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"id" => "content_editor"
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11 => "administer nodes"
12 => "bypass node access"
13 => "create article content"
14 => "create extra content"
15 => "create field_premium_tartalom"
16 => "create field_public_author"
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"
28 => "delete any article content"
29 => "delete any extra content"
30 => "delete any file"
31 => "delete any nevnapok content"
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34 => "delete any page content"
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A fugatószerű kezdés után a klarinét és zenekar groteszk-humoros, de feszültségektől nem mentes játékba kezd, amelyben viszont az elmélázó, líraibb dallamtöredékek is helyet kapnak. A concerto zeneszövetének érzelmi háborújában zaklatottság és megnyugvás vívja harcát, helyenként az az érzésed támad, hogy fényre, napos oldalra vágyik, mégis a bánatból-szomorúságból font árnyék áldozatává válik. A szólóklarinét érzelmi crescendói a zenekar által is megtámasztott drámai erőben és a felgyorsított tempókban csapódtak le. A makacs dobpergés keltette feszültségek szelídebb hangvételben csitultak le, de csak a felszínen, valójában minden nyugodtnak tűnő pillanat mélyén feszültség, zaklatottság parázslott. Bachmann kiváló klarinétművész. Könnyedén, a szó szoros értelmében valósággal játszott hangszerével, miközben végtelennek tűnő hosszú frázisaihoz szinte észrevétlenül vett levegőt. Hatásos a latens polifóniájú játék, ahogyan a kadenciában „veszekedős” párbeszédet folytatott önmagával. Előadásában a technikai bravúr, csillogó virtuozitás és a tüzes szenvedély, érzelmi skálájának és dinamikai palettájának sokszínűsége, a drámai erő és a lágy pianissimókban „elsuttogott” lírai pillanatok szerez(het)tek örömperceket. A közönség üdvrivalgással kísért tapsát (a zenekar néhány vonósának kíséretével) Kovács Béla <em>Sholem Alechem Rov Feidman</em> című hangulatos klezmer-feldolgozásával köszönte meg.</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;"><img alt="" src="/sites/default/files/oldfiles/fili%2Bklarinnn.jpg"></span><span style="color:#48484a;display:block;font-family:nerislight;font-size:16px;line-height:20px;margin-bottom:19px;text-align:left;"><strong>A két zenemű tökéletes tolmácsolása a zenekar, valamint Damien Bachmann klarinétművész és Valentin Uryupin karmester művészi teljesítményét dicséri</strong></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;">Valentin Uryupin karmester muzikális, szuggesztív dirigálásában mind a concerto kíséretében, mind a hatalmas drámai erőket felszabadító Sosztakovics szimfóniában, a legapróbb részletek finom kidolgozására (is) nagy figyelmet szentelt. Mondhatni, jól megdolgoztatta a zenekart, igaz, az aprólékos munka „fizetsége” sem maradt el, hiszen a művek után kitörő tapsorkán önmagáért beszélt.</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 Dmitrijevics Sosztakovics (1906–1975) szimfóniái mindig felkavarnak, meghatnak. Azt viszont végképp nem gondoltam, hogy a ritkán játszott, de végre nálunk is elhangzó egyik legtragikusabb hangvételű, sokat vitatott <em>IV. c-moll szimfóniá</em>jának (op. 43.) grandiózus hangszerelése, szívet tépő érzelmi magaslatainak és mélységeinek könnyekig megrendítő drámai ereje még másnap is fogva tart.</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;">Sosztakovics a sztálini terror markában vergődött, volt dicsőített és megalázott, volt elismert lángész és (lelki) pusztulásra ítélt „formalistának” kikiáltott zeneszerző. A sors legnagyobb csapását számára a <em>Pravdá-</em>ban megjelent, valószínűleg Sztálin által megrendelt <em>Zene helyett káosz</em> című kritika jelentette, amellyel a kommunista diktátor „veszedelmes hadjáratot” indított ellene. „Csaknem négy évtizeden át, egészen a haláláig túsznak, elítéltnek tekintette magát. A félelem nőtt vagy apadt, de soha nem szűnt meg teljesen” – írja SzolomonVolkov a különleges tehetséggel megáldott Sosztakovicsról, aki a hatalommal szemben soha nem vált megalkuvóvá, inkább álarc mögé rejtette érzelmeit, mert (túl)élni és alkotni akart.</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;">Sosztakovics nagyzenekarra komponált <em>Negyedik</em>jének érzelemháborújában a kilátástalanság és tehetetlenség fájdalma, a magány félelme, a túlélési vágy és az élni akarás vívja tragikus harcát. A sötétségen, letaglózó lelki drámán helyenként átderengő, magát nyugtatgató, gondtalannak tűnő, balettszerű betétek játékossága groteszk játék, torz mosolyú álarc, ami mögött fájdalom barázdálta szenvedő arc rejtőzik. Az üstdobok nagy erejű, vészjósló hangjában sikolyt érezni az életért. Paul Sîrbu koncertmester hegedűszólója csendes-bánatos ének, a befeleforduló, elmagányosodó zeneszerző szomorú vallomása, majd humoros-gunyoros fúvósszólók és a különböző hangszereken/hangszercsoportokon végigvonuló, makacsul ismétlődő, meg nem válaszolt kérdések hosszú sora okoz egyre nagyobb feszültséget. A gyászinduló bánatos fagottszólója (Cătălin Lup) a siratójelleget erősíti, miközben a vívódás, lelkiharc egyre gyötrőbbé válik, amikor a drámai zeneszövetet hetyke dallamú groteszk fricska, a balettzenékre jellemző, könnyed-táncos betét szakítja meg. Az álarc mögött égő fájdalom hatalmas drámai erőket szabadít fel, felemel és mélybe taszít. Mint vihar után a még csendben izzó parázs, a nagybőgők „szívverése” egyre erőtlenebbé válik, minden elhalkul, és a cseleszta éteri finomságú „sóhajai” utolsó fájó gondolatként a lemondást, az elmúlást sugallják.</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;"><em>(Borítókép: Valentin Uryupin karmester „jól megdolgoztatta” a zenekart. Fotók: Bogdan Meseșan)</em></span></p></p>\n"
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