Endre Szervánszky: Six Orchestral Pieces Respighi: Pines of Rome Rossini: Stabat Mater Featuring: Veronika Geszthy – soprano, Katalin Halmai – alto, Ottokár Klein – tenor, Szabolcs Hámori – bass, King St Stephen Oratorio Chorus, Mixed Choirs of the King St Stephen Music College and the St Stephen Secondary School (choirmasters: Kálmán Záborszky, Katalin R. Őrfalvy, Tünde Tőkés, Ágota Antal Simonyi) Szeged Symphony Orchestra Conductor: Mátyás Antal When Endre Szervánszky’s compositio...n was premiered in 1960, as the composer entered his fiftieth year, the great musicologist György Kroó wrote: “He has entered the gates of the dominion of avant-garde effects and colours. He has turned his back on the small and large forms of classical-romantic principles and proclaimed his own terrible emotions behind the moats of the New Viennese school, associated with the names of Schoenberg, Webern and Berg, which in 1960 sound formless, scream like and hallucinogenic”. All four movements of The Pines of Rome depict the conifers standing in various parts of the city in different times of day and mood. Interestingly, according to Ottorino Respighi himself, for the first time in music history, a recording from a phonograph of a wren was played at the premiere, which the orchestra accompanied live. By the time he was thirty seven, Gioacchino Rossini had composed forty operas and then retired. For the next forty years, he lived largely for his cooking, and only rarely did he pick up his pen. One of the most important works of his later years was the Stabat Mater which attained its final form in 1841. In it, there is no trace of the mood of the Barber of Seville. The work sits astride operatic and elevated church style, being perhaps closer to the latter. From January to March 2005, before its official opening, the Palace of Arts underwent a testing phase during which Hungarian orchestras performed almost daily, giving us not only a sense of the hall’s capabilities but also presenting a fascinating picture of Hungary’s orchestral life. The positive experiences gathered during this “spontaneous” festival spawned the concept of turning it into a permanent feature of the Palace of Arts’ concert series and it has now become an established new tradition. Thus in 2006, the series Symphonia Hungarorum – Hungarian Symphonic Panorama was created and in 2007, no less than fifteen Hungarian symphonic ensembles will represent themselves at the festival. As last year, the orchestras are free to choose their own programmes with the proviso they perform in each concert at least one 20th or 21st century Hungarian work.
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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