#Budapest Philharmonic Orchestra

[paul-archibald]

United Nations Day of Happiness

On 12th July 2012 the United Nations proclaimed 20th March as International Day of Happiness.This initiative aimed to recognise the relevance of happiness and well-being as universal goals for people around the world and to stimulate a more inclusive, equitable and balanced approach to economic growth.The resolution was initiated by Bhutan, a country which has recognised the value of national…

[musicwithoutborders]

Francisco de Lacerda /Budapest Philharmonic Orchestra, Dans le Clair de Lune, 2020

[mrdirtybear]

A real photo postcard featuring a 1912 photograph of Arthur Nikisch. Arthur Nikisch was born in Hungary on 12th Oct 1855 and died in Leipzig on 23rd Jan 1922. He held numerous important positions during his career including - conductor of the Boston Symphony Orchestra, director of the Budapest Royal Opera, director of the Leipzig Gewandhaus Orchestra, principal conductor of the Berlin Philharmonic with whom he made one of the earliest recordings of a complete symphony, Beethoven's 5th, with the Berlin Philharmonic.

[lesser-known-composers]

Emámuel Moór (1863-1931) - Symphony No. 2 in C Major, 'In memoriam Kossuth Lajos', WoO 153

I. Andante maestoso - Allegro con brio 0:00 II. Andante sostenuto 13:39 III. Scherzo: Molto vivace e con brio 26:17 IV. Allegro poco maestoso 34:16

Budapest Philharmonic Society Orchestra János Kovács, conductor

[n4682]

loved your raut recs especially the violin concerto tysm :)))

general romantic / impressionist / modernist recs?

hey so sorry for responding late but i saw this and just kinda went a bit feral, so im sorry.

Alberto Ginastera

Piano Sonata No. 1 (Terence Judd [pfte.])

Piano Sonata No. 2 (Fernando Viani [pfte.])

Piano Concerto No. 1 (Sergio Tiempo [pfte.], Gustavo Dudamel [cond.] w/ Los Angeles Philharmonic)

Guitar Sonata (Aniello Desiderio [gtr.])

Harp Concerto (Nancy Allen [hrp.], Enrique Bátiz [cond.] w/ Orquesta Filarmónica de la Ciudad de México)

Alfred Schnittke

Concerto Grosso No. 1 (Gidon Kremer [vln.], Tatiana Grindenko [vln.], Heinrich Schiff [cond.] w/ Chamber Orchestra of Europe)

Concerto Grosso No. 2 (Oleg Kagan [vln.], Natalia Gutman [vcl.], Gennady Rozhdestvensky [cond.] w/ USSR Ministry of Culture Symphony Orchestra)

Cello Concerto No. 1 (Natalia Gutman [vcl.], Gennady Rozhdestvensky [cond.] w/ USSR Ministry of Culture Symphony Orchestra)

String Quartet No. 3 (Kronos Quartet)

Dmitri Shostakovich

Symphony No. 1 (there was a great recording but when i went to check the recording on yt it wasnt there and it sucks cause it was great)

Symphony No. 5 (Evgeny Mravinsky [cond.] w/ Leningrad Philharmonic Orchestra)

Symphony No. 7 (Yevgeny Svetlanov [cond.] w/ USSR State Symphony Orchestra)

Symphony No. 9 (Rudolf Barshai [cond.] w/ WDR Symphony Orchestra Cologne)

Symphony No. 15 (this one too dissapeared)

String Quartet No. 9 (Fitzwilliam Quartet)

Violin Concerto No. 1 (David Oistrakh [vln.], Dmitri Mitropoulos [cond.] w/New York Philharmonic)

Maurice Ravel

Violin Sonata No. 2 (Viktoria Mullova [vln.], Bruno Canino [pfte.])

Sonata for Violin and Cello (Jean-Jacques Kantorow [vln.], Philippe Muller [vcl.]

