Zoltan Kocsis

There are a lot of parallels between Piano Sonata No.27, Op.90 by van Beethoven (1770-1827) and Sonata no. 7 in E, D566 by Schubert (1797-1827): they both have the same tonality, are both equally intimate in character, share a typically romantic rhetoric and both conclude with a rondo based on a pleasantly naïve melody. The poetic strength of each lies in a simplicity, which results from the consistent treatment of the material. Bartók's (1881-1945) Sonata Sz80 enjoys a unique position in the piano repertory of the 20th Century, due to its intensity, the use of structural parameters, and the vehemently modern tonality. Fragmentation, a technique, which Bartók developed further under the influence of van Beethoven's late work, stands central in Kurtág's (°1926) minimalist usage. In the 'Játékok' tales Kurtág found a source for his small compositions. They contain historical references to composers and musical forms and playfully throw a light on the composer's own curious quest. The five works of Liszt (1811-1886) that are in the program demonstrate his many-facetted oeuvre. The influences of his Hungarian origin are obvious in the one work, while in the other more emphasis is placed on the percussive elements. Broad strokes of the painter alternate with introverted, almost mystical moments.