KAMARAKONCERTEK AZ ÜVEGTEREMBEN

A Liszt Ferenc Zeneművészeti Egyetem hallgatóinak hangversenyei

Műsorvezető: Eckhardt Gábor

13.30

Prokofjev: VI. (A-dúr) szonáta, op. 82

Közreműködik: Orsovai Endre – zongora

16.00

Prokofjev: D-dúr szonáta fuvolára és zongorára, op. 94

Prokofjev: C-dúr szonáta csellóra és zongorára, op. 119

Közreműködik: Réti Boglárka Eszter – fuvola, Yo Wu – cselló, Granik Anna, Dani Imre – zongora

Az üvegtermi koncertekre a belépés díjtalan. A helyfoglalás érkezési sorrendben történik, a terem befogadóképessége erejéig.

Koncertfilmvet T Sek

Előadóterem 11.30

Gyenyisz Macujev S A Nemzeti Filharmonikus Zenekar

(a 2019. március 3-i hangverseny felvétele)

Prokofjev: Nyitány héber témákra, op. 34

Prokofjev: II. (g-moll) zongoraverseny, op. 16

Prokofjev: Toccata

Vezényel: Alekszandr Szladkovszkij

13.30

Alekszej Vologyin S A Nemzeti Filharmonikus Zenekar

(a 2015. február 18-i hangverseny felvétele)

Prokofjev: IV. (B-dúr) zongoraverseny bal kézre, op. 53

Vezényel: Christopher Seaman

Gyenyisz Macujev Zongorakoncertje

(a 2017. április 5-i hangverseny felvétele)

Prokofjev: VII. (B-dúr) szonáta, op. 83

A koncertfilmvetítésekre a belépés díjtalan. A helyfoglalás érkezési sorrendben történik, a terem befogadóképessége erejéig.

FILMKLUB: FILMVETÍTÉS BESZÉLGETÉSSEL

Előadóterem

Házigazda: Réz András

Vendég: Mácsai János

15.00

Rettegett Iván (Ivan Groznij, 1944) – I. rész

Zene: Szergej Prokofjev

Rendező: Szergej Eisenstein

18.30

A jégmezők lovagja (Alekszandr Nyevszkij, 1938)

Zene: Szergej Prokofjev

Rendező: Szergej Eisenstein

Ki Ll T S

Előcsarnok

Prokofjev-történetek

A maratonhoz kapcsolódó kiállítás a látogatókhoz egyaránt közelebb kívánja hozni a sokoldalú alkotót és az egyszerűnek korántsem nevezhető embert. A tablókon megelevenedik a zenetörténet, és egy gazdag életmű izgalmas kulisszatitkaiba is betekintést nyerhetünk: láthatjuk Prokofjevet családi körben és jeles kollégái társaságában, megismerhetjük hol irigylésre méltó, hol hányattatott életét, az első házasságában borzalmas, a másodikban hősszerelmes férjet, a radikálisan modern komponistát, valamint a rendszer által formalistának bélyegzett, így a hatalmat kiszolgálni kényszerülő alkotót.

Hindsight is a wonderful thing. We do not know what Sergei Prokofiev knew and did not know about the Stalinist regime when he returned to the Soviet Union in May 1936 having lived abroad for some 20 years. He seems to have been driven by one motive alone: success. Having left Russia after the Bolshevik Revolution in 1917, he settled first in the United States, before moving to Paris in 1922. The four stages of his life, each of them rich in successes and failures, could serve as the chapters of a page-turning novel. Because of its ending, this novel could be titled The Tragedy of a Beautiful Mind: while his works were played with varying degrees of success in the West and elsewhere around the world, in the Soviet Union he was beloved, celebrated and welcomed with open arms. But then he was gradually consumed by the Stalinist dictatorship, his health began to deteriorate, and he died on 5 March 1953. While party headquarters debated whether to declare him ‘one of the greatest’ Soviet composers, or merely an ‘outstanding’ or even just ‘excellent’ one in the announcement that was to be published, Stalin also died on the same day, meaning that Prokofiev’s death went almost unnoticed.

Since then, 70 years have passed. Today, much of the general public knows him simply for Peter and the Wolf, the Classical Symphony and perhaps for the march from the opera

The Love for Three Oranges, as well as the Dance of the Knights from the ballet Romeo and Juliet. Sometimes his gently melodic Sonata for flute and piano, one or other of his piano concertos or the First Violin Concerto and perhaps the Fifth Symphony find their way onto concert programmes, but his oeuvre is too rich to be known only for these few works. The annual marathon that Müpa Budapest and the Budapest Festival Orchestra each year dedicate to the work of a different composer now pays tribute to the genius of Sergei Prokofiev, who was born in 1891 in the Ukrainian territory of the Russian Empire. The stated intention of the event is to pay off some of our huge debt to him and give the audience the chance to discover an overlooked master, a classic of 20th-century music. The concerts will be held in the Béla Bartók National Concert Hall and the Festival Theatre over the course of the day. Extending from morning until late into the evening, they will embrace numerous genres and compositions, thus also providing a cross-section of the composer’s oeuvre.

Taking the stage to perform the composer’s symphonies, ballet suites, and concertos will be five superb Hungarian symphony orchestras, with the concert series being opened by the Budapest Strings chamber orchestra, which has been active for nearly half a century, and closed with a performance by the Budapest Festival Orchestra. The three chamber recitals will also feature seldom-heard masterpieces such as the String Quartet No. 2, the Humoresque scherzo written for four bassoons, and two important pieces of works composed for cello. The song recital promises to be a special event of the Prokofiev Marathon, with highly experienced artists interpreting excerpts from such valuable but curious series as the song cycle setting the poems of Anna Akhmatova and Three Romances, which treats poetry by Pushkin, as well as his mass songs composed in the 1930s. Just as Beethoven’s life produced sonatas, string quartets and symphonies, so Prokofiev’s was punctuated by ballets, operas and symphonies, as well as his nine piano sonatas, four of which will be performed at the marathon courtesy of the excellent young pianist János Palojtay and others. Featuring in two concerts will be the most talented performing arts students from the Liszt Academy, and we will also get to re-watch some previous concerts that brought world-famous artists to Müpa Budapest as guests – serving as a delicious side dish to the range of works being heard live. A man blessed with clear logic, unflagging diligence and superhuman endurance, and of course a sense of humour, Sergei Prokofiev was an extraordinary mind who brought tones out of the orchestra that one might never suspect existed and who remained undeterred by failure, even though life gave him plenty to be frustrated about. After starting out as a child prodigy, he developed into an enfant terrible who in his twenties attracted attention not only with his daring music, but also with his exceptional chess talent, with which he defeated, for example, a later world champion. In the 1920s, together with his fellow Russian émigré Stravinsky, he became one of the apostles of new music, and, when the opportunity arose, he threw himself into the mysteries of a still young new genre: the talking pictures. He is one of the few composers whose soundtracks also hold their own perfectly well in the concert hall, and we will now have the opportunity to watch two film classics – Ivan the Terrible and Alexander Nevsky – for which he is credited alongside the towering director Sergei Eisenstein.