the beginning, the original piece cried out for orchestration, partly because its piano writing was not idiomatic in the sense of Schumann, Chopin or Liszt, and partly because of the sharply profiled and contrasted musical characteristics that could be underscored to great effect if played by a full orchestra. Although several orchestrations have been made, it is in Maurice Ravel's 1922 orchestration that Pictures at an Exhibition has conquered the world. It is understandable that Ravel was enthusiastic about Mussorgsky's piece:\u00a0 he himself had often translated visual images into music in his works. He had known Pictures at an Exhibition since at least 1900, having played it through with his friends at informal musical evenings. For both Debussy and Ravel, Mussorgsky was one of the most important composers from the recent past.<\/p>\r\n In his piano cycle, Mussorgsky chose 10 of Hartman's pictures for musical illustration.\u00a0 The pictures are separated - in the first half of the work at any rate - by a melody called \"Promenade\" that portrays the visitor at the gallery strolling from picture to picture. The melody changes with each recurrence: the impression left by the last picture seems to linger on as the visitor proceeds to the next painting.<\/p>\r\n The first picture, \"Gnomus,\" represents a toy nutcracker in the shape of a dwarf. Mussorgsky imagined how this creature would move if he came alive, as E. T. A. Hoffmann's nutcracker did in the story on which Tchaikovsky would base his world-famous ballet 18 years later. The nutcracker's strange and unpredictable movements are depicted quite vividly.\u00a0 We hear the \"Promenade\" again, and are then ushered into \"Il vecchio castello\" (\"The Old Castle\"), where a troubadour (a medieval courtly singer) sings a wistful song. In Ravel's orchestration, this haunting melody is played by the alto saxophone.<\/p>\r\n The next picture - preceded again by the \"Promenade\": - is titled in French: \"Tuileries: Dispute d'enfants apr\u010ds jeux\" (\"Tuileries:\u00a0 Dispute between Children at Play\"). It shows children playing and quarreling in the Tuileries gardens in Paris. It is followed immediately - with no \"Promenade\" this time - by \"Bydlo,\" the Polish oxcart, slowly approaching and then disappearing on the muddy road as its ponderous melody gets first louder and then softer.<\/p>\r\n A much shortened \"Promenade,\" more lyrical in tone than before, leads into the first movement to have a Russian title in the original: \"Balet nevylupivshikhsya ptentsov\" (\"Ballet of the Unhatched Chicks\"). This movement is based on the designs Hartman had made for the ballet production at the Maryinsky Theatre in St. Petersburg. In the ballet, choreographed by the great Marius Petipa, a group of children appeared dressed up as canaries; others, according to a contemporary description, were \"enclosed in eggs as in suits of armor,\" with only their legs sticking out of the eggshells.<\/p>\r\n The next picture is titled, in the original, \"'Samuel' Goldenburg und 'Schmuyle'.\"\u00a0 Hartman had painted a number of characters from the Jewish ghetto in Sandomierz, Poland, including a rich man in a fur hat and a poor one sitting with his head bent. These sketches of each man were separate; it was only Mussorgsky who brought them together, creating what has traditionally been understood as an argument between two Jews, one rich, the other poor. The rich Jew is represented by a slow-moving unison melody stressing the augmented second, considered an \"Oriental\" interval and indeed frequent in certain forms of Jewish chant and folk music with which Mussorgsky was familiar. The poor man is characterized by a plaintive theme whose repeated notes seem to be choking with tears. Then, the two themes are heard simultaneously. In Ravel's orchestration, Goldenberg has the entire string section at his command, while Schmuyle tries to defend himself, desperately, to the sound of a single muted trumpet.