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21381971
Einige Sätze aus den Sudelbüchern G.C.Lichtenbergs
21381971
21381971

Einige Sätze aus den Sudelbüchern G.C.Lichtenbergs Op. 37a, Für Sopran und Kontrabass by Gyorgy Kurtag Double Bass - Sheet Music

By Gyorgy Kurtag
Einige Sätze aus den Sudelbüchern G.C.Lichtenbergs Double Bass scores gallery preview page 1
Einige Sätze aus den Sudelbüchern G.C.Lichtenbergs Double Bass scores gallery preview page 2
Einige Sätze aus den Sudelbüchern G.C.Lichtenbergs by Gyorgy Kurtag Double Bass - Sheet Music
Einige Sätze aus den Sudelbüchern G.C.Lichtenbergs by Gyorgy Kurtag Double Bass - Sheet Music page 2
Soprano and Double Bass

SKU: BT.EMBZ14242

Op. 37a, Für Sopran und Kontrabass. Composed by Gyorgy Kurtag. Contemporary Music. Book Only. Composed 2014. 36 pages. Editio Musica Budapest #EMBZ14242. Published by Editio Musica Budapest (BT.EMBZ14242).

The polymath, naturalist and aesthetician Georg Christoph Lichtenberg (1742-1799) is an interesting figure of 18th-century German cultural history. Yet his most important work, his collection of aphorisms, only appeared posthumously. It embraces almost all the themes that concerned the thinkers of the era, often with a satirical tone. Kurtág selected texts from these volumes for his work, which in its original version (op. 37, 1996) was indeed a musical aphorism collection freely assembled by the performer - this version was withdrawn. However, the final form, composed in 1999, cannot be disjoined. It is a unified composition, although the material for the vocal scoreremained almost unchanged. Some pieces are purely aphoristic snapshots, yet by means of virtuoso double bass accompaniment, notwithstanding their brevity, are movements of great format. Thus the work can be placed beside Kurtág's major vocal cycles: it is akin to his Kafka Fragments, op. 24 and Attila József Fragments, op. 20 series, but is perhaps closest to Eszká-emlékzaj (Remembrance Noise), op. 12 duo for soprano and violin. Despite the short movements, the form is not fragmentary: the building blocks of the individual pieces of the closed unity within the cycle, even if in character they are different, in this respect echo the shaping principles of the early instrumental pieces (op. 1-5) in Kurtág's oeuvre.

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