23 Feb 2011
György Kurtág Kafka Fragments, Banse and Keller
György Kurtág's Kafka Fragments, op 24, is a masterpiece, one of the seminal works of the late 20th century.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
György Kurtág's Kafka Fragments, op 24, is a masterpiece, one of the seminal works of the late 20th century.
Juliane Banse and András Keller made the seminal recording of Kafka Fragments in 2006, on new music label ECM. Kurtág himself worked with them and was present throughout the recording so it's almsot definitive. So hearing Banse and Keller perform it live at the Wigmore Hall, London this week was a salutary experience.
Kurtág’s music needs specialized, well-informed performance. It is deceptively simple on the surface but requires highly intuitive interpretation. Because he writes aphoristically, his miniatures seem simple. But Kurtág likes puzzles. His music opens out like a complex maze entered through a tiny door. Its secrets lie not so much in what’s on the page, but what’s not. His notations are unorthodox, so it can’t be followed on autopilot. Instead, Kurtág’s performance depends on the innate musicality of those who perform the work, and how well they intuit his idiom.
Most music only “becomes” music when played by those who understand what’s happening, but much more so with an idiom as elusive as Kurtág’s. For all the inventive freedom and whimsy he embodies, Kurtág’s music requires superlative discipline and attentiveness. The Wigmore Hall recently hosted a series of workshops on Kurtág led by Julian Phillips, where artists of the calibre of Marino Formenti and Rolf Hinds discussed their experience of working with the composer.
Kurtág’s Kafka Fragments are intense, homeopathic distillations of ideas from Kafka’s letters and diaries. The gist is that they are “fragments” not whole quotations. What is not said is every bit as important as what is. Meaning doesn’t depend on words alone; hence the absolute importance of well-informed, intuitive performance. András Keller has worked with Kurtág for decades and is one of his primary interpreters. He heads the Keller Quartet which has performed many Kurtág works, and knows the composer's idiom thoroughly.
Indeed, the very idea that the Kafka Fragments are a song cycle is misleading. Hearing Banse and Keller interact live, showed just how much the work is a delicately-poised balance between singer and player. Primarily, it’s a musical dialogue, for Kurtág’s expression comes from the way he sculpts sound and uses intervals, regardless of whether the instrument is voice or violin. Text setting this isn’t, rather a sophisticated use of sound and silence to evolve an impressionistic panorama of diffuse feelings and ideas.
The first sound you hear is the violin, creating a swaying zig zag. Like a door swinging open? Banse’s voice enters, completely in synch with Keller’s playing. Die Guten gehn in gleichen Schritt, personified. Significantly, the nest line refers to “others” who dance around them, unaware. Immediately, Kurtág establishes a sense of movement and purpose. Perhaps the central image in the Kafka Fragments is that of an esoteric pathway, deliberately obscured. The violin soars in wild frenzy. Banse simply has to speak the title of the fourth song, Ruhelos. No need for elaboration. The “song” happens when Keller comments, without words.
Keller and Banse bring out the musicality in the piece to an extraordinary degree because they understand the internal logic. For example, Banse leaps up and down the scale within the words Nimmermehr, Niummermehr. By replicating the swaying zig zag with which the violin began the piece, she’s showing how the structure of the work is evolving. It’s a quick Ruckblick befiore the next stage in the journey, In the next fragment, she sings “Immer, Immer”, with a similar but subtly different sweep: voice as violin again. Keller’s playing intensifies the wild swings, Banse’s voice responding with force. Then, suddenly silence.
The two Berceuses aren’t restful, even though they refer to sleep. Quietness doesn’t mean repose. Intervals are carefully placed so the word “Aufgewacht” leaps out. Banse spits the word out almost in a single syllable. Her voice sounds like a violin string being pulled tautly. Vibration but tightly controlled. Ticking patterns, as Keller taps bow against the neck of the violin. Banse sings staccato, not sharp but resonant, like wood on wood.
The idea of voice/violin balance is further explored in the fragment that refers to Balzac. Banse enunciates the first words in each sentence, with vaguely Sprechstimme deliberation, but leaps in tune with Keller’s violin on the word “Hindernisse”, both times it’s repeated. Another echo of the swaying imagery. Then the violin creates a bizarre sound like that of a door that has long been closed stiff, being slowly pried open. A metaphor? Entirely apt.
Keller unleashes brilliantly virtuosic leaps and elisions. The singing becomes abstract,, following the patterns in the music. The last thing you’d want to hear here is a voice as “persona”, I think, for what matters is the smooth integration of two instruments, one string, one wind. This intense intimacy reminded me of the way Kurtág and his wife Marta play together, as if they’re a single organism operating in two halves. Banse turns Keller’s sheets for him so he doesn’t miss a second, which makes a difference in music as finely poised as this. Although the gesture is made without sound, it is very much part of the true meaning of the piece.
Then just as you’ve got into the elliptical vibe, Kurtág cuts it off. Tapping sounds, the word “Nichts” squeaked shrilly so it doesn’t sound human, but violin like. “Nichts dergliechen”. Take nothing for granted.
The second part consists of a single song in the piece, though there are barely three lines in the text. Keller’s playing is exquisite, for this is a stage in the journey that must be savoured. The violin dominates, with a languid almost-melody that snakes round the voice. The Kafka Fragments aren’t just a dialogue between voice and violin, but between two violins. Keller’s primary instrument has a bright, positive timbre, while the second is warmer, more languid. Because Keller’s playing is so subtle the difference is remarkable.
More musical puzzles. In the third section, violin and voice imitate other instruments. In Schmutzig bin ich, Milena, the violin sounds relatively conventional, imitating voice. The words refer to dirt and cleansing but that’s deceptive. Most of this fragment is taken up by the image of voices in deepest hell. Specifically, the text says that what we take for the song of angels is the song of the doomed. Later, Banse’s voice sounds like a clarion bell, or murmurs like an oboe, and the violin shimmers like an ethereal flute. The words “Aufgewacht” surface again. Pay attention, and to the underlying seams that course below.
The mood in part four changes again, taking up the languid stillness of part two. How Keller’s violin seems to wail, as if in mourning. Then, suddenly he reverts to notes plucked at spaced intervals, and awkward, angular scatterings in contrast to Banse’s fluid lines. Part way he changes violins again, augmenting the disconcerting effect. Banse’s voice swoops wildly: Leoparden brechen in der Tempel - what an image, hinting at some unknowable savagery. Yet immediately after, another Kurtág contradiction. “Ich kann (long pause) nicht eigentlich erzahlen” (I can’t really tell a story). The hesitations in the intervals, and in the text underline the idea that Fragments cannot tell a story. Proof, if any were needed, that Peter Sellars’ staging of this work was an anti-musical abomination. Avoid it, even in audio, as the balance between voice and violin is all wrong.
Kurtág ends equivocally. Wiederum, wiederum, round and round, like a circle. Banse’s voice and Keller’s violin twining round each other. But it’s the final fragment that opens out onto new vistas. Es bendetet uns die Mondnacht : moonlight casts spells, transforming daytime reality into something magical. Otherworldly sounds from the violin, part gypsy demonry, part Jewish lament. Banse’s voice traces huge, expansive shapes that extend the idea of circles spreading outward. As her voice goes quiet, the ripples resonate endlessly into the void.
Perhaps this wasn’t Banse and Keller’s finest performance, for which I can’t blame them.The house was half empty, unfortunately, as there were major opera premieres the day before and after, drawing away the audience. But it was a wonderful masterclass that showed why Kurtág’s Kafka Fragments are so remarkable. And believe me, even not at their best, Keller and Banse are way ahead of any competition.