Podcasts about kurtag

durée : 00:25:22 - Jonas Vitaud, pianiste (4/5) - par : Judith Chaine - Pianiste reconnu, formé au CNSM de Paris, Jonas Vitaud excelle en récital, en musique de chambre et dans le répertoire contemporain, notamment avec Dutilleux et Kurtág. Un entretien riche sur son parcours, ses choix artistiques et sa vision de la musique au micro de Judith Chaine. - réalisé par : Adrien Roch

The gifted young Hungarian/American pianist Julia Hamos presents Ellis Island, one of the most impressive solo piano debut releases in recent memory, featuring works by Kurtag, Bartok, Ligeti, Meredith Monk, Charles Mingus and Schubert. Promotional video - https://www.facebook.com/reel/621337480674569Ligeti's Fanfares - https://www.youtube.com/watch?v=tItbf6F-M3ALink to purchase - https://www.prestomusic.com/classical/products/9759948--ellis-island?srsltid=AfmBOorpob-cx3Rc0JrrcaEg1sIz9QHIn6gnHJQ7ssacJ2q_cgF5Irm-

György Kurtág ist der Meister der komplexen Reduktion. Und einer der skrupulösesten Komponisten aller Zeiten. «Eigentlich weiss ich nicht, wie ich komponiere», sagt er. «Manchmal habe ich so Lähmungen. Nicht nur Monate, sogar jahrelang. Und in dieser Zeit weiss ich gar nicht, wie man komponiert. Das heisst, ich kann es nicht. Ich kann ein Stück nicht anfangen, wenn ich will. Nur, wenn es will.» Am 19. Februar wird Kurtág 99 Jahre alt. Daher widmen wir ihm die Musik unserer Zeit. Mit Interviewausschnitten. Mit einem Workshop, den er vor 15 Jahren gegeben hat und der deutlich macht, wie detailversessen Kurtag ist. Im zweiten Teil der Sendung seine Oper «Fin de partie», die er mit über 90 Jahren geschrieben hat.

French pianist Pierre-Laurent Aimard is widely known as an authority figure in contemporary music, and also for shedding new light on music of the past. His international concert career has already spanned several decades, with an enormous discography to boot, all of which he has carried out alongside a dedicated commitment to teaching. In 1973, at the age of 16, he won first prize in the Messiaen Competition, and three years later was invited by Pierre Boulez to be the first solo pianist of the Ensemble Intercontemporain. In addition to Boulez, he has collaborated very closely with leading composers like Kurtag, Birtwhistle, Ligeti, and Messiaen, having given countless world premieres over the course of his career.In this episode, Pierre-Laurent talks about his new recording of Schubert Ländler, what he learned from Ligeti and Messiaen, what we expect from performers as members of an audience, and why he's not actually *that* taken with the piano world.-------------------Buy Pierre-Laurent's new release, 'Schubert: Ländler' here-------------------Pierre-Laurent's links:WebsiteInstagramX (formerly Twitter)Facebook-------------------Follow The Classical Circuit on InstagramDid you enjoy this episode? If so, ratings and follows help a lot with visibility, if you have a spare moment... *bats eyelashes*No offence taken if not.--------------------This podcast is also available to listen to via The Violin Channel--------------------Music: François Couperin - Le Tic-Toc-Choc ou Les MaillotinsPerformed by Daniel Lebhardt--------------------The Classical Circuit is made by Ella Lee (producer by trade, pianist at heart). Hosted on Acast. See acast.com/privacy for more information.

durée : 01:58:42 - Le Bach du dimanche du dimanche 18 février 2024 - par : Corinne Schneider - Au programme de cette 284e émission : un petit tour des nouveautés discographiques à l'écoute de Maurice Steger, Cédric Tiberghien et de la Kölner Akademie ; hommage à Seiji Osawa (suite à son décès, le 6 février) ; et l'anniversaire des 98 ans du compositeur hongrois György Kurtag (19 février) - réalisé par : Emmanuel Benito

