The microcosm of György Kurtág’s compositional language: a study of Játékok, volumes 1–10
Ahn, Hyun-Jeong
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https://hdl.handle.net/2142/121759
Description
Title
The microcosm of György Kurtág’s compositional language: a study of Játékok, volumes 1–10
Author(s)
Ahn, Hyun-Jeong
Issue Date
2023
Director of Research (if dissertation) or Advisor (if thesis)
Eagon-Jones, Megan
Doctoral Committee Chair(s)
Eagon-Jones, Megan
Committee Member(s)
Ehlen, Timothy
Tsitsaros, Christos
Moersch, Charlotte Mattax
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Keyword(s)
György Kurtág
Játékok
Béla Bartók
Piano Works
Compositional Language
Eastern European
Twentieth Century
Piano Pedagogy
Language
eng
Abstract
This DMA thesis serves as a source of inspiration for fellow musicians to engage in an indepth exploration of György Kurtág’s musical compositions, facilitating a deeper understanding
of the stylistic and aesthetic intricacies inherent in his oeuvre and, consequently, fostering insightful interpretations into their performance. This thesis investigates selected works from Kurtág’s Játékok (Game), a vast collection of solo pieces and works for two pianos and piano fourhands written by the Hungarian composer and pianist. Kurtág added to this ongoing collection
over the course of five decades; it includes pieces written from 1943 to 2011. Hence, this unique collection spans the composer’s lifetime and offers a comprehensive demonstration of Kurtág’s compositional style. Due to the ongoing nature of its publication, a scholarly study that considers
the entire collection cannot yet be realized. This dissertation aims to conduct an analysis of
prominent features of selections from all ten volumes.
There are two main parts to this thesis. The first part analyzes the collection, exploring its
compositional features, styles, and unifying devices. Originally conceived with a pedagogical purpose, Játékok retained its pedagogical nature in the first four volumes. From Volume 5 onwards,
however, Kurtág transformed Játékok into a personal diary, imbuing it with a more intimate and introspective character. As a result, an analysis of selected works from the entire collection offers insight into his compositional style. The second part examines how Játékok is related to its predecessor, Béla Bartók’s Mikrokosmos (1926–1939). Through an analysis of the compositional techniques and stylistic elements shared by these two seminal works in the piano repertoire, this thesis seeks to deepen our understanding of the creative process behind Játékok and its relationship with an important ancestor. This exploration is complemented by a discussion of interviews with Kurtág’s former piano students and friends, Ronald Cavaye and Valéria Szervánszky.
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