To celebrate the 90th birthday of Hungarian composer György Kurtág, Budapest rolled out the red carpet for an eight-day retrospective, Kurtág 90. On Friday, the Concerto Budapest Orchestra and international soloists performed six of his orchestral works at the Franz Liszt Academy for his birthday.
This concert revealed to what extent Kurtág, as the last of a long line of esteemed 20th-century Hungarian composers, is recognized and revered. As a prelude, the Berlin Philharmonic’s maestro Sir Simon Rattle appeared on a giant video screen, sending his felicitations: “You made us listen differently,” was Rattle’s closing sentence. The music that followed demonstrated Rattle’s sentiment.
Messages for Orchestra, Op.34, one of Kurtág’s few large-scale works, was written for an orchestra with an unusually high number of large percussion instruments, plus two pianos, two harps, organ, celesta and synthesizer modules – so most of the strings and winds played from the balconies. The Budapest Concerto Orchestra performed under the baton of András Keller, whose attention to both the general architecture and the minutiae was extraordinary. The score revealed a rich, fascinating orchestration that glowed with intimacy and affect, despite such grand forces onstage.
A solo double-bass offered the first simple theme with an especially intense vibrato which was followed by pianissimo tones from the Saint Ephraim Male Choir. We were soon plunged into waves of alternating shadows and brightness delivered by exceptionally skilled writing for woodwinds. In this piece we hear how Kurtág can make a melody out of anything. The work radiated an unearthly quality, so as to suggest the titular ‘messages’ were coming from an alternate universe. The last sound was only a whisper from the choir.
Later in the programme, New Messages, Op.34a offered a companion suite of messages to revisit the themes with fewer musicians. He particularly exploited the double-bass section’s capacity for dramatic menace through growl-like phrases and exaggerated vibratos. Exotic textures from delicately shimmering harmonics to brass blasts kept the tension levels constantly surprising.
Double Concerto for Piano and Cello is possibly one of the most unusual pieces written for cello. Requiring two separate cellos, the soloist’s role is sprinkled with eccentric technical aspects: microtones and exaggerated vibrato, re-tuning while playing, and runs the gamut between playing celestial obbligatos or pungently nasty snarls. Cellist Louise Hopkins made the most of all the dramatic gestures while maintaining a masterful and energetic musical overview, even while switching cellos mid-sentence.