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MusicTheatreandPresence
in SomeWorksof GyorgyKurtag
AlanE.
WILLIAMS
Salford
AlanE. Williams
360
'dramas,'andfinallyto thepointwheresheconcedesthatKurtaghimself"in
thedepthsof his soulis clearthathe writesdramas."
Shethencoinstheterm
"camouflaged
operas"for the pianoworks,promptingBalazsto askswhy
thereareno "true"operas.Csengeryrespondsby tracingthisabsenceto the
lackof suitablelibretti,subsequently
revealingthatKurtaghasmadenumerous sketchestowardsan opera,andthatshe andherhusbandhadactively
soughtout suitabletexts for an operalibretto,includingSamuelBeckett's
shortplays.6
WhetheroneagreeswiththepositionBalazsandCsengerynegotiateor
not - thatthereis a 'latent'theatricalityin the music- one has to wonder
whatit is in Kurtag'sworkthatpromptsthisinsuperable
convictionin Istvan
Balazsthatthemusicis a kindof repressedtheatre,orasAdrienneCsengerzr
putsit, "camouflaged
opera".Whynot simplytakeKurtag'sstatedoppositionto thestagegesture- upto the 1985 interview,atleast- atfacevalue?
Obviouslythereis a differencebetween'drama'and'theatricality'
in
music,dramabeingconventionally
detectedby analogyin worksof anotherwise'abstract'nature- the concertoform,forexample- and'theatricality' givingthesenseof physicalgestureonstage,aswellashavingthepotentially pejorativeconnotationwhich Csengerysays Kurtagtakesfromthe
word'stage.'Whynot,then,simplysaythatKurtagcomposes'dramas'in
thesensethata Schumann
l,iederkreisis a drama?IntheinterviewI'vebeen
describing,Csengeryconcedesimmediatelya "latentdrama,"
whichwould
correspondwiththe latentdramaof a Romanticsongcycle, butthis is not
enoughforBalazs,whobeginsthelineof questioning
by speakingof a "tendencytowardsoutbreakontothe stage,"thusseekingthe theatricalrather
thanthesimplydramaticinKurtag.FollowingBalazs,I believethat,whileit
is not an overridingconcernof Kurtag'smusic,a certaintendencytowards
thetheatrical,
theoverblown,theexaggerated
gesturehasalwaysbeenpresent,andmoreover,accordingto somescholars,seemsto havebeenbecoming moreprominentin recentyears:RachelBecklesWillson,forexample,
has detected a sense of theatrein some of the later works, including
GrabsteinFur Stephan(op. 15b) and ... pas a pas - nullepart... (op. 36),
whichlatterpieceshedescribesas a "implicit,secretpantomime,"7
andMichaelKunkeldescribestheepilogueof Kurtag'sop.30aas an"acte sansparoles."8I wantto examinethebeginningsofthis later,if minor,concernwith
6
S?udiaAzIusicoleegica
AcademiaeScien?iarlemHungaricae 43, 2U{)2
361
thetheatrical
aspectof music,andalsodiscusstheconsequences
oftheuseof
musictheatre,oras I shalltermit, 'theatreof music'forKurtag'saesthetic.
Musictheatre/ theatreof music
Kurtaghaslongbeenconcernedwiththemusicalgesture,whichis oftenindicatedthroughexpressivemarkingssuchas scorrevoleandruvido,buthe
has also been concernedsincethe earlyseventiesmorepreciselywiththe
physicalgesturesmadeby the performer.In a pedagogicalmethodthat
seemsto reversethenormalorderof events,Kurtag'sJatekokstartwiththe
gesture,withoutworryingaboutthenotesthemselves,aimingto encourage
playwithunconventional
partsof the hand,in orderto give the youngstudentofthepianoa senseof physicalconfidencewiththeinstrument.
