PETER EÖTVÖS (b.1944): Sonata per sei for Piano and Ensemble, Octet Plus for Soprano, Flute and Ensemble, Natasha for Soprano and Ensemble, Un taxi l'attend, mais Tchékhov préfère aller à pied for Piano and Ensemble, Erdenklavier-Himmelklavier No. 2 for Piano and Ensemble, Psy for Cimbalom, Flute and Cello, Cadenza for Flute and Ensemble.

Catalogue Number: 04P081

Label: Budapest Music Center

Reference: BMC CD 175

Format: CD

Price: $15.98

No Longer Available

Description: The Sonata is explicitly an homage to Bartok's Sonata for Two Pianos and Percussion, and parts of it sound very Bartokian indeed, though often as one layer with other, more obviously modern material moving in parallel with it, creating a complex texture. The expanded forces, including a synthesizer which sometimes appears in the role of a strange percussion instrument, sometimes that of a prepared-sounding piano, and sometimes adding sustained background textures of its own. The work emerges as a portrait of Bartok with futurist of cubist distortions, movingly tragic in its depiction of his exile and final years. In Octet Plus, the other main work here, texts from Beckett's radio play "Embers" gradually emerge from the mosaic of abrupt, stark ensemble sounds. Natasha is an exhaustingly histrionic portrait of the character from Chekhov's "Three Sisters", while Taxi presents a gently sympathetic miniature image of the author himself, strolling through the dusk, lost in thought. The bells of Erdenklavier-Himmelklavier toll in memory of Berio. Psy is the composer's chamber version of 1994's Psychokosmos, an introspective self-portrait, with an amazingly expressive cimbalom part as protagonist, and the gently melodic Cadenza is extracted from the concertante Shadows of 1996. English texts. Benjamin Kobler (piano), Allison Bell (soprano), Mario Caroli (flute), Miklós Lukács (cimbalom), Ensemble Linea; Jean-Philippe Wurtz.

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