One of the truly grand old men on the music scene today, György Kurtág composed his Kafka-Fragmente in the mid-1980s, and these forty settings of...

One of the truly grand old men on the music scene today, György Kurtág composed his Kafka-Fragmente in the mid-1980s, and these forty settings of text fragments by Franz Kafka remain one of his most often-performed works. Although the cycle contains no single narrative thread and tells no coherent ‘tale’ it has become quite common to present it in staged versions – perhaps because of the hypnotic images that emerge in the texts, as well as in the music. Many of the movements are extremely brief; in the present recording 11 of the movements are less than half a minute long, and the shortest (Es zupfte mich jemand am Kleid / Someone tugged at my clothes) lasts only 13 seconds. However, to quote the insightful liner notes by the musicologist Philippe Albéra: ’Within these miniature spaces, expressivity – as if through a process of crystallization – is pushed to its utmost limits.’ Collected by the composer, the texts have been extracted from Kafka’s letters, diaries and notebooks; shards that together form a mosaic at times sardonic, absurd, lyrical or humourous. Kurtág’s ability to convey a wide range of situations and emotions transforms each fragment into a vision of dreamlike intensity, where the real becomes surreal, and Albéra finds a symbol of the spirit of Kurtág’s music in the 16th fragment, Kein Rückkehr, and Kafka’s aphorism: ‘From a certain point on, there is no going back. That is the point to reach.’ The often highly virtuosic and demanding score is here interpreted by the soprano Caroline Meltzer and the violinist Nurit Stark, both performers with a strong commitment to contemporary music who collaborated with composers such as Aribert Reimann, Sofia Gubaidulina and Viktor Suslin.

Reviews:

Caroline Melzer and Nurit Stark yield nothing to previous performers in penetrating the depth and breadth of emotion that Kurtag conveys, and it helps that this is the best recorded version available, allowing their wide range of tone, colour and dynamics to be heard to full effect.

– BBC Music Magazine

The 40 separate fragments are divided into four groups…linked less by a definable concept than an intuitive sense of what constitutes unity within the author's bleak and fractured world-view. It is in this latter respect that Caroline Melzer and Nurit Stark make so gripping an impression - characterising the many fragmentary shards with an explosive intimacy…a likely first choice for those new to this enigmatic and intriguing work.

– Gramophone