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"id" => "content_editor"
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11 => "administer nodes"
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13 => "create article content"
14 => "create extra content"
15 => "create field_premium_tartalom"
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17 => "create nevnapok content"
18 => "create packages content"
19 => "create page content"
20 => "create partner content"
21 => "create reklam content"
22 => "create terms in aprohirdetes_kategoriak"
23 => "create terms in rovat"
24 => "create terms in tags"
25 => "create url aliases"
26 => "delete all revisions"
27 => "delete any aprohirdetes content"
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30 => "delete any file"
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"value" => "<p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;"><em>(Borítókép: Francesco Iona</em><em>șcu hegedűművész és </em><em>Henry Hao–An Cheng karmester. Fotó forrása: Henry Hao–An Cheng Facebook-oldala)</em></span><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Huang Sicheng <em>Silhouettes of Mountains</em> című zenekari művének ősbemutatóján, a jelenlévő fiatal kínai zeneszerzőt hosszasan ünnepelte a közönség. A kilencperces mű valójában, klarinét-, oboa-, és fagottszólóktól ékes impresszionisztikus (zene)képek sorozata. 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Huang Sicheng impresszionista hatásokkal megírt, modernségében túlzásoktól mentes, fülnek kellemes muzsikája eljutott oda, ahova a zeneszerző szánta, a közönség lelkébe.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Henry Hao–An Cheng tajvani karmester a <em>Silhouettes of Mountains</em> színgazdagságára koncentrálva vezényelte a zenekart, Sosztakovics hegedűversenyének kíséretét problémamentesen igazította a szólóhangszerhez, de igazából Rahmanyinov <em>III. Szimfóniá</em>jában talált magára. A zenekart széles mozdulataival átölelve, a karakter- és hangulatváltásokra gondot fordítva, felszabadultan, a műhöz illő szenvedéllyel vezényelt.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Dmitrij Sosztakovics (1906–1975) életművének jelentős részét a sztálini diktatúra szorító markában komponálta, amikor nem akart nyíltan szembeszállni a hatóságokkal, de azt is tudta, hogy a teljes behódolás alkotói halálhoz vezet. Hogy „láthassa és hallhassa mindazt, amit mások csak sejtettek”, hogy bohóc fintorral bolondozva, valójában a keserű igazságtalanságról, megaláztatásról, gonoszságról szólhasson, jurogyivij zeneszerzővé vált. A David Ojsztráhnak ajánlott 1947/1948-ban komponált <em>1. a- moll hegedűverseny</em>ében (op. 77.) is olyan groteszk fricskákat szórva tiltakozott az akkori politikai nyomor ellen, hogy a művet csak jóval később, Sztálin halála után mutathatták be.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">A műnek önéletrajzi vallomás jelleget kölcsönöz az a DSCH – négyhangos motívum, amelyet a zeneszerző nevének kezdőbetűiből állított össze. Sosztakovics hegedűversenye hatalmas technikai és művészi kihívást jelent, feszülő belső energiája érzelmi érettséget követel. Francesco Ionașcu tolmácsolásában minden harmonikus egységben szolgálta a művészi mondanivalót. A jó memóriakészséggel megáldott fiatal hegedűvirtuóz élte a zenét, érezte és érzékeny líraisággal „panaszolta” a zeneszerző lelki bánatát, felgyűlt sérelmeit. A <em>Passacaglia</em> tétel szomorú panaszdalához kapcsolódó kadenciában a lelki terrortól gyötrődő zeneszerző magányérzetét, a kitörni vágyás akaratát érett drámaisággal, csillogó technikai bravúrral tolmácsolta. Az utolsó tétel táncos forgataga mozgalmas, izgalmas, szellemes-virtuóz szólóhegedűnek és zenekarnak egyaránt, amelynek mélyén a bohóc fintorú jurogyivij zeneszerző társadalomkritikája fogalmazódik meg. Nagyszerű muzsika, kiváló tolmácsolásban! Francesco Ionașcu a közönséget a ráadásként játszott Albéniz-Markov <em>Asturias</em> című, eredetileg gitárra komponált örökzölddel ajándékozta meg.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Szergej Rahmanyinov (1873–1943) második szimfóniájától harminc év választja el a <em>III. a-moll szimfóniá</em>t (op. 44.), de oroszos hangvételével, romantikus szenvedélyével és fülbemászó, szép dallamaival ugyanaz a Rahmanyinov maradt, aki volt, természetszerűleg érettebb kifejezői eszköztárral. Szimfóniájának első tétele romantikusan ívelő, szenvedélyes muzsika, gyönyörű melódiákkal, egymáshoz simuló fúvós-vonós párbeszédekkel. Fortissimo csúcspontokra vezető csapongó hangulata hol szenvedélytől parázsló, hol a vonósok „sóhajaitól” szomorú, vagy az oboaszólótól ringató, a rezektől diadalmas vagy éppen félelmetes. A drámai erejű érzelmi hullámhegyek és hullámvölgyek szelíd oldásokban lelnek lelki nyugalomra. Második tételét hárfa- és cselesztakíséretes kürtszó indítja, és miközben a tételt fokozatosan a szépség és titokzatosság hatja át, szélesen ívelő dallama bánatos hegedű- és fuvolaszólóban „bont szárnyat”, tör a magasba és omlik vissza a mélybe. A tétel hullámzó zenekari faktúráját – amelyben a hagyományos lassú részek száguldó scherzóval kombinálódnak –, akár a tenger széltől felkorbácsolt hullámait, egy-egy kis játékos csillanás élénkíti. A finálé nagyszerű fuvola-, klarinét-, angolkürt- és kürtszólóktól ragyog.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Mint megannyi más művét, Rahmanyinov <em>Harmadik</em>jának fináléját is az élet-halál motívuma hatja át. Az élet vidámságait, az örömteli pillanatokat borongós-sóhajos lamento, romantikus „szenvedés” és Dies irae-foszlányokban (is) kifejezett halálfélelem űzi el, de végül a felpörgetett tempójú táncos tombolás A-dúrban, az élet diadalát zengi.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;">Tartalmas, szép este volt! A dél-kínai hegyóriások zenés impressziójával gazdagodva, Sosztakovics bohócfintorait ízlelgetve és Rahmanyinov szárnyaló melódiáinak bűvkörében, filharmonikusaink színvonalas hangversenyéről a közönség egy tavaszt ígérő márciusi este felejthetetlen zenés élményét vi(he)tte magával.</span></p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"> </p><p style="font-family:nerislight;color:#48484a;font-size:16px;line-height:20px;text-align:left;margin-bottom:19px;display:block;"> </p></p>\n"
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