Kurtág/Schumann Chamber Works
View record and artist detailsRecord and Artist Details
Composer or Director: Robert Schumann, György Kurtág
Label: ECM New Series
Magazine Review Date: 1/1996
Media Format: CD or Download
Media Runtime: 76
Mastering:
ADD
Catalogue Number: 437 957-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (9) Stücke |
György Kurtág, Composer
György Kurtág, Composer Kim Kashkashian, Viola |
| Jelek |
György Kurtág, Composer
György Kurtág, Composer Kim Kashkashian, Viola |
| Märchenbilder |
Robert Schumann, Composer
Eduard Brunner, Clarinet Robert Levin, Piano Robert Schumann, Composer |
| Hommage à R. Sch |
György Kurtág, Composer
Eduard Brunner, Clarinet György Kurtág, Composer Kim Kashkashian, Viola Robert Levin, Piano |
| (3) Fantasiestücke |
Robert Schumann, Composer
Kim Kashkashian, Viola Robert Levin, Piano Robert Schumann, Composer |
| Märchenerzählungen |
Robert Schumann, Composer
Eduard Brunner, Clarinet Kim Kashkashian, Viola Robert Levin, Piano Robert Schumann, Composer |
Author: Arnold Whittall
It’s logical enough: three works by Gyorgy Kurtag, one of which is called Hommage a R. Sch, placed alongside three works by Schumann himself. It’s not even as if the two composers had nothing whatsoever in common. Both place their most concentrated, poetic utterances in groups of miniatures, both are intensely allusive. But is it especially illuminating to hear the two together?
I have my doubts. Such extreme contrasts – since Kurtag never really sounds remotely like Schumann – always have their attractions. I’m more concerned with the fact that, while Kurtag’s discography is still modest, these Schumann pieces have been much recorded, and at least one of them, the late Marchenerzahlungen, finds him well below his best, the fascinating anticipation of Brahms cancelled out by foursquare phrases and monotonous textures. These are good performances, nevertheless: so much so that I was even won over by an extremely slow tempo for the first of the Fantasiestucke.
The Kurtag works are no less excellently done. The violist Kim Kashkashian has all the control and refinement necessary to make the extremely brief movements of Jelek (“Signs”) and the Neun Stucke tell to maximum effect, and despite the emphasis on miniature forms (only the last movement ofHommage a R. Sch runs for more than three minutes), a tremendously wide range of moods and textures is encompassed. The ‘large hall’ acoustic of the recording attaches considerable resonance to the piano, but the balance with the other instruments is perfectly acceptable.'
I have my doubts. Such extreme contrasts – since Kurtag never really sounds remotely like Schumann – always have their attractions. I’m more concerned with the fact that, while Kurtag’s discography is still modest, these Schumann pieces have been much recorded, and at least one of them, the late Marchenerzahlungen, finds him well below his best, the fascinating anticipation of Brahms cancelled out by foursquare phrases and monotonous textures. These are good performances, nevertheless: so much so that I was even won over by an extremely slow tempo for the first of the Fantasiestucke.
The Kurtag works are no less excellently done. The violist Kim Kashkashian has all the control and refinement necessary to make the extremely brief movements of Jelek (“Signs”) and the Neun Stucke tell to maximum effect, and despite the emphasis on miniature forms (only the last movement of
Kurtág/Schumann Chamber Works
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.