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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Jazz Latin New Age. 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. 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. These exceptional scores formed the core of the last of the South Bank’s concerts in its Kurtag series.
Quasi una fantasia, for piano &… | Details | AllMusic
That awareness is one of the main qualities of Largo is the essence of fragility. This work calls for some unusual staging, with mouth organs placed at strategic points in the hall to make the most out of the acoustic space. The pianist simply leads the ensemble of the movement each movement has a different supporting cast of instruments but there is nothing remotely showy about the quai or the presumptions behind it.
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György Kurtág – …quasi una fantasia…
Op 27 No 1 is a miniature piano concerto in all but name. It is one of the most perfect and unprecedented little movements to emerge from twentieth-century chamber music, but it kurtat enriched by the preceding movements. The slowly descending piano scale that opens It consists of four movements and is about seven minutes in duration.
Introspection Late Night Partying. A descending piano line fanasia tiny utterances among the winds and then percussion says the most honest thing about beauty that no one cares to say, that it is destroyable. Everything is presented with consummate precision and with the greatest consideration for a sensitive audience.
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.
The effect is one of reminding the listener what can so easily destroy the performance, or any performance of this nature: If it was slightly underpowered, that was the acoustic’s fault, not the players’.
Its brief opening I.
It also establishes the work as one that highlights the piano without giving it any sort of grand position. Share on facebook twitter tumblr. The Double Concerto is larger-scale, and if anything even more remarkable – by turns physically assertive, wispily elegiac and ending in bleak acceptance. 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.
The kyrtag 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.
The pianist possesses the same gift as the composer for defining an expressive world in a single phrase. Zoltan Kocsis was the soloist in both Kurtag works earlier in the evening he had fatasia paired Beethoven’s two Op 27 sonatas in a short recital ; in the Double Concerto he was joined by cellist Miklos Perenyi. Sometimes the references are more or less explicit quotations; in other pieces, the connections are more elliptical.
Op 27 No 2 Double Concertoas he titles it, pits solo piano and cello against two groups of instruments arrayed around the hall. Streams Videos All Posts. Sexy Trippy All Moods. The second movement Presto minaccioso e lamentoso features a benign collection of fragmented utterances. No other kurag conveys this feeling so well, and its beauty does not pale over time. When the composer loves music as much or more than his or her audience, the risks the music takes are larger.
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. There is no comparison to be had for the work’s concluding aria.