Four famous overtures, four popular symphonies by Beethoven, four concertos by Bartók as well as a rarity – this is what the Beethoven-Bartók season ticket of the Hungarian Telecom Orchestra offers you. The first piece of the third concert in the season ticket, of November 18, will probably remind older members of the audience of the Hungarian Revolution of 1956. It was namely Egmont Overture that was played over and over again in the Hungarian Radio during the invasion of the Soviet troops. Th...ose who experienced these times of danger have automatically associated the music with the voice of Imre Nagy (premier of the revolutionary government): “our troops are at fight …” The next concert piece is Bartók’s Piano Concerto No. 1 (featuring Dezső Ránki as the soloist once again). This is one of Bartók’s compositions with the boldest tone. Its second movement begins with a long percussion introduction, an unheard of novelty in 1926, when the work was composed; even the piano sounds as if it was one of the percussion instruments. The “rarity” is to be performed after the interval: this is the last but one movement of the String Quartet in B flat Major in six movements, Op. 130, in a string orchestral version. According to Karl Holz (an undoubtedly more reliable source than Schindler), this Cavatina was the old composer’s famous composition: “whenever I recall it, I start crying”, he once said among friends. After this late work of Beethoven’s, it is a relatively early composition to round off the concert conducted by András Keller: Symphony No. 1 (in C Major). A relatively early one, it should be emphasised, since Beethoven was thirty years old already when he felt mature and experienced enough to compete with his great predecessors, Mozart, and his former master Haydn, also in the genre of symphony. The piece in four movements is of a traditional structure basically but it has several original and novel ideas. The most interesting of these is probably the introduction to the finale. The contra dance known from Haydn’s symphonies is evoked as if from a long distance in time: there are strong G notes each followed by short musical scales (of three notes initially, then of four, etc.) ascending and stopping, preparing the extremely rapid (and initially soft) main theme.
Parking information
We wish to inform you that in the event that Müpa Budapest's underground garage and outdoor car park are operating at full capacity, it is advisable to plan for increased waiting times when you arrive. In order to avoid this, we recommend that you depart for our events in time, so that you you can find the ideal parking spot quickly and smoothly and arrive for our performance in comfort. The Müpa Budapest underground garage gates will be operated by an automatic number plate recognition system. Parking is free of charge for visitors with tickets to any of our paid performances on that given day. The detailed parking policy of Müpa Budapest is available here.
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