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| György Kurtág Kafka-Fragmente
Juliane Banse soprano
This song cycle (1985-1986) is a key work in Kurtág's oeuvre (also his longest at c.55 mins) and it has been well served by recording companies. It was written for the composer's then "muse" and devoted interpreter, Adrienne Csengery, and I have many of her recordings on LP, including a I am pleased to find that Csengery's premiere recording of the Kafka-Fragmente op. 24 (also with András Keller) is still available on CD [Hungaroton 31135] and it is perfectly serviceable. The individual fragments are mostly so brief that you can hear nearly the whole work at CDUniverse's 40 on-line samples! There is also a recording praised by Arnold Whittal in Gramophone, Anu Komsi The new one carries the cachet of authenticity by the presence of the composer at the recording sessions; he is famously exacting & I would not be surprised that he supervised Komsi too. Lstening again whilst I type, but having no score (nor time to make comparisons) I can but say that this latest account of Kafka-Fragmente - with the rather rare combination of voice and violin (c.f. Holst's Four Songs For Voice And Violin Op.35) - is an absorbing experience. The recorded sound is close and vivid, the music concentrated, engaging and satisfying, and the performance is another testimony to the wide-ranging repertoire of Juliane Banse, who will tackle anything, rather as does the omnivorous Anne Sophie van Otter. Paul Griffiths supplies a commentary for English readers and Thomas Bosche an extensive essay about Kafka and Kurtág; thin paper allows for full texts and translations, a page of the score and photos of all concerned; keenly recommended.
Photo Peter Laenger
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with Sakari Oramo vln (now Music Director of the City of Birmingham Symphony Orchestra, no less!) on