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| 01 |
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... eine Blume für Ulrike Schuster ... |
00:50 |
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| 02 |
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Zwölf Variationen KV 265: Thema, Var. I - IV |
04:14 |
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| 03 |
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Hommage a Ránki György |
00:51 |
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| 04 |
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Zwölf Variationen KV 265: Var. V - VIII |
03:08 |
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| 05 |
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Örökmozgó (Talált tárgy) |
02:16 |
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| 06 |
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Kerkeringo |
00:28 |
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| 07 |
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Zwölf Variationen KV 265: Var. IX - XII |
04:45 |
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| 08 |
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An Apocryphal Hymn |
02:28 |
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| 09 |
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Versetto: Consurrexit Cain adversus fratrem suum... |
00:33 |
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| 10 |
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Zehn Variationen KV 455: Thema, Var. I - V |
05:13 |
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| 11 |
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Versetto: Temptavit Deus Abraham... |
00:42 |
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| 12 |
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Vizözön-Szirénák |
00:38 |
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| 13 |
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Apokrif Himnusz |
01:23 |
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| 14 |
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Zehn Variationen KV 455: Var. VI, VII |
01:36 |
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| 15 |
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A kiszivatar |
00:30 |
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| 16 |
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Postface |
01:21 |
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| 17 |
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Virág Nuriának |
01:04 |
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| 18 |
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Zehn Variationen KV 455: Var. VIII - X |
07:51 |
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| 19 |
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Játék a vegtelennel |
00:42 |
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| 20 |
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Doina |
01:37 |
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| 21 |
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Zwölf Variationen KV 500: Thema, Var. I - V |
03:57 |
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| 22 |
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Néhány fuszál Martyn Klára emlékezetére |
00:32 |
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| 23 |
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Születésnapra Antal Dórának |
01:01 |
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| 24 |
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Les Adieux |
02:10 |
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| 25 |
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Zwölf Variationen KV 500: Var. VI - X |
07:10 |
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| 26 |
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Helyettem kis virág |
00:20 |
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| 27 |
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Aus der Ferne IV |
02:19 |
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 mp3 320 kB/s |
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| About the album |
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The Italian pianist Melissa Galosi marks the beginning of the "III Edition" with her debut album “Games”, on which she addresses a particular facet of two important composers: the joy of playing in Mozart and Kurtág. György Kurtág’s “Játékok” – “Games” in English – is a medley of works which investigate the creative wit of childish games. Galosi contrasts these with three major Wolfgang Amadeus Mozart variations which highlight once again the playful character of the composer from Salzburg, and which, in interaction with Kurtág’s work, promise a fascinating exploration of the spirit of creative joy in play. |
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| Artist’s Note |
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By Melissa Galosi
It is after having observed children and their creative playing, that Györgi Kurtág following his composing crisis of the ‘70s, began composing “Játékok” (Hungarian: Games). If Kurtág was able to rediscover his creativity through his refound childhood, on the contrary Mozart never had the chance of being a child in the true sense of the word: he was already sitting at a piano at the age of three, at four he was able to play small pieces, at five even composing, an authentic child prodigy constantly involved in practicing and performing. But this was the price to be paid for being a child in the highest possible sense of the word. He is a child, a young boy, an eternal adolescent who talks to us through his music.
His undeniablility in practical matters (especially financial ones) and his playful extravagances in letters and in conversations until the very end certainly gave rise to this characterization. But if we really want to see the child in him, we need to go much deeper and to consider that this man -a true master of his art- never burdened his audience with his technical and stylistic conquests: he just let them take part in his free game. Just like a child, he is able to talk to us laughing and crying at the same time. Improvisation and spontaneity link Kurtág’s pieces and Mozart’s Variations. Performing Kurtág’s “Games” requires a great sense of freedom and drive, leaving ample room for free declamations and his typical parlando rubato and all the other distinctive features of improvisation.
Another aspect that links the two composers is their fragmentary character: both Kurtág’s Games and Mozart’s Variations seem to be complete and yet unfinished at the same time. In Mozart, at the end of each Variation you have the feeling of conclusion and of opening towards a new improvisation/experimentation at the same time. Equally, Kurtág’s miniatures are complete in their form but incomplete in their substance; therefore, when listening to them, you have the feeling that at the end of each piece, the suite of pieces is finished and at the same you feel the opposite, that after each piece there may follow another and another and so on. Like a child playing a game.
This recording was realized on a Steinway Grand from the Roberto Valli Collection, with the kind collaboration of Perpianosolo Association.
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| About the artist |
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| © Melissa Galosi |
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Melissa Galosi studied piano under the guidance of Enrico Belli with whom she graduated cum laude at the G. B. Pergolesi Conservatory of Fermo. She attended masterclasses of Gustav Kuhn, Antonio Ballista, L. F. Tagliavini, Pernarciso Masi, Benedetto Lupo, Andrea Lucchesini.
Melissa has a sincere interest in contemporary music, in fact she took part in many monographic projects like the complete Mikrokosmos by Bartok, the complete Sonatas and Interludes by Cage, the complete piano music of Tonino Tesei. Besides she performed concertos by Mozart (in A major K 414 and in E flat major K 271), Chopin (no. 2 op. 21) and Bach (E major BWV 1053) in renowned Italian theatres such as Teatro Lauro Rossi in Macerata and Teatro dell’Aquila in Fermo.
Furthermore, she is also a keen chamber music player: Melissa is part of the Duo Rosamunde together with cellist Elena Antongirolami. The Duo Rosamunde explores the established repertoire as well as the contemporary one and is currently involved in transcription projects. At present, she is collaborating with Professor Cesare Catŕ in poetry readings and literary shows in which she curates the musical area, playing pieces by Bach, Satie, Cage, Kurtag, and other contemporary composers such as Arnalds, Richter, O’Hallaran.
Melissa is a music teacher in two public schools and she is a former teacher at the Perpianosolo School of Music where she teaches piano and baby music.
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| Melissa Galosi: Games (Teaser) |
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| Melissa Galosi: Games (Artists Note) |
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| Instrumental | Piano | III Edition | Contemporary |
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| Recommendation |
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Musical places where apparently motionless and dead things are going to be transformed into living and present forms.  |
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| "Interploitation" is the third studio album of the cellist Lukas Lauermann. He intervens in own recordings and create new pieces from it. |
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| “So it is a matter of distributing the signs on the paper and weighing them against each other to create a kind of dance." (Gerhard Amanshauser) |
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