The works on this album were written between 1935 and 2019 by four Hungarian composers: Béla Bartók, who was the teacher of Sándor Veress, who taught György Ligeti, who in turn was an early but formative influence on Péter Eötvös. Their compositions all share the idea of a dialogue between cultured and popular elements, between a Western music tradition and folk music, particularly of Eastern Europe. This idea was formulated in the early 20th century by Bartók himself, who considered the use of folk elements in a piece of art music not only as a tool to revitalize the Classical tradition but also as a mean to unite different cultures. In the works recorded here, the dialogue is manifested in various ways, for instance through references to Baroque idioms and forms as well as folk styles in the solo sonatas by Bartók and Ligeti. In the case of Adventures of the Dominant Seventh Chord by Péter Eötvös it is the dominant seventh chord that stands as a symbol of Western tonality. Recurring frequently, the chord never reaches the expected resolution, however – instead it is confronted with non-tonal materials inspired by the folk music of Eastern Europe.

Based in Germany, the violinist Nurit Stark was born in Israel into a family which hails from Romania. Peter Eötvös’s work – which was written for her – therefore provides the perfect ending to this very personal project, dealing with the ability of music to cross cultural, geographical and ideological borders.

Japanese-Canadian pianist Yoko Hirota stuns with impeccable pianism on SMALL IS BEAUTIFUL: MINIATURE PIANO PIECES. Originally recorded in 2009, this remastered edition brings out the intricacies of 20th- and 21st-century piano composition with a clarity that was previously unheard of. The first half of the album's track list reads like an exhaustive compendium of 1900's compositional celebrities: Schoenberg, Krenek, Ligeti, Berio. It's a brainy choice: the tracks on SMALL IS BEAUTIFUL aren't ordered by length, as one might intuit, but instead in geographical and roughly chronological order. Vienna's modernists may have laid the foundation, but North America's modernists took serial and atonal composition to the next level. And so, to do the matter justice, there is a splendidly representative selection of Elliott Carter’s oeuvre, along with pieces by Canadian composers - John Beckwith. Despite the immense differences in cultural background and era – the selection spans almost a century, after all – they are all united by one distinguishing feature: They are short pieces, with lengths between 31 seconds and six-and-a-half minutes. Yoko Hirota, who holds a doctoral degree in piano performance and currently teaches the piano at the Music Department of Laurentian University in Ontario, Canada, plays all of these pieces with academic precision, regardless of their respective geographical or temporal provenance. A recording veteran with six previous contemporary albums under her belt, her grasp of the modernist zeitgeist is not only palpable, but extraordinary. And it shows: there is a subtle lyricism even where traditional harmonies clash, a sensitivity not just for the musical language of the era, but for the greater principles that underpin them. SMALL IS BEAUTIFUL doesn't just serve as an index of contemporary piano composition and its roots, it's a worthwhile addition to a modernist record collection on merit of Hirota's powerful interpretation alone.

Described as ‘one of the most innovative and influential among progressive figures of his time’, György Ligeti (1923 – 2006) was able to constantly reinvent himself. In his earliest works, written in Communist Hungary, the musical language is often an extension of that of Bartók’s and he kept his most daring compositions to himself. Escaping Hungary in 1956 he was able to revel in the freedom to experiment – with electronic techniques as well as elaborate serialism – but he was forever sceptical of schools and steered his own course throughout life. The 1960s and early 70s were a highly productive period, which saw works such as Lux Aeterna and Lontano, as well as three of the works on the present disc. In the Cello Concerto and the Chamber Concerto, Ligeti in different ways explores the idea of the concerto as something collective, rather than polarised between the one and the many. The Cello Concerto is striking, and even provocative, in that the soloist often seems to aspire to silence and even absence rather than virtuosic display. The Chamber Concerto, on the other hand, dazzles because here all 13 players are unmistakably present, all essential to the design and character of the whole. Like the Cello Concerto – and the Piano Concerto – Melodien can be performed by large orchestra, but also, as on the present recording, with a single string player per part, becoming a natural pendant to the Chamber Concerto. The disc closes with the Piano Concerto from 1988, which Ligeti had begun sketching eight years earlier but was only able to proceed with after having composed his first set of studies for piano solo. Ligeti himself described the five-movement work as a statement of his ‘aesthetic credo’. Performing these complex scores is the Norwegian specialist ensemble BIT 20 under the Swiss conductor Baldur Brönnimann, with soloists Christian Poltéra and Joonas Ahonen, making his first appearance on the BIS label.