Introduction and Allegro, for Harp, Flute, Clarinet, and String Quartet (Skaila Kanga [hrp.], Academy of St. Martin in the fields)

Alborada del Gracioso (Fritz Reiner [cond.] w/Chicago Symphony Orchestra)

Piano Concerto for the Left Hand (Samson François [pfte.], André Cluytens [cond.] w/Orchestre de la Société des Concerts du Conservatoire)

Piano Concerto in G (Arturo Benedetti Michelangeli [pfte.], Ettore Gracis [cond.] w/Philharmonia Orchestra)

La Valse (solo piano version) (Seong Jin-Cho [pfte.])

Valses Nobles et Sentimentales (Louis Lortie [pfte.])

Franz Liszt

honestly too many to list here (hehe, liszt here) but heres just some of the ones (marked with Searle numbers)

S.126i, S.139, S.145, S.173, S.174i, S.177, S.178, S.206, S.216, S.217, S.242 (especially no. 20), S.244/12 + 15 + 19, S.252, S253, S.254, S.388, S.390i, S.392, S.393, S.394, S.400, S.409a, S.412iii, S.413, S.418, S.420 (hehe funny number), S.464 (yes i prefer the arrangements, fight me), S.513a, S.558/4 + 12, S.695c, S.697i (not the Busoni version), S.700

Other Composers

Bela Bartók - Piano Concerto No. 2 (György Cziffra [pfte.], Marco Rossi [cond.] w/Budapest Symphony Orchestra)

Olivier Messaien - Le Banquet Céléste (Gillian Weir [org.])

Samuel Barber - Piano Concerto (John Browning [pfte.], George Szell [cond.] w/Cleveland Orchestra]

Kaikhosru Sorabji - Sequentia Cyclica on Dies Irae (Johnathan Powell [pfte.])

Ferrucio Busoni - Piano Concerto (Marc-André Hamelin [pfte.], YL Male Voice Choir [chor.], Osmo Vänskä [cond.] w/Lahti Symphony Orchestra)

Sergei Rachmaninoff - Sonata No. 2 (Nikolai Lugansky [pfte.])

Marc-André Hamelin - 12 Études in All the Minor Keys (Marc-André Hamelin [pfte.])

Eugène Ysaÿe - Sonata No. 5 for Solo Violin (Hilary Hahn [vln.])

Oren Boneh - Sprout (Lung-Yi Huang [gzhn.] w/ C-Camerata Taipei)

Karol Szymanowski - Violin Concerto No. 1 (Lydia Mordkovitch [vln.], Vassily Sinaisky [cond.] w/ BBC Philharmonic Orchestra)

aaaand i think im going to end the list there because this took WAY too long

[classicalmusicdaily]

