Splinters - Pilinszky 100 / Kurtág 95
An evening of contemporary music and literature
Featuring:
actors: Natasa Stork, Sándor Zsótér
cimbalom: Miklós Lukács
violin: Éva Osztrosits
viola: Péter Bársony
cello: Ditta Rohmann
clarinet: Péter Szűcs
horn: János Benyus
piano: Gábor Csalog, András Kemenes
Creator:
Péter Kárpáti Director
Program:
György Kurtág: Four Songs to Poems by János Pilinszky, Op. 11
György Kurtág: Splinters, Op. 6c
György Kurtág: Signs, Games and Messages for solo cello - János Pilinszky: Gérard de Nerval
György Kurtág: Games VIII/7 - Beating - Quarrel (for four hands)
György Kurtág: Games VIII/9 - János Pilinszky: Waltz (for two pianos)
György Kurtág: Games VIII/3 - Responsorium (Pilinszky: A Snow White Arm)
György Kurtág: Games VIII/6 - Sketch for Pilinszky's "Hölderlin" (Position practice)
György Kurtág: Bach transcriptions
"They share the single-minded succinctness of the poet and musician, the knowledge of how to experience and convey the thrilling silence and a cry that penetrates right to the marrow, as well as a confrontation with death, an ever-recurring experience," the great musicologist János Kárpáti, who recently passed away, wrote in connection with Pilinszky and Kurtág. This evening will see a performance by Natasa Stork and Sándor Zsótér of the words of the Hungarian poet János Pilinszky, including works from the composer György Kurtág that are tied to Pilinszky, as well as Kurtág's arrangements of the works of Bach, which have a fundamental significance for both Hungarian artists.
Though vocal works form a central role in Kurtág's ouevre, his instrumental pieces also yearn to express themselves with such a burning intensity that is as though they were the musical arrangements of unwritten texts. This is not the only relationship between the Kurtág works featured in this concert. They all, without exception, have a link to Pilinszky. Certain pieces only allude to Pilinszky, some - including the Bach transcriptions - were dedicated by Kurtág to Pilinszky, and a few have a more direct link to the poet. Such as the Splinters cycle for cimbalom. Though the musical piece began to take form before the poetry volume of the same name was published, the name for its final form was inspired by the poet, just like the four Pilinszky songs, rarely heard in their original form, with a unique encounter between words and music, poet and composer.
Presented by: Müpa Budapest