Kate Molleson travels to Budapest to meet Hungary's greatest living composer, György Kurtág, now 97 years old. Kurtag talks to Kate about the musical homages that he has made to friends, his early focus on the clarity of single notes at the time he wrote his Op.1 String Quartet, the influence of languages on his compositional style, and his new opera, a work based on the life of the German mathematician, Georg Christoph Lichtenberg. Above all, he talks about his Marta, his wife of over 70 years, with whom he performed piano duets, and he reveals to Kate why he stayed in Hungary in 1956.Kurtag once said that his mother tongue is Bartok, and Kate visits the Bela Bartok Memorial House where she talks to the curator, Zoltán Farkas, about the composer's relationship with Hungary and the folk traditions that he collected both at home and in neighbouring countries. During a break in a busy rehearsal schedule, the conductor Ivan Fischer also shares his views on Bartok and the distinctive sound of the Budapest Festival Orchestra.Kate joins the director of the Hungarian Radio Choir, Zoltán Pad, and the composer Daniel Dinyes, to learn how the Hungarian language is expressed in music, and hear more about the unique sound of the choir. Kate also meets Hungary's queen of song, Márta Sebestyén, who is at the very heart of Hungary's folk music. Márta Sebestyén talks with pride about her mother, a celebrated student of Zoltan Kodaly, about her own travels in search of pure folk music. She treats Kate, too, to a traditional Christmas carol.

Ein Streifzug durch die Kompositionsgeschichte mit Anselm Gerhard, Musikwissenschaftler. Sei es Puccini, Strauss oder Ravel oder aber Komponisten wie Arnold Schönberg, Benjamin Britten und György Kurtag - sie alle haben gewalzert in ihrer Musik. Und damit etwas Besonderes ausdrücken wollen.  Eine Nostalgie, eine Midlifecrisis oder auch den Abgesang auf ein Jahrhundert der pseudoaristokratischen Bürgerlichkeit. Die gespielten Aufnahmen: G. Puccini «La Rondine» Münchner Rundfunkorchester, Ivan Repusic cpo 2018 R. Strauss «Rosenkavalier» Wiener Philharmoniker, Herbert von Karajan DG 1984 M. Ravel «La Valse« Les Siècles, François-Xavier Roth Harmonia mundi 2020 A. Schönberg «Pierrot lunaire» Helga Pilarczyk, Stimme. Pierre Boulez, Leitung Wergo 2014 I. Strawinsky «Pétrouchka» The Cleveland Orchestra, Pierre Boulez DG 1992 B. Britten «Variations on a Theme of Frank Bridge» Festival Strings Lucerne, Achim Fiedler Oehms 2008 D. Schostakowitsch «Lady Macbeth of Mzensk» Orchestre de l'Opéra Bastille, Myung-Whun Chung DG 1993 G. Kurtag: «Kafka-Fragmente» Anna Prohaska, Isabelle Faust Harmonia mundi 2022 J. Ivanovici: «Valurile Dunarii» Musique Simili Edition simili 2023

SynopsisIt's said that Nature abhors a vacuum – and so, apparently, did Richard Wagner, who devised a brass instrument to bridge a gap he perceived between the horns and the trombones in the orchestra of his day. And so the "Wagner tuba" was born, a brass instrument Wagner designed for the 1876 premiere of his cycle of four Ring operas in Bayreuth, Germany, which began on today's date that year with Das Rheingold – the first opera in the Ring cycle.Other composers have also scored for Wagner tubas, including Anton Bruckner and Richard Strauss, both ardent Wagner fans, and also Igor Stravinsky, who, though certainly not a Wagnerite, did include Wagner tubas in the early versions of some of his famous ballet scores.Some contemporary composers include parts for the Wagner tuba in their works as well, and a quartet of these instruments appears in a 1994 score the Hungarian composer, György Kurtág wrote for the Berlin Philharmonic and its then music director, Claudio Abbado. Kurtág is noted for his short, epigrammatic and very introspective chamber works, and "Stele" is his first major work for a large, conventional, arranged symphony orchestra.Music Played in Today's ProgramGyőrgy Kurtág (b. 1926) Stele, op. 33 SWR Symphony; Michael Gielen, conductor. Hänssler 93001

