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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György Kurtág – Quasi Una Fantasia Op. 27 (Full Score)
If it was slightly underpowered, that was the acoustic’s fault, not the players’. 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. Share on facebook twitter tumblr. 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.
It also establishes the work as one that highlights the piano without giving it uan sort of grand position.
Quasi una fantasia, for piano & instrumental groups, Op. 27
The effect is one of reminding the listener what can so easily destroy the performance, or any performance of this nature: Op 27 No 2 Double Concerto qyasi, as he titles it, pits solo piano and cello against two groups of instruments arrayed around the hall. This work calls for some unusual staging, with mouth organs placed at strategic points in qiasi hall to make the most out of the acoustic space. Jazz Latin New Age. Romantic Evening Sex All Themes. Drinking Hanging Out In Love.
Qkasi 27 No 1 is a miniature piano concerto in all but name. 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. The rest of this perfectly conceived all-Hungarian fantaia brought sparky performances of Ligeti’s Melodien and his trumpet showpiece, Mysteries of the Macabre, with John Wallace as the irrepressible soloist.
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When the composer loves music as much or more than his or her audience, the risks the music takes are larger. 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.
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. 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. Largo is the essence of fragility. Introspection Late Night Partying. The Double Concerto is larger-scale, and if anything even more remarkable – by turns physically assertive, wispily elegiac and ending in bleak acceptance.
Quasi una fantasia, for piano &… | Details | AllMusic
Webern had a comparably hysterical, overwhelming movement in both of his collections of atonal orchestral works. These exceptional scores formed the core of the last of the South Bank’s concerts in its Kurtag series.
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The second movement Presto minaccioso e lamentoso features a benign collection of fragmented utterances. That awareness is one of the main qualities of 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.
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 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.
Quasi Una Fantasia Op. 27 (Full Score)
Everything is presented with consummate precision and with the greatest consideration for a sensitive audience. Its brief opening I. Genre Chamber Music Classical.
There is no comparison to be had for the work’s concluding aria. The pianist possesses the same gift as the composer for defining an expressive world in a single phrase. It is just as easy to ruin a good performance of a good piece of music as it is to disrupt an intelligent conversation. No other composer conveys this feeling so fanrasia, and its beauty does not pale over time.