John Wilson is highly sought after on a global scale. He frequently performs in the UK with most orchestras, including the City of Birmingham Symphony, BBC Scottish Symphony, London Symphony, and London Philharmonic orchestras, both during their normal seasons and at festivals like Aldeburgh, Glyndebourne, and the BBC Proms. He frequently performed with the John Wilson Orchestra for many years, both domestically and internationally. Wilson has conducted many of the best orchestras in Europe, including the Royal Concertgebouw, Budapest Festival, Swedish Radio Symphony, Oslo Philharmonic, Bavarian Radio Symphony, Royal Stockholm Philharmonic, and DSO Berlin, as well as the Sydney Symphony Orchestra. Wilson has also conducted orchestras outside of Europe, including the Sydney Symphony Orchestra. John Wilson Wilson conducted Puccini's Madama Butterfly at the Glyndebourne Festival Opera during their autumn tour in 2016. Since then, he has conducted Gershwin's Porgy and Bess at the English National Opera and Massenet's Cendrillon at the Glyndebourne Summer Festival. Wilson and the John Wilson Orchestra performed extensively around the UK and overseas for many years. He restarted the Sinfonia of London in 2018. The Guardian praised their eagerly awaited BBC Proms debut in 2021 as "really remarkable," and they are now in high demand around the UK; this season, they will return to the BBC Proms, Birmingham Symphony Hall, and London's Barbican Center, among other locations. Wilson has a sizable and diverse discography, and his recordings with the Sinfonia of London have won numerous accolades and exceptional praise. For example, the recordings of the Korngold Symphony in F sharp (2020), Respighi Roman Trilogy (2021), and Dutilleux Le Loup (2022) have each won the BBC Music Magazine Award in the orchestral category for three consecutive years. The Times named the Respighi recording one of the three "really remarkable versions of this trilogy" of all time, together with those by Toscanini (1949) and Muti. The Observer called the Respighi album "Massive, bold and vividly played." Wilson, a Gateshead native, studied composing and conducting at the Royal College of Music, where he was elevated to Fellow status in 2011. John Wilson received the prestigious ISM Distinguished Musician Award in March 2019 for his contributions to music, and the Royal Academy of Music appointed him to the position of Henry Wood Chair of Conducting in 2021. British orchestral conductor John Wilson founded the John Wilson Orchestra in 1994. It is a jazz large band that plays with a symphony orchestra. It performs Rodgers and Hammerstein compositions as well as MGM musicals' original arrangements. Since 2009, the orchestra has participated in The Proms summer event each year. The John Wilson Orchestra has received praise for demonstrating how film musicals can also feature "genuine period performance”. Prior to the 2010 Proms season, John Wilson spoke with Rebecca Franks for the BBC Music Magazine and described how the orchestra's particular composition represents this goal: The orchestra has a solid 15 years together, and its personnel is exceptionally specialized. It is based on the traditional American contract movie orchestras. And that essentially consists of a rhythm section, four trumpets, four trombones, five double-saxes, and a rhythm section, all of whom are highly specialised in this manner, together with a brass, rhythm, and saxophone section from a dance band. A woodwind and French horn section are added on top of that. But I believe that finding the appropriate string players is crucial. A very high octane, high gloss, soloist type of musician is required. Not down, but up, is the string sound mixed. You perform at your peak. It takes a lot of practise to get the in-your-face, costly kind of string sound. The best players are required, but our nation is blessed with excellent orchestral musicians. Wilson is most

known for his Proms performances with a Hollywood theme, which have been a mainstay of the event for well over a decade. So it surprised some when, in February, he stepped in at the last minute to conduct the London Symphony Orchestra's world premieres of Rachmaninov's Second Symphony and a trumpet concerto by Mark-Anthony Turnage. Wilson clearly possesses more than just a deep understanding of the Great American Songbook. In 2002, Wilson began performing with the BBC Scottish Symphony Orchestra, primarily specialising in light music. "I've always done it and I've never apologised for it, but over the years they've slowly given me more freedom, and I've worked with them on everything from Eric Coates to Dutilleux. I appreciate that they didn't categorise me. At the Proms, he will lead the orchestra in conducting Vaughan Williams and Holst's Planets, another piece from the traditional repertoire that he promises to give new life to. I always perform The Planets in a unique way as a party piece. A performance is never more than a momentary reflection of your attitude toward a work on any given day. He credits his unusual upbringing—a working-class boy from Gateshead who fell in love with music (and Hollywood musicals in particular), taught himself to play the piano with the assistance of a musical mother, completed an A-level in music at Newcastle College, and created his first orchestra at the age of 16—for the diversity of his repertoire. Wilson continued on and joined the Royal College of Music as a "reluctant and not very good percussion player," but later switched to composition and conducting. I had a few professors who made sure I had the time and support to succeed. As a result, I went from being on the verge of being expelled at the end of my first year to winning the Tagore Gold Medal, the college's top honour for students. Just being left to do what I want. In 1994, while he was only 22 years old, he founded his own orchestra under that name. He claims, "It just happened by accident." "When I was still a student, I was playing the piano at the Grosvenor House hotel. I had tea in the afternoon with a violinist and attended jazz trio concerts in the evening. So I ended up with two groups of friends—classical musicians from the Royal College of Music and jazz musicians from the Guildhall and the Academy��and it was the marriage of those two sets of passions that inspired us to play this symphonic music with a jazz influence. We started getting offers for gigs and residencies as it transitioned from being something we did purely for fun.