Synopsis The contemporary Hungarian composer György Kurtág is famous for writing very short, very sparse and VERY concentrated musical works. He has, however on occasional written more expansive pieces, including one big orchestral piece for the Berlin Philharmonic and some works for large chorus. Obsessively self-critical, Kurtág disavowed most of the music he wrote before his mid-thirties, which included some for chorus, but a suggestion from the Italian avant-garde composer Luigi Nono that he write for chorus again resulted in a work that the BBC Singers premiered in London on today's date in 1981. It has an Italian title, Omaggio a Luigi Nono, or Tribute to Luigi Nono, ¬– a tip of the hat to his Italian colleague, but the work itself is a setting of bits of Russian poems. Now at the time of its premiere, 25 years after the Russian-led invasion of Hungary in 1956 and 10 years before the collapse of the Soviet Union, Hungarian eyebrows were raised when Kurtág chose to set Russian texts. Disparaging or just plain “diss-ing” ANYTHING Russian was the normal M.O. for Hungarian intellectuals in those days. Kurtág, for his part, stood his ground: as an ardent Dostoevsky's fan, he simply said Russian was a sacred language to him. Music Played in Today's Program György Kurtág (b. 1926) Omaggio a Luigi Nono SWR Vokalensemble Stuttgart; Marcus Creed, director. SWR Music 93.174

Icelandic born pianist Vikingur Olafsson has not yet made his Pittsburgh debut but he says he hopes to soon. He noticed the reviews of the recent tour by the Pittsburgh Symphony Orchestra and he's a Manfred Honeck fan. This season he will play in New York and Berlin having recorded seven highly praised CDs for the Deutsche Grammophon label. He speaks with Jim Cunningham about his recent visit to Fallingwater and the new disc which is actually two cds recorded on a grand piano and the same program on an upright instrument. Vikingur speaks about his admiration for the 96 year old Gyorgy Kurtag with whom he recently spent an inspirational day. Several of Kurtag's piano pieces are included on the new set along with Schumann, Bach, Icelandic folksongs and Bartok. Does he prefer the volcanic terrain of his native country to the uptown streets of Manhattan where he earned his masters degree at Juilliard? Both are who he is! Did his parents call him Vik? Check out this conversation from his home in Iceland by Zoom.

durée : 00:25:11 - Thomas Adès, compositeur (3/5) - par : Thomas Vergracht - Un troisième épisode de nos Grands Entretiens avec Thomas Adès entre Hongrie et Angleterre, entre Kurtag et Purcell. - réalisé par : Gilles Blanchard

In this episode, Victor will be providing a solo commentary on the piece "Officium Breve" by Hungarian composer Gyorgy Kurtag. His analysis will cover not only general points about the significance of the piece but also specific musical details within the piece. This episode is the first in the long series of entries that will be more analytical, covering both the visual arts and music. The aim of these kinds of episodes is to provide pointers to those who want to get into the field of contemporary art and the genre of contemporary music.

durée : 01:57:36 - En pistes ! du vendredi 26 mars 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - A l'occasion de la semaine consacrée à la création musicale sur France Musique, En Pistes vous réserve une émission qui met à l'honneur les albums faisant dialoguer musiques du passé et musiques d'aujourd'hui. Au programme :Brahms, Vasks, Chausson, Rautavaara, Cornysh, Glass, Bartok, Kurtag... - réalisé par : Lionel Quantin

"It’s like rewriting in my own head all these assumptions that I made…finding my own place, as a woman and as a performer. To share my experience with a new kind generation of other people and singers who are interested in contemporary classical music.” Soprano, Rebecca Hardwick, talks to Music Works about her interest in contemporary music and how, when Covid shut down live music, her explorations of Kurtag’s Kafka Fragments led her to take up a DMus in contemporary performance at The Guildhall. Here are links to some of the resources that are mentioned in the episode: www.rebeccahardwick.com https://www.gsmd.ac.uk/about_the_school/research/doctoral_research/ https://www.vocalconstructivists.com/ If you enjoy this conversation, please subscribe, check out our other great episodes, and even better leave us a review. You can also follow us on social media and sign up to our mailing list at www.polyphonyarts.com/mailing-list  for updates and news about Music Works and Polyphony Arts. Producer: Virtual Concert Halls