<\/p>\r\n Limoges le march\u00e9 (La grande nouvelle) (\"Limoges, the Market:\u00a0 The Big News\") portrays the hustle and bustle of an open market in France where people are busy gossiping and quarrelling. Mussorgsky's original manuscript contained a more detailed program that, although crossed out by the composer, is interesting enough to be quoted here:\r\nThe big news: Monsieur de Puissangeot has just recovered his cow \"Fugitive.\"\u00a0 But the good wives of Limoges are not interested in this incident because Madame de Remboursac has acquired very fine porcelain dentures while Monsieur de Panta-Pantal\u00e9on is still troubled by his obtrusive nose that remains as red as a peony.<\/p>\r\n What a contrast to go from there immediately to the \"Catacombs.\" Hartman's watercolor shows the artist, a friend and their guide - who is holding a lantern - exploring the underground burial chambers in Paris. On the right, one can see a large pile of skulls which, in Mussorgsky's imagination, suddenly begin to glow. The \"Promenade\" theme, which we haven't heard in a while, reappears here completely transfigured. The inscription in the score says, Cum mortuis in lingua mortua (\"With the dead in a dead language\"). (Actually, Mussorgsky wrote con instead of cum, substituting the Italian word for its Latin equivalent.)<\/p>\r\n The next section, \"Izbushka na kuryikh nozhkakh (Baba-Yaga)\" (\"The Hut on Fowl's Legs:\u00a0 Baba Yaga\") evokes the witch of Russian folktales who lives in just such an edifice. According to legend, Baba Yaga lures children into her hut where she eats them. In one retelling, she \"crushes their bones in the giant mortar in which she rides through the woods propelling herself with the pestle...\" Hartman had designed a clock in the form of the famous hut; its design survives only as a sketch.\u00a0 Mussorgsky's movement - whose rhythm has something of the ticking of a giant clock - has a mysterious-sounding middle section, after which the wilder and louder first material returns.<\/p>\r\n The \"witch music\" continues directly into the grand finale, \"Bogatyrskie vorot\u00e1 (vo stolnom gorode vo Kieve)\" (\"The Knight's Gate in the Ancient Capital, Kiev\"), inspired by an ambitious design that was submitted for a competition but never built. For the immense architectural structure, Mussorgsky provided a melody resembling a church hymn and presented in rich harmonies. This theme alternates with a more subdued second melody, harmonized like a chorale. Near the end, the \"Promenade\" theme triumphantly reappears, leading directly into the magnificent final climax where the gate, in a way, becomes a symbol for all the grandeur of old Russia.<\/p>{:}","post_title":"{:hu}Egy ki\u00e1ll\u00edt\u00e1s k\u00e9pei{:}{:en}Pictures at an Exhibition{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"egy-kiallitas-kepei","to_ping":"","pinged":"","post_modified":"2017-02-01 10:15:07","post_modified_gmt":"2017-02-01 10:15:07","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/muvek\/egy-kiallitas-kepei\/","menu_order":0,"post_type":"muvek","post_mime_type":"","comment_count":"0","filter":"raw","szerzo":["Muszorgszkij-Ravel"]}],"kozr_szemelyek":[{"ID":86222,"post_author":"1","post_date":"2016-09-21 08:30:06","post_date_gmt":"2016-09-21 08:30:06","post_content":"{:hu} Az \u00f6rm\u00e9ny Sergey Khachatryan a VIII. Nemzetk\u00f6zi Jean Sibelius versenyen Helsinkiben els\u0151 d\u00edjat nyert, a verseny t\u00f6rt\u00e9net\u00e9nek legfiatalabb nyertesek\u00e9nt. 2005-ben Br\u00fcsszelben az Erzs\u00e9bet Kir\u00e1lyn\u0151 Versenyen szint\u00e9n els\u0151 helyez\u00e9st \u00e9rt el.