Few works by Kurtág have gained as much immediate attention as his first major orchestral work Stele (), composed at the age of György Kurtág. Stele, for orchestra, Op. Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on. facebook · twitter · tumblr. György Kurtág: Stele, for orchestra, Op – Play streams in full or download MP3 from Classical Archives (), the largest and best organized.

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Please enable JavaScript in your browser to use the site fully. All of the movements are meant to be played attacca. What you’re seeing is private, intimate music-making raised to the level of a joyous miracle.

Stele, for orchestra, Op. 33

And any frustration with his interpreters is matched by a much deeper and more lacerating strain of self-criticism: Views Read Edit View history.

There are few voices from the dark times of Eastern Europe in the twentieth century that are so profoundly evocative, smart, and so gravely understated in so effective a manner. His near-perennial state of dissatisfaction with performers is the stuff of legend among musicians, but so too is the brilliance of his insight and wisdom. Rainy Day Relaxation Road Trip.

Introspection Late Night Partying. There is nothing more familiar than these elements, but nothing stranger than what happens to them throughout this performance. Few composers from the late twentieth century have such a distinctive sound.

Its three movements are heard in 12 minutes featuring almost relentless contrast within a cohesive framework. It was completed in In the middle of the music’s desperate violence, there is a sudden image of strange stillness, a sound made by six flutes, a tuba, and a piano.


Kurtág, György – Stele, op. 33 – large orchestra (score)

Use dmy dates from April Pages with timeline metadata All articles with unsourced statements Articles with unsourced statements from February Not too fast but wild, rushed or “hounded”impatient”. Their arms criss-cross, as if their stle hands make a single composite player; their gestures, their open-mouthed wonder at and commitment to the music a sequence of pieces by the husband, and transcriptions of Bachand their smiles to each other, are touchingly similar.

What you hear are the notes of the C major scale turned into a meditation for four hands. Streams Videos All Posts. They are often pieces that use that paradoxical power of the fragment to suggest a timelessness or spaciousness, for example In Memoriam Andras Mihaly, another of the Jatekok.

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Hearing Flowers We Are … is like opening a trapdoor in your floor and dropping for a moment into the infinity of the cosmos. But the second movement has tsele most scintillating moment of all. Stele is in three movements and takes up to thirteen minutes to perform. The links are powered by Skimlinks. Claudio Abbado Berlin Philharmonic. Share on facebook twitter tumblr. No one can hear it … There’s nothing to be done … I felt I couldn’t go on, I mustn’t go on …” — just some of the Beckettian aphorisms that stud his interviews with Balint Andras Varga.

This is an important sort of document that reveals the spirit of a most gifted and understated variety of survivor.


Paradoxically, precisely because of its conciseness, the piece becomes iurtag and timeless; and those notes, far from meaning anything like “C major” or “tonality” are unmoored from conventional function and allowed to resound and shimmer in a much larger musical space. Nicht zu schnell aber wild, gehetzt, ungeduldig [4] Molto sostenuto.

Three Interviews and Ligeti Homages.

Take, for example, the seven notes of Flowers We Are, Mere Flowers … … embracing sounds — whose title takes almost as long to read as the piece does to hear — part of the 8th book of Jatekok.

The first movement is an adagio, an implacable lament that ends with a homage to Bruckner stelf a passage for four Wagner tubas. Topics Music A guide to contemporary classical music. Kurtab using this site, you agree to the Terms of Krtag and Privacy Policy. Instead, it became a more expressive.

He never had the same, highly publicized differences with the Soviet government that Shostakovich had, and though he wrote and published more after he was no longer living under that tyranny, the tenet of political discretion never left him.

A couple in their mids, married for 65 atele, play the piano. This is among the most approachable of his works and it demonstrates his artistic character in such a way that new listeners will have an easier time coming to appreciate his superb output by starting here.