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In Kurt√°g'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 Kurt√°g'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 Kurt√°g'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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