Läsning av Jerker Virdborg och musik av Anders Lagerqvist och Mats Widlund. Jerker Virdborg är född 1971 och bosatt i Stockholm. Efter debuten med novellsamlingen "Landhöjning två centimeter per natt" 2001 utkom året därpå romanen "Svart krabba" som tilldelades tidningen Vi:s litteraturpris. Han har därefter bland annat publicerat romanerna "Försvinnarna" (2005), "Staden och lågorna" (2012) och "Sommaren, syster" (2017). Han skriver dessutom litteraturkrönikor i Dagens Nyheter och är konstnärlig ledare för en litterär scen i Röda rummet på Berns. Jerker Virdborg läser sin nyskrivna novell, "Jaguaren". Om "Jaguaren": En man finner en lapp under vindrutetorkaren: Någon har råkat skada hans antika sportbil. Men hur han än letar så kan han inte hitta några skador. Den gåtfulla lappen blir början på en kedja svårförklarliga händelser som för mannen allt närmare en avgörande gräns. "Jaguaren" är en berättelse om hur verkligheten sakta löses upp i kanterna tills kontrollen går förlorad. Men någonstans i det oöverblickbara glimmar också ett litet ljus. Anders Lagerqvist, violin, är ständigt aktuell tillsammans med många av Sveriges förnämsta musiker och skådespelare i program med klassisk kammarmusik och poesi. Sedan 2012 är Anders konstnärlig ledare för den banbrytande konsertserien Musik på Udden på prins Eugens Waldemarsudde där musik och text samspelar med utställningarna på museet. Hans koncept har lett till konserter i Holland, Israel, Frankrike och 2020 även i USA och England. Mats Widlund, piano, en av Sveriges mest firade pianister som regelbundet framträder som solist och kammarmusiker i Sverige och utomlands. Mats är tillsammans med flöjtisten Tobias Carron konstnärlig ledare för Kammarmusikfestivalen i Sandviken sedan mer än 25 år. Han är dessutom konstnärlig ledare för Trelleborgs internationella pianofestival sedan 2005. Mats Widlund är professor vid Kungliga Musikhögskolans avdelning på Edsbergs slott. Verk som framförs: Bela Bartok ur sonat för soloviolin "melodia" John Cage "Six melodies för violin and keyboard" sats lll Morton Feldman "piece for violin and piano" György Kurtag ur "signs,games and messages" för soloviolin "John Cage in memoriam" Bela Bartok: ur solosonat för violin Martin Hederos "Katja" i arrangemang för violin och piano Felix Mendelssohn "sweet remembrance" från "lieder ohne worte" op. 19 nr.1 Från 24 oktober 2020 Jingel: Lucas Brar

It's said that Nature abhors a vacuum—and so, apparently, did Richard Wagner, who devised a brass instrument to bridge a gap he perceived between the horns and the trombones in the orchestra of his day. And so the "Wagner tuba" was born, a brass instrument Wagner designed for the 1876 premiere of his cycle of four "Ring" operas in Bayreuth, Germany, which began on today’s date that year with “Das Rheingold”—the first opera in the “Ring” cycle. Other composers have also scored for Wagner tubas, including Anton Bruckner and Richard Strauss, both ardent Wagner fans, and also Igor Stravinsky, who, though certainly not a Wagnerite, did include Wagner tubas in the early versions of some of his famous ballet scores. Some contemporary composers include parts for the Wagner tuba in their works as well, and a quartet of these instruments appears in a 1994 score the Hungarian composer, György Kurtág wrote for the Berlin Philharmonic and its then music director, Claudio Abbado. Kurtág is noted for his short, epigrammatic and very introspective chamber works, and "Stele" is his first major work for a large, conventional, arranged symphony orchestra.

It's said that Nature abhors a vacuum—and so, apparently, did Richard Wagner, who devised a brass instrument to bridge a gap he perceived between the horns and the trombones in the orchestra of his day. And so the "Wagner tuba" was born, a brass instrument Wagner designed for the 1876 premiere of his cycle of four "Ring" operas in Bayreuth, Germany, which began on today’s date that year with “Das Rheingold”—the first opera in the “Ring” cycle. Other composers have also scored for Wagner tubas, including Anton Bruckner and Richard Strauss, both ardent Wagner fans, and also Igor Stravinsky, who, though certainly not a Wagnerite, did include Wagner tubas in the early versions of some of his famous ballet scores. Some contemporary composers include parts for the Wagner tuba in their works as well, and a quartet of these instruments appears in a 1994 score the Hungarian composer, György Kurtág wrote for the Berlin Philharmonic and its then music director, Claudio Abbado. Kurtág is noted for his short, epigrammatic and very introspective chamber works, and "Stele" is his first major work for a large, conventional, arranged symphony orchestra.