[sheetmusiclibrarypdf]

Gershwin - Rhapsody in Blue (Piano Solo transcription (Piano Cziffra) sheet music

Gershwin - Rhapsody in Blue (Piano Solo transcription (Piano Cziffra) sheet music

https://rumble.com/embed/v2n4w38/?pub=14hjof

György Cziffra ( Budapest , November 5 , 1921 – Longpont-sur-Orge , France , January 15 , 1994 ) was a pianist Hungarian. In 1968 he became French , adopting the name Georges Cziffra . He is considered one of the best pianists of the 20th century . Son of a gypsy family, his father played in cabarets and restaurants in Paris in 1910 . At the age of five he was already improvising popular tunes in bars and circuses. At the age of nine he was accepted at the Franz Liszt Academy in Budapest, where he studied, among others, with Ernest von Dohnányi . He made his first concert tours at the age of 16. He took part in World War II and was taken prisoner, which is why he could not finish his musical studies. After the war he made a living as a jazz pianist in bars and night clubs. He tried to escape from Hungary which was under the yoke of the Soviet Union , which led him to spend three years in labor camps (1950-1953). In 1956, he won the Franz Liszt prize, a fact that helped him boost his career. The same year, he fled with his wife and their son to Vienna , where he gave a recital that would open the doors of Paris and London . His fame was favored by numerous performances, also in the United States . In 1975, he created the Cziffra Foundation, to support young artists. The French thanked him for his commitment to the creation of a piano competition with his name. After the accidental death of her son in 1981, Cziffra appeared even more rarely in public. Cziffra died in Senlis (France) at the age of 72, of a myocardial infarction resulting from a series of complications also due to lung cancer. The composers he preferably interpreted were, mainly due to his excellent technique, Franz Liszt , Frédéric Chopin and Robert Schumann . A good example of his skill is his interpretation of Grand Galop Chromatique Liszt's . His arrangements for piano also belong to the most difficult works in piano literature. Selected discography Tchaikovsky: Piano Concerto No. 1, 2, and 3, National Orchestra of the French Broadcasting Corporation, dir.: Dervaux n.1, Philharmonic Orchestra, dir.: Vandernoot n. 2 and 3, EMI. Chopin: Anthology: Barcarolle, Bolero, Polish Chants, Impromtus, Polonaises 3 to 7, Polish-fantasy, 2 and 3 Sonata, Tarantelles. EMI. Anthology (2): Ballade nº.4, Piano Concerto nº, 1 Studies 3,10,13,14, Impromtus nº, 1, Nocturne nº. 2, Polonesa nº, 3, Waltz nº,7, Paris Orchestra, dir.: Cziffra fill, EMI. Liszt: Antologia: Rève d'amour , Le ronde des Elves , Sant François d'Assise preaching to the birds , Forgotten Waltz nº, 1, Ballade nº,2, Valse-Impromtu, 2 Poloneses, Apassionata EMI. ( Read the full article

[mrdirtybear]

Arthur Nikisch was born in Hungary on 12th Oct 1855 and died in Leipzig on 23rd Jan 1922. He held numerous important positions during his career including - conductor of the Boston Symphony Orchestra, director of the Budapest Royal Opera, director of the Leipzig Gewandhaus Orchestra, principal conductor of the Berlin Philharmonic with whom he made one of the earliest recordings of a complete symphony, Beethoven's 5th, with the Berlin Philharmonic.

Arthur Nikisch. Boston 1891

[burnt-out-cellist]

Symphony No. 9 in E Minor, “The New World”: IV. Allegro con fuoko by Antonin Dvorak, as performed by the Budapest Philharmonic Orchestra

[amavitout]

perchance to dream by holy palmers' kiss.

