Tag Archives: Haydn

Music On The Move | Zene mozgásban

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Four shows and one open dress rehearsal in three days with the Huntsville Symphony.
Young People’s Concert and Free Family Concert with Haydn’s ‘L’isola disabitata’ Overture and ‘The Carnival of the Animals’ by Camille Saint-Saëns on the program.The same Haydn Overture, Piano Concerto No.1 by Shostakovich (with Gilles Vonsattel https://www.gillesvonsattel.com
at the piano and our own Chris Coletti playing the trumpet solo) and Mozart’s K.201 Symphony in A-major for our Sneak Preview rehearsal and Classical show.
https://www.hso.org
Musicians and audiences are happy, we make music, music make community.
I am on the move right after our classical concert, returning to Hungary to work with the Savaria Symphony. We will be presenting a live stream with Mozart and Tchaikovsky on the program. Stay tuned!

Négy koncert, egy nyilvános főpróba három nap alatt a Huntsville Szimfonikusokkal.
Ifjúsági és családi koncert Haydn ‘A lakatlan sziget’ nyitányával és Camille Saint-Saëns ‘Az állatok farsangjával’ a programon. Utóbbihoz óriásbábok, és Ogden Nash felettébb szórakoztató versei is társulnak majd. A ‘Sneak Preview’ elnevezésű nyilvános főpróbán és a klasszikus hangversenyen ugyanaz a Haydn nyitány, Sosztakovics I. Zongoraversenye (Gilles Vonsattel https://www.gillesvonsattel.com
a zongoránál, Chris Coletti trombitál) és Mozart A-dúr, K.201 szimfóniája lesz a menü.
További részletek a zenekar honlapján:
https://www.hso.org
A klasszikus koncert után irány vissza Magyarországra: igyekszem mozgásban maradni. A Savaria Szimfonikusok koncert-streamjén Mozart és Csajkovszkij műveit játsszuk majd. Erről többet is később, addig is mindenkinek a lehető legtöbb zenét és hozzá egészséget!

Time of Books and Summer Music/ Könyvek és nyári zenék

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I have been reading lately with feverish speed and with a grand appetite for very different writers and different kind of books, both in English and in Hungarian.
It all started more than a month ago with a book entitled The Life and Deaths (yes plural!) of Imre Kertész by Clara Royer. This fascinating book about the only Hungarian Nobel-Prize winner author, a Holocaust survival, reads easily, and captures as much as possible of Kertész’ personality through his own words, diaries and works. This book made me want to read Kertész again so I dived into his last novel, Beyond the Last Tavern. How to tell the story of wanting to write a particular story for a lifetime and not succeeding? Nobody can do it better than him.The edited diary parts of the book has many mentions of late Avantgarde composer György Ligeti, and of course Bartók, Haydn, Mahler and Wagner. Music was of great importance to I.K. Also, who would have thought that getting the Nobel-Prize for literature counts as one of the many deaths if the winner wants nothing more just to be able to be as creative as when he was young and without a penny. Sad, depressing book, but also touching and heroic. Then I read something completely different, and again a book that was impossible to put down. Picasso, The Red Rooster it is called, and it was written by the Czech František Mikš. The book contains three fascinating portraits of artists who have been seduced, endorsed, used, abused and in at least one case killed by Communism and its henchmen. Kazimir Malevich, Georg Grosz and Pablo Picasso have always had my attention because of their art. Now I know much more about their lives, political believes and suffering. I am afraid, that this book is not available in English. As a change of pace the next book for me to read was If This Isn’t Nice What Is?, a collection of all the Graduation speeches of Kurt Vonnegut Jr. Let me put one quote in here.
“I am enchanted by the Sermon on the Mount. Being merciful, it seems to me, is the only good idea we have received so far. Perhaps we will get another good idea by and by – and then we will have two good ideas.”
On my nightstand I have Seven Brief Lessons On Physics by Italian theoretical physicist Carlo Rovelli. It’s fascinating.

As for summer music, after doing our first ever Summer Night Symphony in Huntsville, which show was very well received and a great success, I am off to Oregon tomorrow to start the summer season of the Portland Festival Symphony. Four fun concerts in four beautiful Portland Parks on two weekends. Check out the dates, parks and the program here.

http://www.portlandfestivalsymphony.org

A fenti linken olvasható a Portland Festival Symphony idei nyári programja benne többek között mind a 10 Brahms Magyar tánccal. Két hétvége, négy koncert, négy park. Aztán irány Kanada, majd Franciaország, de erről bővebben később.

Az elmúlt másfél hónapban nagy sebességgel és még nagyobb élvezettel faltam a könyveket.

Kezdtem Clara Royer Kertész Imre élete és halálai című letehetetlen életrajzírásával, majd annak hatására folytattam Kertész Utolsó kocsma című napló-regényével. Nyomasztó és megható, de leginkább kíméletlenül őszinte könyv, benne Mahler, Bartók és Haydn sokszor említve, akárcsak Schiff András. A haldokló Ligeti Györgyről sértett és személyeskedő, bár sokmindenben lényeglátó kiszólások. Kétszeri nekifutás egy már soha el nem készülő regénynek.
“Életem története a halálaimból áll, ha el akarnám beszélni az életemet, a halálaimat kellene elmondanom.”

Picasso a vörös kakas a cseh František Mikštől. Kazimir Malevics, Georg Grosz és Pablo Picasso életpályája a politika, de különösen a kommunizmus tükrében. Kötelező olvasmány, bár a szerző a végén nem bírja visszatartani a szuprematizmus és a minimalizmus iránti személyes ellenszenvét. Szegény Piet Mondrian!