\r\nOlyan zenekarokkal l\u00e9pett fel, mint a Berlini Filharmonikusok, a Royal Concertgebouw Orchestra, a Francia Nemzeti Zenekar, az Orchestre de Paris, a London Szimfonikus Zenekar, a Londoni Filharmonikusok, valamint a tokyoi NHK Szimfonikusok.\r\nA Clevlandi Zenekarral t\u00f6rt\u00e9nt 2004-es debut\u00e1l\u00e1sa \u00f3ta gyakran l\u00e9p fel a New Yorki Filharmonikusokkal \u00e9s Kurt Masurral, a Boston Szimfonikusokkal \u00e9s Bernard Haitinkkel valamint m\u00e1s vezet\u0151 amerikai zenekarokkal.\r\nSergey rendszeresen egy\u00fctt dolgozik Valery Gergievvel \u00e9s a Szentp\u00e9terv\u00e1ri Mariinsky Sz\u00ednh\u00e1z Zenekar\u00e1val valamint \u00e1lland\u00f3 fell\u00e9p\u0151je a finnorsz\u00e1gi Mikkeli Fesztiv\u00e1lnak.\r\nSibelius heged\u0171verseny\u00e9nek felv\u00e9tel\u00e9t a Na\u00efve Classique adta ki 2003-ban, melyet a dupla Sosztakovics heged\u0171verseny k\u00f6vetett a Kurt Masur vezette Francia Nemzeti Zenekarral.<\/p>\r\nA m\u0171v\u00e9sz az 1740-b\u0151l sz\u00e1rmaz\u00f3 Ysaye\u2019 Guarneri heged\u0171en j\u00e1tszik, melyet a Nippon Zenei Alap\u00edtv\u00e1ny bocs\u00e1t rendelkez\u00e9s\u00e9re.{:}{:en} Born in Yerevan, Armenia, Sergey Khachatryan won First Prize in the VIII International Jean Sibelius competition in Helsinki in 2000, becoming the youngest ever winner in the history of the competition. In 2005 he claimed the First Prize at the Queen Elisabeth Competition in Brussels.\r\nHe has performed with orchestras such as the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Orchestre National de France, Orchestre de Paris, London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, NHK Symphony in Tokyo.<\/p>\r\n Following his debut with the Cleveland Orchestra in 2004, Sergey has subsequently appeared with the New York Philharmonic and Kurt Masur, the Boston Symphony and Bernard Haitink and other leading American orchestras.\r\nSergey works regularly with Valery Gergiev and the Mariinsky Theatre Orchestra in St Petersburg and at the Mikkeli Festival in Finland.\r\nHis recording of the Sibelius concerto was released by Na\u00efve Classique in October 2003, followed by a double Shostakovich concerto disc with the Orchestre National de France conducted by Kurt Masur.<\/p>\r\n Sergey plays the 1740 \u2018Ysaye\u2019 Guarneri violin on kind loan from the Nippon Music Foundation.<\/p>{:}","post_title":"{:hu}Sergey Khachatryan{:}{:en}Sergey Khachatryan{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"sergey-khachatryan","to_ping":"","pinged":"","post_modified":"2016-10-11 11:41:31","post_modified_gmt":"2016-10-11 11:41:31","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86222","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}heged\u0171{:}{:en}violin{:}"},{"ID":86332,"post_author":"1","post_date":"2016-09-21 09:32:45","post_date_gmt":"2016-09-21 09:32:45","post_content":"{:hu} A fiatal szopr\u00e1n 19 \u00e9ves kor\u00e1t\u00f3l kezdett \u00e9nek\u00f3r\u00e1kat venni Bikfalvy J\u00fali\u00e1t\u00f3l az Et\u0171d Zenem\u0171v\u00e9szeti Szakk\u00f6z\u00e9piskol\u00e1ban. 2005-t\u0151l 2010-ig Mirella Freni n\u00f6vend\u00e9kek\u00e9nt tanult az olaszorsz\u00e1gi Centro Universale del Belcanto int\u00e9zm\u00e9ny\u00e9ben. 2008-t\u00f3l m\u00e1soddiplom\u00e1s k\u00e9pz\u00e9sen