Fin de partie by György Kurtág will be at La Scala on November 15th and will represent, on the same occasion, the most important event of Milano Musica, which on the work of this composer universally considered among the greatest living has built the extensive and engaging program of its annual Festival.
Finally, one can say, because part of the merit of this debut is due to the obstinacy of the Teatro alla Scala Superintendent Alexander Pereira, who pursued since the days of his superintendency in Zurich and Salzburg the dream of staging a work of the great Hungarian musician, originally from Romania, but who has also lived in Western Europe for a long time. Fin de partie is the first work by Kurtág who, now ninety-two years old, has dedicated himself to the composition of chamber and orchestral music throughout his life. The decision to compose a work took place in Paris in 1957, when he had the opportunity to attend Fin de partie by Samuel Beckett.
“The actors were acting fast and my French did not allow me to understand perfectly. But the impression was enormous, I realized that if ever one day I wrote a work I would be inspired by that masterpiece. “This is how Enrico Girardi reports in an interview on the Corriere della Sera .
If Kurtág spent so much time, more than 7 years, on this score – we refer to one of his stories – this was determined first by the desire to fully understand a text open to multiple interpretations; then the problem of giving a precise cut to the booklet intervened, so that of defining a vocality like that of Debussy and Poulenc was informed of the French language. Finally came the moment of the actual composition, with an extensive orchestral staff enriched with numerous keyboards and percussion instruments, from the Hungarian cimbalom and two bajan (a chromatic accordion of Russian origin).
Girardi writes: “… a masterpiece destined to rewrite the history of today’s music. The language is very modern, but in the myriad of gestures, lines, colors that cross it, the weight of tradition is felt in filigree. “And we leave the conclusion to Kurtág, who studied in Paris with Olivier Messiaen and Darius Milhaud:” If we want to joke, but up to a certain point, we can say that Fin de partie is my Rigoletto . “
The work will be directed by Markus Stenz, while the show bears the signature of Pierre Audi.
In the meeting “The empty chessboard of life”, with projections, he speaks of Fin de partie Ugo Volli , professor of Semiotics of the text in the Department of Philosophy of the University of Turin.
Free admission until places are exhausted
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