Mondhatni lazítás képpen elolvastam Kurt Vonnegut Jr. összegyűjtött diplomaosztó beszédeit. Tőle már alig van könyv, amit ne olvastam volna. Nem tudom megunni. Felkészül Carlo Rovelli, olasz fizikus Hét rövid lecke a fizikáról című könyvével, benne az általános relativitás elmélete, quantumfizika és még sokminden más érthetően és élvezhetően magyarázva.

Hotel Room With Seven Doors

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“Which hotel room has seven doors and enough place for a torture chamber, an armory and a treasure chamber?” – asks critic Peter Jungblut of http://br-klassik.de in his review about the Eötvös/ Bartók double bill of Staatsoper Hamburg. Stage director Dimitri Tcherniakov merged “Senza sangue” and “Bluebeard’s Castle” into a 2 hour long evening with no intermission, and made the two operas into one “Dramatic Soul-Exploration”. After participating in the long rehearsal process of the production (we had our very first rehearsal on September 26) and attending the premiere with composer Peter Eötvös himself in the pit, I am now looking forward to conducting my first of this impressive show. Great singers, powerful music, touching video shorts, captivating images with mesmerizing lighting: this is all Senza sangue-Bluebeard’s Castle, and more. Come and experience it live if you can this month in Hamburg!
I will be the conductor of two more performances after today’s show: one on November 23 and the last one of this run on November 30. In between two shows, on November 22, I will be conducting a concert with the Hungarian Radio Symphony at the Liszt Academy in Budapest. The program is comprised of a World Premiere orchestral song for soprano I composed in memory of my Father and compositions by Haydn and Richard Strauss.
More about this concert soon!

#6-Misi-#6

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Tomorrow is the day of two concerts opening the new chamber orchestra series of the Hungarian Radio Symphony Orchestra at the Budapest Music Center.
The first number on the show is the delightful Symphony #6, “The Morning” by Joseph Haydn. The humor and elegance of Haydn’s music always amazes me. This symphony also has a hidden violin concerto in it. It is scary how much Mozart owes to Haydn for his own violin concertos! In the slow movement the solo violin and the solo cello play an amazing duet, a variation on a Minuet-like theme. Sounds just like a Mozart violin concerto, I am telling you! In the first and the last movement the solo flute gets a lot of great music to play. What fun!
Watch this YouTube video to meet my soloist, Misi Boros! He is 11 years old and has the soul of a seasoned musician. I am not keen on child prodigies but Misi is something else. He is not only talented but also a fun and funny, intelligent human being.
http://youtube.com
For the major piece on the program I picked Beethoven’s Symphony #6, “Pastorale”. We are playing this “war horse” with a relatively small orchestra to match the space of the BMC concert hall. This decision gives me an opportunity to work on details that mostly get lost in a big orchestral setting. The end result is: lots of fun chamber music details in a very Haydn-esque Pastorale Symphony. Beethoven had his sense of humor, too!

What’s Up With Sussmayr?

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“He was born in Schwanenstadt, Upper Austria, the son of a sacristan and teacher (who spelled the name Seissmayr, reflecting the Austrian pronunciation). His mother died when he was 6, and he left home at 13. He was a student and cantor in a Benedictine monastery (from 1779 to 1787) in Kremsmünster. When his voice changed, he became a member of the orchestra as a violinist.
The abbey performed operas and Singspiele, so he had the opportunity to study the operas of Christoph Willibald Gluck and Antonio Salieri. He composed a number of stage works and a good deal of church music for the abbey.
He became (after 1787) a student of Salieri in Vienna. In 1791 he assisted Wolfgang Amadeus Mozart as a copyist with La clemenza di Tito and Die Zauberflöte and is presumed to have written the secco recitatives in the first. Their relationship was close and playful, to judge by surviving letters to Constanze, whom Süssmayr accompanied to Baden.
For many years he was also thought to have been a student of Mozart, but there is reason to think that the notion of such a relationship was concocted by Mozart’s wife Constanze in order to legitimize his completion of Mozart’s Requiem. During Mozart’s last days, it is possible that they discussed his Requiem, and Süssmayr took on the task of completing the piece upon his death and did so, turning it over to Constanze within 100 days of Mozart’s death. Süssmayr’s version of the score is still the most often played, although several alternative versions have been written.”
[from Wikipedia]

Yeah, what’s up with this whole Sussmayr thing? According to Harnoncourt in no circumstances could he complete Mozart’s work. (Who did it then?) As far as I am concerned there are more “Mozart Requiems” and the one under the name of Sussmayr has its own life and has been proven to engage musicians and audiences despite its flaws. This is the version I have played many times as a young clarinet player (Oh, those cold churches in Hungary around Christmas time!) and this is the version we performed yesterday with the Huntsville Symphony in front of a full house at the Von Braun Center. The concert started with Mozart’s Masonic Funeral Music (another gorgeous piece using Basset horns) and we performed Haydn Symphony #93 before intermission. Our trumpet and horn players –as adventurous as they are– decided to use natural horns for the entire show. It sounded great and added an extra layer of artistry to the show.
Fun fact: I am traveling to Hungary today where I am doing a new music show next week. One of the pieces is going to be “Into The Little Hill”, a mesmerizing chamber opera by British composer George Benjamin. Guess what, he uses not one but two Basset horns (and Contrabass Clarinet among other “unusual” instruments) just like Mozart in his Masonic Funeral Music and Requiem. I love the sound of the Basset horns!