vett r\u00e9szt a ferrarai Conservatorio di Girolamo Frescobaldi int\u00e9zm\u00e9ny\u00e9ben, ahol 2010-ben kiemelked\u0151 pontsz\u00e1mmal \u00e9nekm\u0171v\u00e9szk\u00e9nt diplom\u00e1zott. \u00c9nekesi teljes\u00edtm\u00e9ny\u00e9t el\u0151sz\u00f6r 2004-ben, az Orsz\u00e1gos Sim\u00e1ndy J\u00f3zsef \u00c9nekversenyen els\u0151- \u00e9s k\u00fcl\u00f6nd\u00edjjal \u00e9rt\u00e9kelt\u00e9k. 2009-ben m\u00e1r nemzetk\u00f6zi elismer\u00e9st kapott a 64. Genfi \u00c9nekversenyen, ahol az els\u0151 d\u00edj mellett elnyerte a k\u00f6z\u00f6ns\u00e9gd\u00edjat. Sz\u00e1mos dalestet ad Eur\u00f3pa-szerte, mint a sv\u00e1jci Davos Fesztiv\u00e1lon, a budapesti Zsid\u00f3 Ny\u00e1ri Fesztiv\u00e1lon, a n\u00e9metorsz\u00e1gi Marburger Konzertvereinben, vagy a Francia R\u00e1di\u00f3ban. Operasz\u00ednpadon 2007-ben Moden\u00e1ban, m\u00edg 2012-ben a Magyar \u00c1llami Operah\u00e1zban deb\u00fct\u00e1lt. Az \u00e9nekesn\u0151 jelenleg N\u00e9metorsz\u00e1gban \u00e9l.<\/p>\r\n A Nemzeti Filharmonikus Zenekarral R. Strauss Daphn\u00e9<\/em> \u00e9s A b\u00e9ke napja<\/em> c\u00edm\u0171 oper\u00e1iban deb\u00fct\u00e1lt.<\/p>{:}{:en}![\"\"](\"http:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/f\/image\/muveszek\/pasztircs%C3%A1k_100.jpg\")
Polina started to take singing lessons at the age of 19 . From 2005 to 2010 she became an apprentice of Mirella Freni at Centro Universale del Belcanto in Italy. Polina took on a postgraduate course at Conservatorio di Girolamo Frescobaldi in Ferrara, where she was granted diploma in the art of singing with outstanding results in 2010. Her singing performance was first awarded in 2004, when she won the first prize and the special prize of the Sim\u00e1ndy J\u00f3zsef Singing Competition in Szeged, Hungary. In 2009 she received international recognition at the 64rd Voice Competition of Geneva where she won the first prize together with the audience prize She gives several song recitals in Europe like at Davos Festival in Switzerland, the Jewish Summer Festival in Budapest, the Marburger Konzertverein in Germany or the French Radio. She made her first opera d\u00e9but in 2007 in Modena and in 2012 at the Hungarian State Opera. Presently, she lives in Germany.<\/p>{:}","post_title":"{:hu}Pasztircs\u00e1k Polina{:}{:en}Polina Pasztircs\u00e1k{:}","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"pasztircsak-polina","to_ping":"","pinged":"","post_modified":"2020-10-02 09:03:16","post_modified_gmt":"2020-10-02 09:03:16","post_content_filtered":"","post_parent":0,"guid":"http:\/\/www.filharmonikusok.hu\/?post_type=artists&p=86332","menu_order":0,"post_type":"artists","post_mime_type":"","comment_count":"0","filter":"raw","hangszer":"{:hu}szopr\u00e1n{:}{:en}soprano{:}"}],"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}![\"\"](\"https:\/\/www.filharmonikusok.hu\/wp-content\/uploads\/2016\/09\/MNF_Mupa_Evad-egyuttese_2019_20_foto_Csibi-Szilvia10-555x555-1-300x300.jpg\")
\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":"5.200 Ft, 4.300 Ft, 3.600 Ft, 2.900 Ft, 2.100 Ft","jegyvasarlas_gomb":"http:\/\/nfz.jegy.hu\/program\/brahms-ravel-es-muszorgszkij-muvek-sergey-khachatryan-hegedu-vezenyel-kocsis-zoltan-68800\/331106","elkeltek_a_jegyek":false,"kozr_szemelyek_feluldefinialasa":"","youtube_id":"IRghjSW7t9Y","old_id":"","muvekrol_reszletesen":true,"muveszekrol_reszletesen":true,"kiemelt_kep_en":null,"gombtipus":"jegy"},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.filharmonikusok.hu\/en\/wp-json\/wp\/v2\/concerts\/96938","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=96938"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}