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In Kurtág's works for solo flute or in ensemble, we find all the characteristic features of his musical language: theatricality of the musical gesture, expressive value of the interval; connection with the word and it's intonation; symmetrical writing through expansions and contractions of cells in the sound space, aphoristic and fragmentary writing; reworking and self-quotation. Moreover, these pieces show a humanistic approach, where music, while avoiding any consolatory intent, becomes memory, communication and sign of affection.
In Kurtág's works for solo flute or in ensemble, we find all the characteristic features of his musical language: theatricality of the musical gesture, expressive value of the interval; connection with the word and it's intonation; symmetrical writing through expansions and contractions of cells in the sound space, aphoristic and fragmentary writing; reworking and self-quotation. Moreover, these pieces show a humanistic approach, where music, while avoiding any consolatory intent, becomes memory, communication and sign of affection.
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In Kurtág's works for solo flute or in ensemble, we find all the characteristic features of his musical language: theatricality of the musical gesture, expressive value of the interval; connection with the word and it's intonation; symmetrical writing through expansions and contractions of cells in the sound space, aphoristic and fragmentary writing; reworking and self-quotation. Moreover, these pieces show a humanistic approach, where music, while avoiding any consolatory intent, becomes memory, communication and sign of affection.
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