(pull through y’all only 8 likes to gold)

[paul-archibald]

Music from Bohemia

Music from Bohemia traces its roots back to the Middle Ages in the monasteries of the Bohemian Forests where Gregorian chant and religious music were performed for centuries. With the arrival of the Reformation, secular music began to take hold and during the 17th Century Bohemian composers stepped up to the forefront. After the transition into the Romantic era, nationalism emerged as a potent…

[silentambassadors]

Happy Hungarian Opera Day, Hungary!  A commemoration of Hungarian composer Ferenc Erkel’s birthday (November 7, 1810) and the reopening of the Erkel Opera Theatre in Budapest (November 7, 2013), Hungarian Opera Day highlights Erkel’s remarkable career--not only did he compose operas, the first significant Hungarian operas, he also founded the Budapest Philharmonic Orchestra and composed the music for Hungary’s national anthem, Himnusz.

Stamp details: Stamp on top: Issued on: December 5, 1953 From: Budapest, Hungary MC #1342

Second row: Issued on: November 6, 1960 From: Budapest, Hungary MC #1715

Third row: Issued on: May 23, 1963 From: Budapest, Hungary MC #1921

Fourth row left: Issued on: September 26, 1967 From: Budapest, Hungary MC #2362

Fourth row right: Issued on: July 10, 1985 From: Budapest, Hungary MC #3777

Stamp on bottom: Issued on: March 26, 2010 From: Budapest, Hungary MC #BL331

[musicmakesyousmart]

Chorus of the Hungarian Radio & the Budapest Philharmonic Orchestra - Dante Symphony

Qualiton

1961

[lesser-known-composers]

Zoltán Kodály - Spinning Room: No. 13 A csitári hegyek alatt ·

Budapest Philharmonic Orchestra · · János Ferencsik · Éva Andor · József Simándy

[thriftstorerecords]

Ferenc Erkel: Hunyadi László Various Artists The Budapest Philharmonic Orchestra Qualiton Records/Hungary (1960)

[classicalmusicdaily]

Zoltan Nagy started his international career as the youngest ensemble member of the Vienna State Opera. Recognized by opera critics for his strengths in both dramatic and comic roles, he is regularly invited to perform as a guest artist in many of Europe’s leading opera houses. Zoltan’s most requested role is Escamillo (Carmen), a role he has performed in over 12 productions in theatres like Bilbao (ABAO), Teatro Massimo di Palermo, Teatro Grande di Brescia, Teatro Ponchielli di Cremona, Teatro Sociale di Como, RTE Orchestra in Dublin, Romanian National Opera Bucharest and Cluj, the Shaanxi Grand Opera House in China, the State Theatre of Nuremberg, among others. As a permanent guest soloist of the Hungarian State Opera, Budapest, Zoltan has been invited to perform the role of Guglielmo (Cosi Fan Tutte), Silvio (Pagliacci), the title role in Kodaly’s Hary Janos, and Schaunard (La Bohème), a title he has performed at Oper Leipzig, Opera de Nice, Singapore Symphony Orchestra (in concert), Vlaamse Opera Antwerpen, and Opera Ghent among others. Zoltan made his Bolshoi Theatre of Moscow debut with the role of Count Almaviva (Le Nozze di Figaro). He has sung Haraschta (The Cunning Little Vixen) at the Hamburg State Opera, Dr Falke (Die Fledermaus) at Teatro Verdi Trieste, Calchas (Iphigenie en Aulide) in Athens, Schmied (Egk’s Peer Gynt) in Theater an der Wien, where he also had the privilege to join Edita Gruberova for her gala concert. Zoltan made his debut as Alberich (Siegfried) at Teatro Campoamor in Oviedo. He sang Marcello in a new production of La Bohème at Teatro Comunale di Sassari, portrayed the role of Dulcamara in a new production of L’Elisir d’Amore at the Romanian National Opera, and was invited to give masterclasses at the Xi’an University of Music in China. Count Tomski was a role debut in a new production of Tchaikovsy’s Pique Dame at the Opera Festival Heidenheim accompanied by the Stuttgarter Philharmoniker. Zoltán returned to Oviedo for a new production of Götterdämmerung where he performed the role of Alberich. He sings the role of Theseus in the Essen Philharmonic’s CD live recording of Bohuslav Martinu’s Ariane directed by Czech conductor Tomas Netopil, released in 2016 on Supraphon. Zoltan has worked with conductors such as Marco Armiliato, Pinchas Steinberg, Ulf Schirmer, Renato Palumbo, Fabio Luisi, Marc Minkowski, John Wilson, Alejo Perez, Tomas Netopil, Guillermo Garcia Calvo, Leo Hussain, Marcus Bosch among others. Some of the stage directors Zoltan has collaborated with are: Peter Konwitschny, Damiano Michieletto, Inga Levant, Stefano Poda, Calixto Bieito, Paris Mexis, Thorsten Fischer, Georges Delnon, Maurizio Scaparro, and Immo Karaman. He has collaborated with the Vienna Philharmonic, Robert Schumann Philharmonie, RSO Vienna, Vienna Symphony Orchestra Singapore Symphony Orchestra, National Taiwan Symphony Orchestra, Orchestra of the Romanian National Radio, Hungarian National Philharmonic Orchestra among others. Zoltan studied at the Gheorghe Dima Music Academy in his hometown Cluj-Napoca under Professor Gheorghe Roşu. Upon graduation, he received a full scholarship to study at the prestigious Mozarteum University in Salzburg for a Masters degree in voice performance with Professor Boris Bakow. He has won prizes at various singing competitions including the Romanian National Song Competition, the Hariclea Darclee International Voice Competition, and “Debut”, the European Opera Singing Competition in Germany. In 2012 Zoltan participated in the Salzburg Festival’s Young Singers Project, and was then selected to sing in the Festival’s production of Das Labyrinth. Recent engagements included two new production of La Wally and Jenufa at Theater an der Wien, a new production of The Raise and Fall of the city of Mahagonny in Parma. Future higlights of his saison include a debut at Regio Torino as Escamillo, a ROH debut in La Bohème as Schaunard and a debut at Komische Oper Berlin in the Love of the three oranges as Leander.

