Kurtág György: quasi una fantasia for piano and groups of instruments dispersed in space. score and parts. Op. 27 No. 1. Setting: Chamber Orchestra. Quasi Una Fantasia Op 27 No 1 is a miniature piano concerto in all but name. Op 27 No 2 (Double Concerto), as he titles it, pits solo piano. 16 nov. Stream György Kurtág, quasi una fantasia (extrait) by Ens. intercontemporain from desktop or your mobile device.
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Both have a relationship with the two piano sonatas of Beethoven’s Op 27 the second of them the Moonlightbut there are no explicit musical connections, and what links them in Kurtag’s mind is some intangible sense of structure or expressive purpose.
Quasi una fantasia, for piano & instrumental groups, Op. 27
The Double Concerto is larger-scale, and if anything even more remarkable – by turns physically assertive, wispily elegiac and ending in quais acceptance. Streams Videos All Posts. It is just as easy to ruin a good performance of a good piece of music as it is to disrupt an intelligent conversation. As it often happens in his later material, the general soundscape is reminiscent of some of Crumb ‘s sound world, though this is most likely a coincidence.
Zoltan Kocsis was the soloist in both Kurtag works earlier in the evening he had also paired Beethoven’s two Op 27 sonatas in a short recital unaa in the Double Concerto he was joined by cellist Miklos Perenyi.
The pianist simply leads the ensemble of the fanntasia each movement has a different supporting cast of instruments but there is nothing remotely showy about the sound or the presumptions behind it. It gives one just enough of a glimpse into a wonderful world that the composer seems to not feel he has the time to elaborate upon.
Aside from their comparable abilities to write in miniature form, both composers are able to astonish of the tiniest of resources, distilling the purest, communicative sound.
Its brief opening Fantqsia. Introspection Late Night Partying. Sometimes the references are more or less explicit quotations; in other pieces, uns connections are more elliptical.
The pianist possesses the same gift as the composer for defining an expressive world in a single phrase.
Kurtag, Queen Elizabeth Hall, London | Music | The Guardian
The slowly descending piano scale that opens G yorgy Kurtag’s music is larded with acknowledgments of the past, of the great tradition that he has supported as a teacher and coach. That awareness is one of the main qualities of The effect is one of reminding the fantasiq what can so easily destroy the performance, or any performance of this nature: These exceptional scores formed the ourtag of the last of the South Bank’s concerts in its Kurtag series.
It also establishes the work as one that highlights the piano without giving it any sort of grand position. A descending piano line with tiny utterances fantasiaa the winds and then percussion says the most honest thing about beauty that no one cares to say, that it is destroyable. It consists of four movements and is about seven minutes in duration.
Everything is presented with consummate precision and with the greatest consideration for a sensitive audience.
Op 27 No 1 is a miniature piano concerto in all but name. Share on facebook twitter tumblr. When the composer loves music as much or more than his or her audience, the risks the music takes are larger. The pieces were written for Kocsis Kurtag has been working on another piano concerto for him since the s and it is easy to see why.
If it was slightly underpowered, that was the acoustic’s fault, not the players’.
György Kurtág – …quasi una fantasia… – |
Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.
Sexy Trippy All Moods. It is one of the most perfect and unprecedented little movements to emerge from twentieth-century chamber music, but it endlessly enriched by the preceding movements. Drinking Hanging Out In Love. No other composer conveys this feeling so well, and its beauty does not pale over time. The rest of this perfectly conceived all-Hungarian programme brought sparky performances of Ligeti’s Melodien and his trumpet showpiece, Mysteries of the Macabre, with John Wallace as the irrepressible soloist.
There is no comparison to be had for the work’s concluding aria. Largo is the essence of fragility.