Fellegi Adam - Contemporary Hungarian Music

M-/m |
–István Láng Intermezzi Per Pianoforte
A1.1 – I. Impetuoso
A1.2 – II. Tranquillo, Rubato
A1.3 – III. Pesante (Una Burlesca In Modo Vecchio)
A1.4 – IV. Presto
A1.5 – V. Con Fuoso
A1.6 – VI. Grave E Largo
A1.7 – VII. Delirante
A1.8 – VIII. Mesto
A1.9 – IX. Lento
A1.10 – X. Tumultuoso
A2 –Miklós Kocsár Improvvisazioni Per Pianoforte
–József Soproni Invenzioni Sul B-A-C-H Per Pianoforte
A3.1 – I. Sostenuto
A3.2 – II. Tranquillo Con Colore
A3.3 – III. Allegro Vivo
A3.4 – IV. Imitazione Alla Quattro Aumentata
A3.5 – V. Invenzio Al Rovescio
A3.6 – VI. Andante Con Passione, Con Licenza
–Endre Székely Sonata No. 3 Per Pianoforte
B1.1 – I. Molto Rubato, Quasi Recitativo
B1.2 – II. Giusto, Feroce
B1.3 – III. Misterioso
B2 –László Kalmár Három Zongoradarab / Three Piano Pieces
B3 –László Sáry Sounds For Piano

This recording presents six piano works by six Hungarian composers. All six originated between 1971 and ’73, growing out of the common tradition of Hungarian piano literature hallmarked by Béla Bartók, and revealing the common aim to utilize the qualitites inherent in the instrument in the most versatile manner possible. At the same time the six pieces also show differences, not only as far as the individual profile of their composers is concerned but in the technique of their realization as well, embracing a broad scale ranging from Baroque stylization to the electronic „distortion” of pianistic sound.

Intermezzi (1972) by IstvΓ΅n LΓ΅ng (b. 1933)
consists of an uninterrupted chain of ten short movements, with the various movements representing different musical characters and varying piano textures. Nevertheless, the movements with fast tempos (I: Impetuoso – IV: Presto – V: Con fuoco – X: Tumultuoso) constitute the pillars of the composition. The musical material is lent versatility by the alteration of the metrical and the completely free, ametrical movements. In the 8th movement the direct plucking of the piano strings produces a singular effect.

Improvisazioni by MiklΓ³s KocsΓ΅r (b. 1933)
originated in 1972. Although the title would allow for a certain structural looseness, the work actually reveals a strictly woven fabric with three kinds of musical character: there unfolds a rather grave complementary combination, a lighter, strongly rhythmic but not metrical material, and a formulation with rapid, running passages, illuminated from several apsects.

Invenzioni sul B-A-C-H
composed by József Soproni (b. 1930) in 1971, is based on the well-known four-note motive which offers inexhaustible possibilities both in melody and resonance for the composer’s imagination in variation and development. The composition is constructed in pairs of variations, which include the „al rovescio”, that is, „cancrizans” motion of the musical material employed, and reach their emotional peak in the quotation of Bach’s chorale „Es is genug”.

Endre Székely (b. 1912) composed his Piano Sonata No. 3 in 1971, for Ádám Fellegi. The three-movement work centres around a fiery, fast movement of giusto character, dominated by the strongly rhythmical, but asymmetrical musical material. The first movement, with its „Molto rubato, quasi recitativo” character, plays an introductory role, with the equally slow closing movement, bearing the inscription „Misterioso”, rhyming to it. A fast moving section is built, one might say as a trio, into the musical fabric containing special tonal effects. These effects are produced by sounding the piano strings directly, in various manners: with timpani sticks, the fingers, the nails, the palms, etc.

Three Piano Pieces (1973) by LΓ΅szlΓ³ KalmΓ΅r (b. 1931)
forms part of a series of numerous small pieces. The three pieces on the present record, whose sequence of playing, incidentally, is not prescribed, are each a miniature expression of a musical idea.

Sounds (1972) by LΓ΅szlΓ³ SΓ΅ry (b. 1940) is an aleatoric piece;
the composer fixed only certain sound

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