Mark Swed wrote a great piece on György Kurtág for the L.A. Times. Regarding Kurtág’s Kafka Fragments, Swed writes:
There is, however, no less indifferent music in all of Hungary or anywhere else for that matter. Kurtág culled the text from Kafka’s diaries and letters to create a stumbling journey of the writer’s gaunt, haunted soul. The violin’s two notes represent “the march of the good.” The soprano, who sings brilliant rings around her unwavering accompaniment, offers the dance of “the others.” And the path followed for the next hour is “miserable life” enlivened: breath and suffocation, good and bad, heaven and hell, spirit and flesh, entwined.
I also recently mentioned Alex Ross’s glowing piece on Kurtág’s interpretation of a Bach piece.
I tell you, I’d love to hear some of this work performed. I have several Kurtág recordings that I was attracted to in part because of the literary emphasis, but they leave me wondering if that very literariness is not distracting and somehow I’ve not been able to wrap my brain around the beauty that Swed and Ross describe. But reading articles like Swed’s does make me want to give them another listen.
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