Lars Werdenberg erzählt dir seinen Weg zur und in der Neuen Musik. Lars spricht auch über seine Reisen, wo er Komponisten und Musiker besucht hat wie Christian Wolf, György Kurtag, Tom Johnson, Deborah Richards, Herbert Henck, Richard Hoffmann, Brunhild Ferrari, Walter Zimmermann. Er hat auf diesen Reisen viel mitgenommen und erlebt.

De (altijd min of meer) klassieke late night show van Vrije Geluiden op de radio, gepresenteerd door Aad van Nieuwkerk. Speciale aandacht voor de muziek van Mieczyslaw Weinberg, het slotconcert van de Martinu-dagen in Basel (Zwitserland), en een tip voor het allerlaatste concert ever van het Nieuw Ensemble olv Ed Spanjaard, op Sinterklaasavond. Met muziek van Girard de Beaulieu (1540-1590), Mieczyslaw Weinberg, Maurice Ravel, Viktor Ullmann, György Kurtag, Franco Donatoni.

Gillian Moore recommends recordings of music by György Kurtág

Gleb Kanasevich guest hosts this episode with Lee Dionne and Dan Schlosberg, our two pianists for our upcoming show Four Hands at Joe's Pub, NYC. Dan and Lee are in the studio with Gleb, performing and talking about Wagner overtures, Brahms waltzes, Kurtag arrangements of Bach, Nancarrow player-piano studies, and how to turn Wagner into a polka.

From a concert given by confluss, a modern music group consisting of bassist Sam Zagnit and soprano Amber Evans. This transpired on December 21st, 2018 at 7:30PM at St. John’s in the Village, 218 W. 11th Street, and featured the music of Katherine Balch, Ledah Finck, Jay Julio, and György Kürtág, and an improvised collaboration to close the concert with the dance group NE14 Dance, featuring Michael Greenberg and Lauren Twomley.Check out the YouTube version! https://www.youtube.com/playlist?list=PLvUJw08KfjSFctCDokwPtS6IvbBJp2SZRFull texts available with the Youtube version. Support the show (https://www.patreon.com/Famousmusicianspodcast)

Reinbert spreekt over zijn samenwerking met componist György Kurtág. "Hij is zo ongelooflijk bezeten en bevlogen... Je moet wel ergens tegen bestand zijn"

durée : 01:58:59 - Zoltan Fejervari ; Grégoire Girard et César Birschner ; Olivia Gay et Suzana Bartal - par : Gaëlle Le Gallic - **[Grégoire Girard](https://fr-fr.facebook.com/Gr%C3%A9goire-Girard-Violon-177972469228402/), violon [César Birschner](https://fr-fr.facebook.com/cesar.birschner), piano** **[Zoltan Fejervari](http://zoltanfejervari.com/), piano** Premier Prix du [Concours Musical International de Montréal](https://www.concoursmontreal.ca/fr/) 2017 **[Olivia Gay](http://www.olivia-gay.com/), violoncelle [Suzana Bartal](https://suzanabartal.com/), piano** ## Programme **Robert Schumann** _Sonate pour violon et piano n° 1 en la mineur op. 105 I. Mit leidenschaftlichem Ausdruck II. Allegretto III. Lebhaft_ Grégoire Girard et César Birschner **Mozart Camargo Guarneri** _Sonate pour violon et piano n° 4 I. Energico ma espressivo II. Intimo III. Allegro appassionato_ Grégoire Girard et César Birschner **Joseph Haydn** _Fantaisie en ut majeur Hob. XVII : 4_ Zoltan Fejervari **Robert Schumann** _Gesänge der Frühe (Chants de l'aube) op. 133 I. en ré majeur II. en ré majeur III. en la majeur IV. en fa dièse mineur V. en ré majeur_ Zoltan Fejervari **Leos Janacek** _V mlhach (Dans les brumes) I. Andante II. Molto adagio – Presto III. Andantino IV. Presto – Meno mosso – Adagio_ Zoltan Fejervari **Dimitri Chostakovitch** _Sonate pour violoncelle et piano en ré mineur op. 40 I. Allegro non troppo II. Allegro III. Largo IV. Allegro_ Olivia Gay et Suzana Bartal ## Entrée dans la cour des grands **Palmarès du 2ème [Concours National de Trompette de Lormont](https://www.lormont.fr/culture/ecole-municipale-de-musique-danse-et-theatre-dominique-boudot-emmdt/concours-de-trompette-701.html) Maximilien Nardari, Prix de la catégorie Or et Prix du Public** **Paris Opera Competition : 6ème édition (2019) Inscriptions jusqu'au 1er mai 2018 sur [www.ciopera.com](http://ciopera.com/)** ## Agenda **Le Ban des Arts de Gadagne propose [Les Musicales de l'Orangerie](http://lebandesartscdg.wixsite.com/leban-2) : 2ème saison En partenariat avec Génération jeunes interprètes 7 concerts d'octobre 2017 à avril 2018 Dimanche 11 février - 16 h : Liya Petrova, violon, Adrien La Marca, alto, Aurélien Pascal, violoncelle J.-S. Bach : Variations Goldberg (transcription pour trio à cordes par Dimitri Sitkovetski) Présentation : Corinne Schneider Domaine de Blanche Fleur, 84470 Châteauneuf de Gadagne** **[Les Pianissimes](http://www.pianissimes.org/paris/), saison 2017/18 Lundi 12 février - 20 h : Ran Jia** Mozart, Brahms, Schubert Paris, Couvent des Récollets **[Allégorie en rouge](https://www.jeunes-talents.org/saison/concert/996/alleegorie_en_rouge)** **Florentin Ginot, contrebasse Paolo Rigutto, piano** Transcriptions d'après Marais, J.-S. Bach, Webern, Schumann, Kurtag, Beethoven **Jeudi 15 février - 12 h 30** Auditorium du Petit Palais ## Réseaux sociaux [La page facebook du Fan club de Génération jeunes interprètes](https://fr-fr.facebook.com/generationjeunesinterpretes/) - réalisé par : Jean-Pierre Collard

