Hommage Arguerich Maiky

Bartók serves as the link between Schumann and Kurtág: when Kurtág says 'My mother tongue is Bartók, and Bartók's mother tongue was Beethoven' he is referring to the historically linked musical traditions of Germany and Austria, which are his special concern. In addition to this general connection, the works of Kurtág and Schumann reveal astonishing and fascinating affinities in terms of both literary and musical references…

A countryman of Bela Bartók and a sometime teacher to both György Ligeti and György Kurtág, Sándor Veress emigrated to Switzerland from what was then part of Hungary in 1949. Settling in Bern, he collected various prizes and teaching posts while working in relative obscurity on who knows how many pieces–most of which have been unavailable. This collection is made up of a pithy trio of compositions dated 1938 (Six Csárdás), 1951 (Hommage à Paul Klee), and 1952 (Concerto for Piano, Strings, and Percussion), and they show what a deftly melodic force Veress was. He's thrilled by blustery string wafts, especially in the concerto, where the percussion adds drama and immediacy. But he also favors sweetly chipper string formations, which surprise the ear during the homage to Klee, especially given the dissonances fostered early on by the twin pianos. The closing piano miniatures of Six Csárdás are counterpoint-rich gems, played with sharp precision by András Schiff.

Douze nouvelles et un poème écrits par les auteurs des éditions La Geste et les amis de J. Nivard afin de rendre hommage à l'écrivain, décédé le 19 février 2023…