KURTAG QUASI UNA FANTASIA PDF

KURTAG QUASI UNA FANTASIA PDF

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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The pieces were written for Kocsis Kurtag has been fantassia on another piano concerto for him since the s and it is easy to see why. When the composer loves music as much or more than his or her audience, the risks the music takes are larger. The slowly descending piano scale that opens Largo is the essence of fragility.

György Kurtág – …quasi una fantasia… – |

AllMusic relies heavily on JavaScript. Op 27 No 1 is a miniature piano concerto in all but name. Its brief opening I.

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. It also establishes the work as one that highlights the piano without giving it any sort of grand position.

Introspection Late Night Partying. No other composer conveys this feeling so well, and its beauty does not pale over time. 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.

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Drinking Hanging Out In Love.

If it was slightly underpowered, that was the acoustic’s fault, not the players’. Genre Chamber Music Classical.

Quasi una fantasia, for piano &… | Details | AllMusic

The effect is one of reminding the listener what can so easily destroy the performance, or any performance of this nature: It gives one just enough of a glimpse kurgag a wonderful world that the composer seems to not feel he has the time to elaborate upon. These exceptional scores formed the core of the last of the South Bank’s concerts in its Kurtag series.

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 kurtwg irrepressible soloist.

It is just as easy kurtwg 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. Streams Videos All Posts. There is no comparison to be had for the work’s concluding aria. Jazz Latin New Age.

György Kurtág – …quasi una fantasia…

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 sound or the presumptions behind it. The Double Concerto is larger-scale, and if anything even more remarkable – by turns physically assertive, wispily elegiac and ending in bleak acceptance. 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.

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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.

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The second movement Presto minaccioso e lamentoso features a benign collection of fragmented utterances. Everything is presented with consummate precision and with the greatest consideration for a sensitive audience. Share on facebook twitter tumblr.

Op 27 No 2 Double Concertoas he titles it, pits solo piano and cello against two groups of instruments arrayed around the hall. Rainy Day Relaxation Road Trip. That awareness is one of the main qualities of Webern had a comparably hysterical, overwhelming movement in both of his collections of atonal orchestral works. A descending piano line with 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.

Sometimes the references are more or less explicit quotations; in other pieces, the connections are more elliptical.

It consists of four movements and is about seven minutes in duration.