Der Ungar György Kurtág zählt zu den bedeutendsten Komponisten der Gegenwart. Als Professor an der Budapester Musikakademie hatte er schon fast das Pensionsalter erreicht, als ihm endlich der internationale Durchbruch gelang. Am 19. Februar feiert Kurtág seinen 90. Geburtstag.

Bach's austerely beautiful Art of Fugue has long fascinated musicians who have a taste for the modern and esoteric. The piece, left incomplete at the composer's death, reduced complex counterpoint to its bare essentials – so much that the composer didn't even indicate the instrument (or instruments) for which it was composed. In fact, most scholars agree that Bach probably intended the piece for the harpsichord, but a few string quartets have made their case for the work too. The New York-based Mivos Quartet recently brought the Contrapunctus XIX from The Art of Fugue to the WQXR Café as part of the station's month-long Bachstock festival. In an arrangement by Patrick Higgins, it dramatically calls attention to Bach's advanced sense of time and musical architecture. Formed in 2008 at the Manhattan School of Music, the Mivos Quartet has put much of its focus and resources into contemporary string quartet repertoire. But early-vintage works also turn up on their programs. "Maybe it seems random," says violist Victor Lowrie, "but when there's a program of new music, there's often much older music too – skipping the Classical and Romantic periods." Lowrie adds that, when compared to an exacting living composer, there's a great freedom when it comes to interpreting early music. Like the famous Arditti Quartet before them, Mivos's members are especially drawn to some of the knottier, more abstruse corners of the contemporary repertoire. Their touring calendar presents a who's-who of avant-garde presenters – from Darmstadt to Roulette and seemingly every modern art museum in between. (The quartet appears at Columbia University's Miller Theater on Dec. 9.) And their programs span established names like Kurtag and Ligeti to relative up-and-comers including Kate Soper and Missy Mazzoli.  But the Mivos musicians say they're hardly dogmatic about styles or genres. Cellist Mariel Roberts recalled a recent, eye-opening tour in Brazil, where she encountered idioms far removed from American or European traditions (more samba than serialism). It made for an amusing clash of cultures: "On the last night we were there, one composer was like, 'I don't understand why you guys have all of this weird music with no rhythm. In Brazil that's not something you do. Why would you take the soul out of music?' "I was like 'well, I never thought about it like that.'" Listen to the full concert above, which also features the fourth movement from Taylor Brook's quartet, El jardin de senderos que se bifurcan (also below), plus commentary from cellist Mariel Roberts and violist Victor Lowrie. Video: Kim Nowacki; Sound: Edward Haber; Production and Text: Brian Wise

March 7, 2014. Donald Grant, violin, and Martin Saving, viola, of the Elias Quartet, discuss their work and the music of Haydn, Kurtag, and Beethoven. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6303