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Name of Work

Kurtág , György (1926-)
Hommage à Robert Schumann for clarinet, piano, and viola

Movements:
Merkwurdige Pirouetten des Kappelmeisters Johannes Kreisler (Curious Pirouettes of Kappellmeister Johannes Kreisler)
Eusebius: der begrentze Kreis…(Eusebius: the Delimited Circle)
…und wider zuckt es schemerzlich Florestan um die Lippen...(...Florestan's Lips Again Tremble in Anguish...)
Felho valek, mar sut a nap… (I was a cloud, now the sun is shining)
In der Nacht (In the Night)
Abschied – Meister Raro entdeckt Guillaume de Machaut (Farewell: Master Raro Discovers Guillaume de Machaut)

Performances:


Jun 11, 2007



Larry Combs, Clarinet
Rami Solomonow, Viola
Kuang-Hao Huang, Piano

KURTÁG-Hommage à Robert Schumann, Op. 15d

Composed in 1990

Hommage à Robert Schumann, composed in 1990, evokes one of Schumann's last chamber scores, Märchenerzählungen, (Fairy Tales), also scored for clarinet, viola, and piano. Except for the last movement, all the sections are extremely brief, evanescent, fleeting in the way of trace memories. Johannes Kreisler was a character created in the fantastical writings of E.T.A. Hoffmann, which Schumann evoked in the eccentric progressions of his piano cycle Kreisleriana; here, he is evoked with quick up-and-down spiraling motives for each player. Eusebius was Schumann's introverted, introspective alter ego, a character to whom he referred in writings and in music; Kurtág's Eusebius movement is a canon whose theme the composer drew from a song-cycle he based on the enigmatic writings of Kafka. In Schumann's character-list of personality types, Florestan represented his own extroverted side, and the Florestan movement follows without pause from the Eusebius one. Since Florestan's lips are trembling, the music here does too. The brooding fourth movement is headed with a line from Hungarian poetry and leads directly to the fifth movement, "In the Night," characterized by rapid 16th-note figures that can be heard as a reminiscence of one or any of Schumann's numerous fantasy-pieces. The finale evokes a figure Schumann posited as a kind of fusion of his warring personality halves: Master Raro, who here contemplates music of a long-distant past through the intermediary of a 20th-century miniaturist. The movement reaches a powerful climax then retreats into a haunting distance. The final note is played on a bass drum – by the clarinetist.

Performance Notes by Andrea Lamoreaux

Performance date: March 18 & 19, 2007



Performance Audio

The audio file for this performance is unavailable at this time.