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VON WEITEM

Music by Johann Sebastian Bach and György Kurtág



"Von Weitem", the German title of this project can mean "From afar" - "From the distance" as well as "about expanse, wideness", in both meanings this title refers to the so different and yet so related musical languages ​​of Johann Sebastian Bach and György Kurtág.

Both of these composers have the ability to create real miniature cosms with their music with very reduced, highly economical means, to create a small, valuable musical pearl with the help of just a few notes. And hardly any other composer can create the feeling of almost spiritual breadth and wideness like Bach.


This selection of movements from Bach's cello suites and Kurtág's "Signs Games and Messages" aims to show the connections and contrasts of these musical worlds separated by centuries but united by a kindred spirit.


6 Suites for solo cello by J. S. Bach


For Robert Schumann "the most beautiful and important compositions that exist for violoncello", for Pablo Casals, who rediscovered the suites in the 20th century, the "quintessence of Bach's work" and for every cellist a milestone in the repertoire and a lifelong companion: the six suites for solo cello by Johann Sebastian Bach. Possibly intended as a kind of pedagogical textbook, increasing in difficulty from the first to the sixth suite, it is the limitation of means - one player, four strings - that makes the pieces particularly attractive. In their entirety, they are like their own cosmos of harmonies, counterpoint, heartfelt song, architectural breadth and cheerful dance.


György Kurtag: Signs, Games and Messages


“It is fragile, defenseless, groping awkwardly through the pathless, teetering on the brink of silence—but glowing with emotional intensity.” This is how Hartmut Lück, a real connoisseur, describes György Kurtág's music.

Kurtág is a master of the miniature - no note, no sound is wasted. His "Signs, Games and Messages" - pieces available for various solo instruments and groups - represent a peak in concentration in his work, in the art of achieving the greatest expression with the most minimal means.

Kurtág himself called it “making music out of almost nothing”, but in these crystalline forms there are veritable mini-cosms of the greatest expressive power.



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