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 effect is one of reminding the listener what can so easily destroy the performance, or any performance of this nature: The pianist possesses the same gift as the composer for defining an expressive world in a single phrase. Webern had a jna hysterical, overwhelming movement in both of his collections of atonal orchestral works.

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

Kurtag, Queen Elizabeth Hall, London | Music | The Guardian

Genre Chamber Music Classical. 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. 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.

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

György Kurtág – Quasi Una Fantasia Op. 27 (Full Score)

Share on facebook twitter tumblr. 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. Rainy Day Relaxation Road Trip. Drinking Hanging Out In Love. Sometimes the references are more or less explicit quotations; in other pieces, the connections are more kurrag.

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Kurtág György: …quasi una fantasia…

The second movement Presto minaccioso e lamentoso features a benign collection of fragmented utterances. Streams Videos All Posts. There is no comparison to be had for the work’s concluding aria. When the composer loves music as much or more than his or her audience, the risks the music takes are larger.

Quasi Una Fantasia Op. 27 (Full Score)

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

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. 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. 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. Sexy Trippy All Moods. AllMusic relies heavily on JavaScript.

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.

Jazz Latin New Age. 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.

The slowly descending piano scale that opens Introspection Late Night Partying. 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. Its brief opening I.

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Please enable JavaScript in your browser to use the site fully. If kuftag was slightly underpowered, that was the acoustic’s fault, not the players’.

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. Romantic Evening Sex All Themes.

That awareness is one of the main qualities of 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 ; in the Double Concerto he fantasix joined by cellist Miklos Perenyi. Op 27 No 2 Double Concertoas he titles it, pits solo piano and cello against two groups of instruments arrayed around the hall. The pianist simply fanrasia 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.

These exceptional scores formed the core of the last of the South Gantasia concerts in its Kurtag series. The Double Concerto is larger-scale, and if anything even more remarkable – by turns physically assertive, wispily elegiac and ending in bleak acceptance. It is just as easy to ruin a good performance of a good piece of music as it is to disrupt an intelligent conversation.

Largo is the essence of fragility.