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Slovenská filharmónia
Bratislavské hudobné slávnosti
Klavírna súťaž Johanna Nepomuka Hummela
Ministerstvo kultúry Slovenskej republiky
1 H 07 MIN 1 H 07 MIN
„Vážené dámy, vážení páni, milovníci zborového spevu, dnes večer vám chceme priblížiť zázrak ľudského hlasu, čaro zborového spevu a mágiu spoločného tvorenia. V prvej polovici koncertu budete počuť svetské diela o prí- rode, túžbach, ľudských emóciách a láske od takých veliká- nov ako Béla Bartók, Antonín Dvořák, Johannes Brahms či súčasný skladateľ Eric Whitacre. Druhú polovicu nášho koncertu venujeme chrámovej zborovej tvorbe s veľmi osobitým charakterom každej z vybraných skladieb.“
Zoltán Kocsis-Holper – zbormajster
“Dear ladies, dear gentlemen, dear lovers of choral singing, tonight we want to bring you closer to the miracle of the human voice, the magic of choral singing and the magic of creating together. In the first half of the concert you will hear secular works about nature, desire, human emotions and love by such greats as Béla Bartók, Antonín Dvořák, Johannes Brahms and contemporary composer Eric Whitacre. The second half of our concert is devoted to choral music with a very distinctive character to each of the selected pieces.”
Zoltán Kocsis-Holper – zbormajster
SFZ à cappella
Piatok 23. 2. 2024, 19.00 hFriday, February 23, 2024, 7.00 PMCyklus M – Mimoriadne koncerty
Koncertná sieň Slovenskej filharmónieM serie – Special Concerts
Concert Hall of Slovak Philharmonic
After a year, choir master Zoltán Kocsis-Holper of the Kodály Choir Debrecen and artistic director of the Kórus Spontánusz will once again collaborate with the Slovak Philharmonic Choir. The choir’s a cappella concert offers a unique insight into the vocal works of mainly Czech and Hungarian composers. The secular works in the first half of the program move from folk-inspired themes to interpretations of poetry. The second half is characterized by sacred works, with the pinnacle being Zdenek Lukáš’s Requiem, the most frequently performed Czech composition of the second half of the 20th century. The five-part structure evokes Renaissance polyphony, its harmony and unison sections adhere to aesthetic principles of that period. The piece serves as a sort of personal declaration of faith in the immortality of the spirit and love for life.