Thereis
a clearlyarticulated
didacticpurposeto thisconcentration
on whatconventionallyis regardedas theexternal,theinessential,anda footnotein volume
1of Jatekokmakes
thispurposeclear:
The pieces 'Walking,''Toddling,' 'Bored,' 'Let's be Silly' were composed for
small children,who cannot span the whole keyboardwhen seated. They may
thereforeplay them standingor walking- in a 'silly,' joking manner(. ..adults
may also play them in this way. . .).9
,e,
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bsit
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Alan E. Willian1s
362
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Thesymbolicandthe realembrace
Kurtag'sTranscriptions
from Machautto Bach arefrequently
performed
interspersed
withselectionsfromJatekok,andtheirrolein Kurtag'soeuvreis
rathersimilar.Pianoduetshavealwaysbeenan important
partof learning
theinstrument,
butduetsforfourhandsalsohavetraditionally
beena congenialactivitybetweenfriendsorfamilymembers.InaninterviewwithBalint
AndrasVarga,Kurtaghas remembered
two formativeexperienceswhich
tookplacein earlychildhood:dancingwaltzesandtangoswithhis mother,
andplayingduetswithfourhandswithhis her.WheneverKurtaguses the
waltzforminhisownmusic,suchas inScenesfroma Novel, andintheKaflca
Fragments, it is clearlywith a sense of sardonichumour,butthereis also
usuallya strongsense of nostalgia,bothfor a lost innocence,andone can
speculate,fortheintimacyof theseearlyexperiences.A similarexploration
ofthe physicalintimacyofthepianoduetsituationappearsintheTranscriptions, andin the fourthvolumeof Jatekok,whichconsistsof pianoduets.
Theseduetsofteninvolvetheplayersencroaching
on eachothers'territory,
as in 'Duhoskoral'[FuriousChorale],or,asthetitleof 'Kezakezben'[Hand
inhand]suggests,byplayingliterallyoverlapping
lines(Examples2 and3).
10 GrifElths,p. 181.
StudiaMusicologicaAcademiae ScientiarumHungaricae 43, 2()()2
363
Example2: 'Duhoskoral,'Jatekok,vol. 1V
17
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eco
sonore
Tempo4
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AlanE. Williams
364
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Alan E. Williams
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367
.Stuclic Musicologica
241anE.Williams
368
369
inKurtag'stheatreof musicarethemselvespart
cognisedthattheperformers
ideaof musicalpertheyarerepresentingthe
ofthe processof signification:
formance.Thusthemusicinformsusthatit is notitselffullypresent:itspressense,'deferred.'Thisis a differentsituaenceis, in thedeconstructionists'
tionfromnormal'musictheatre,'inwhichthemusicmaysignify,butis subservientto an imaginedrealpresence,whichis the narrative,or the emotionalcoreofthe musictheatrepiece.Itmaybe hisgrowingawarenessof he
impossibilityof a truly'original'- or'originary'- musicthatto a certainextentfreedKurtagto makethe kindof musicalgesturewhichI describedas
thathas
'theatrical'ina loosersense,sincethenearlycripplingself-criticism
The
markedKurtag'scareerhasits originin a powerfuldrivefororiginality.
realisationthata trulyoriginal- andthereforefully self-present- musicis
impossible,therefore,gives Kurtagthe abilityto adopta numberof masks
withvaryingdegreesof irony,evento theextentof adoptingthemaskofthe
tutti.I don'twantto claimKurtagthen,as anexampleof
dramaticorchestral
composer,'sinceall musicinvolvesa chainof reference
a 'post-structuralist
ideas,butI do wantto claim
whichmakeit amenableto post-structuralist
Kurtagto be a composerwho is awareof thefailureof theideaof musicas
intermsof his ownmusic'sbeinganend'presence,'evenif it is formulated
less processof reference.His use of thetheatreof musicis just one way in
whichherevealsthisawareness.
References
BECKLESWILLSON,Rachel- WILLIAMS,Alan E., eds. (2001)
MusicReview20/2+3 (200 1) .
onKurtag.Contemporary
Perspectives
BECKLESWILLSON,Rachel(2000)
AlanE Williams
370
KUNKEL,Michael(2001)
tStualia
lllusitologiccZ