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Price: € 27.00
WWE 2CD 31870
György Kurtág
Portrait Salzburg 1993
1
Praeludium und Choral 01:35
2
Tamas Blum in memoriam 02:28
3
Antiphone 00:42
4
Vier Mikroludien 03:38
5
Il pleut sur la ville 01:37
6
Lebewohl 01:50
7
Les Adieux 01:03
8
Janos Pilinszky 01:18
9
The Answered Unanswered Question 03:42
10
II. Doppelkonzert 16:53
11
Requiem po drugu - O Gott wie plötzlich diese Stille 01:02
12
- Eine Grausame Romanze 01:31
13
- Es war meine Stärke... 00:39
14
- Gott schütze Dich, mein Geliebter... 02:41
15
What is the Word 16:39
16
III. Grabstein für Stephan in memoriam Stephan Stein 09:42
17
Jatekok (Spiele) 10:17
18
Drei alte Inschriften - Blume, du sollst wissen 01:59
19
- Geschnitze Szekler Wäschemangel 01:36
20
- Grabkreuz auf dem Friedhof von Mecseknadasd 03:23
21
...quasi una fantasia... - Introduzione: Largo 02:24
22
- Presto minaccioso e lamentoso 01:39
23
- Recitativo: Grave, disperato 01:36
24
- Aria - Adagio molto 04:57
Total Time 01:34:51
It must be particularly satisfying for a composer to experience the entire essence of the creative process in a single concert. But anyone who has ever witnessed György Kurtág at rehearsal – his enthusiasm for his work and his penchant for meticulous accuracy in finding for every musical detail the right expression, the right tone color and the right sound - knows all too well how easily such an occasion could have turned into a nightmare for Kurtág. But the artists who were at work here knew his oeuvre and had rehearsed with the composer himself: So it was no surprise then that Zoltán Kocsis, the Keller Quartett and Peter Eötvös hit the nail on the head with their interpretations. The story of Kurtág taking musicians backstage for an impromptu rehearsal during an award ceremony after the performance of a movement from a string quartet testifies to the greatness of his art. The pieces assembled on the present CD range from a prelude for piano dating back to 1961 to more recent compositions. The joint performance, by Kurtág and his wife Márta, of a selection from Játékok, which they wrap up with a wonderful Bach-transcription, is perhaps the high point of the recording. ...

... Kurtág’s arrangement of the pieces is deliberate: his listener is supposed to first encounter the short pieces belonging to the first part before turning to the two main parts so as to practice the ``listening to and understanding of” his music. Of course, this ordering for didactic purposes does not suggest a qualitative judgment about the individual pieces. The core movements of the Doppelkonzert op. 27/2, for instance, are being presented already in the first of part of the tripartite evening. Similarly, the Requiem po drugo of the second part anticipates the Drei alte Inschriften op. 25 of the third part. The memorable concert closes with a (then still) recent composition: “It was perhaps with the …quasi una fantasia… op. 27/1 that I realized for the first time that music does not just plainly stand there before me, but that its sound material can envelop those who listen. This is why I chose it as the last piece of the evening.” (György Kurtág)
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