György Kurtág - Piano Four Hands: Two Pianos in the XX Century
01. Játékok (Games): Vol. 8. Virág az ember (Flowers we are, mere flowers)...(ölelkezö hangok (...embracing sounds)) (0:41)
02. Játékok (Games): Vol. 1. Madaras (Twittering) (1:26)
03. Játékok (Games): Vol. 4. Dühös korál (Furious Chorale) (0:46)
04. Játékok (Games): Vol. 4. Köd-kánon (Fog Canon) (1:39)
05. Durch Adams Fall ist ganz verderbt (I), chorale prelude for organ (Orgel-Büchlein No. 39), BWV 637 (BC K66) (1:28)
06. Játékok (Games): Vol. 1. Dülüngélve (Swaying) (0:33)
07. Játékok (Games): Vol. 1. Dallam Fordulatokkal (Melody with about-turns) (0:28)
08. Játékok (Games): Vol. 8. Halk biscú Székely Endrétöl (Silent farewell of Andrea Székely) (0:34)
09. Játékok (Games): Vol. 4. Harangok (Bells) (Hommage à Stravinsky) (Homage to Stravinsky) (1:42)
10. In memoriam Sebök György, for piano, 4-hands (2:45)
11. Cantata No. 106, "Gottes Zeit ist die allerbeste Zeit," ("Actus Tragicus"), BWV 106 (BC B18): Sonatina (2:05)
12. Játékok (Games): Vol. 8. Virág az ember (Flowers we are, mere flowers...) (... ölelkezö hangok (... embracing sounds)) (0:49)
13. Pieces (3) for 2 pianos: Monument, Selbstporträt, & Bewegung: Monument (4:06)
14. Pieces (3) for 2 pianos: Monument, Selbstporträt, & Bewegung: Selbstportrait mit Reich und Riley (und Chopin ist auch dabei) (8:36)
15. Pieces (3) for 2 pianos: Monument, Selbstporträt, & Bewegung: In zart fließender Bewegung (4:33)
16. Linea, ballet for 2 pianos, vibraphone & marimba (14:21)
17. Fantasy for 2 pianos in A minor (6:34)
18. Variations on a theme of Paganini, for 2 pianos (5:18)
KURTÁG: Pieces from Játékok (Games)
Durch Adam's Fall ist ganz verderbt
In memoriam Sebök György
Gottes Zeit ist die allerbeste Zeit
LIGETI: Monument - Selbstportrait - Bewegung
BERIO: Linea
SCRIABIN: Phantasie in a-moll (Op. posth.)
WITOLD LUTOSLAWSKI: Paganini Variations
Whether it be a question of metaphysics or simply one of "physics", piano writing which multiplies hands and fingers on the keyboard of a piano must necessarily experience a fatal syndrome of splitting and of highly fertile "uncertainty". An exceptionally rich and fruitful "philosophical" doubt, for it is around it that many composers created some of the most vital piano pages in the nineteenth and twentieth centuries. Here thus are Lutoslawski's prodigious Paganini Variations, Kurtag's sentimental and visionary Játékok (Games), Ligeti's Three pieces for two pianos (Monument - Selbsportrait - Bewegung) and Berio's Linea. Tackling these difficult works are pianists Biondi and Brunialti, forming a solid duo.
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