Dear Zoltan, I’m so glad to meet you, this time in Italy! And I am very much looking for- ward to your house debut at Teatro Regio di Parma! What has been your relationship with the Italian theatres throughout your career and what does this event mean to you? In my nearly 15 years of international career I have been lucky enough to be part of some wonder- ful productions all over the world starting with Vienna until Singapore, but singing ocasionally in Italy, becomes each time on of the highlights of my season. My first ever concert accompanied by an orchestra abroad was actually in Palermo when I was 22. Since then I was dreaming about singing one day at Teatro Massimo which was closed for renovation those years. Several years later my dream came true and I was indeed portraying the role of Escamillo in that amazing opera house… I always used to say, that a part of my heart is in Italy. I’ve also worked on several occa- sions at Teatro Verdi in Trieste, one of them was a very funny production of Die Fledermaus (Dr. Falke) with the late Gianluigi Gelmetti conducting who I was very fond of. I have beautiful memo- ries of Sardegna where I’ve done a new production of La Bohème as Marcello, and later a Pagliacci as Silvio. Singing at Teatro Regio in Parma is an absolut honor for me not only because of the enormous tradition that surrounds this opera house but also because of the fact that I am a guest artist in a very unusual production that should make history in Parma. Tell us more about this opera, about the role that you’re about to perform and the produc- tion that will be on stage at Regio di Parma this month (April)? Rise and Fall of the City of Mahagonny is an opera, although I like to call it rather music theater/ music play… composed between 1927-1929 by Kurt Weill on Bertold Brecht’s libretto, where I will interpret the role of Trinity Moses. When I first saw the score, I said to myself… “oh, I’ll deifinitely need some time to learn this music and get used to certain rhytms“. I’ve seen it challenging but I ended up having great fun singing this part and enjoying Weill’s geniality. The opera was a scandal on its premierere in Leipzig in 1930, presenting the decandece of the society which is more then actual nowadays where money is everything. I hope the audience will be receptive, of course, one should not expect a coservative staging for this type of music. I’m sure everyone will leave the the- ater whistling the Alabama song at the end of the performance… and realizing hopefully how en- joyable this music is. reposted from https://opera-charm.com/