Name: Teachers And Students
Start: 2019-11-27T00:00:00.000Z
End: 2019-11-27T00:00:00.000Z
Location: Müpa Budapest

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The Hungarian State Opera’s Children’s Chorus

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Zsolt Hamar

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Agnes Kristófi

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Beáta Müller

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Stabat Mater, op. 46

Symphony No. 3 in F Major, Op. 90

Symphonische Variationen

Saileshwaran Thirumurthy

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Teachers And Students: Stabat Mater, Op. 46 Dohnányi, E. V. (+2 More)

Brahms, Koessler, Dohnányi – almost like members of the same family. Not biologically speaking, of course. Brahms is the grandfather. He was a towering figure in the second half of the 19th century. He was a believer in so-called “absolute” music without any related programme. But he still sometimes hid secret messages in his work. The start of his Symphony No. 3, for example, is obviously about Man and Woman. The Man is overflowing with passion, while the Woman is an ethereal phenomenon. A little fairy – in the sense of how an ageing bachelor imagines her. Twenty years younger than Brahms, János (otherwise known as Hans) Koessler, the creator of Symphonic Variations, is the son. Brahms is his role model: he even resembled him outwardly, wearing a bushy beard. For decades, he served as a professor of music composition at the Franz Liszt Academy of Music. He taught in German, in the spirit of the German tradition. This was somewhat irritating for Bartók and Kodály, but not for Dohnányi. He is a true musical grandson. When the proud teacher Koessler showed Dohnányi’s Piano Quintet, his first opus, to Brahms, the elder composer is said to have murmured: “I could scarcely have written it better myself.” Then the decades passed. Dohnányi’s style changed a great deal. But the Brahmsian legacy could still be felt in the relatively late work Stabat Mater, which he composed in the United States. Some music historians consider this to be Dohnányi’s finest work, although this assessment is debatable. Nevertheless, hearing works by the three composers together certainly promises to be an extraordinary experience.

English

Brahms, Koessler, Dohnányi – mintha ugyanannak a családnak lennének tagjai. Persze nem biológiai értelemben. A nagyapa Brahms. Hatalmas tekintély a 19. század második felében. A program nélküli, úgynevezett „abszolút” zene híve. Műveiben azért olykor elrejt titkos üzeneteket. A III. szimfónia kezdete például nyilvánvalóan Férfiről és Nőről szól. A Férfi túláradóan szenvedélyes, a Nő légies tünemény. Tündérke – ahogy egy idősödő agglegény képzeli. A fiú Koessler János, azazhogy Hans Koessler, a Szimfonikus változatok szerzője. Húsz évvel fiatalabb. Brahms az eszményképe, még külsőleg is hasonlít rá nagy szakállával. Évtizedeken át a Zeneakadémia zeneszerzéstanára. Németül tanít, a német hagyomány szellemében. Bartókot, Kodályt ez kissé idegesíti, Dohnányit nem. Ő igazi zenei unoka. Amikor op. 1-es Zongoraötösét Koessler, a büszke tanár megmutatja Brahmsnak, az állítólag ennyit mormog maga elé: „Magam sem tudtam volna jobban megírni.” Aztán telnek az évtizedek. Dohnányi stílusa sokat változik. De a brahmsi örökség a viszonylag kései, már az Egyesült Államokban komponált Stabat Materen is érződik. Egyes zenetörténészek úgy tartják, ez Dohnányi legjobb alkotása. Lehet rajta vitatkozni. Együtt hallgatni a három komponista műveit azonban biztosan kivételes élményt ígér.

magyar

Teachers And Students by Dohnányi, Ernst Von, Brahms, Koessler, Noiztik (2019/2019), Zuzendaria Zsolt Hamar, Müpa Budapest, Budapest, Hungary

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