From Liszt to Bartók • 4.1

3rd April, 2018
5.00 pm

Liszt Academy — Solti Hall
Andrea Brassói-Jőrös [6] – voice, Júlia Pusker [4, 5, 7], Lisa Romain [1], Tóth Kristóf [1, 4, 5] – violin, Péter Tornyai [1, 4, 5] – viola, Tamás Zétényi [1, 2, 4, 5] – cello, Balázs Demény [2, 3, 4, 5], Júlia Hámos [1, 7] – piano, Classicus Quartet [6]
The members of the string quartet:
József Rácz, Réka Baksai – violin, Péter Tornyai – viola, Tamás Zétényi – cello

Ticket prices: 1900 Ft

Liszt Academy

Liszt Ferenc tér 8.
+36 1 321 0690

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From Liszt to Bartók • 4.1

From Liszt to Bartók • 4.1

Decomposition of tonality
  1. Wagner: Siegfried Idyll (arrangement for piano quintet by Alfred Pringsheim)
  2. Liszt: La lugubre gondola, S. 200/2
  3. Liszt: La lugubre gondola, S. 200/1
  4. Liszt: R. W. – Venezia, S. 201
  5. Liszt: Am Grabe Richard Wagners, S. 135
  6. Schoenberg: String Quartet No. 2
  7. Bartók: Sonata No. 2 for Violin and Piano, Sz. 76

Wagner and Liszt are known to have been pioneers of surpassing the Classical-Romantic harmonic vocabulary. In Liszt’s case, the revolutionary innovations came especially with the late works, four of which are now performed. Written in the early 1880s, they document Wagner’s death like journal entries, giving voice to the stages of grief, from premonition through shock, despair, dissolution and release to reconciliation.

Schoenberg’s second string quartet was written at a time of private crisis, when Mathilde Schoenberg temporarily left him for a painter. Movements 3 and 4 even cross the boundaries of the genre when a soprano soloist joins the pinnacle of chamber music, the string quartet.

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