{"id":3022,"date":"2011-07-01T14:43:52","date_gmt":"2011-07-01T14:43:52","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3022"},"modified":"2023-01-08T17:56:21","modified_gmt":"2023-01-08T17:56:21","slug":"gyoergy-kurtag-complete-works-for-string-quartet","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/gyoergy-kurtag-complete-works-for-string-quartet\/","title":{"rendered":"Gy\u00f6rgy Kurt\u00e1g: Complete Works for String Quartet"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
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Die Streichquartette von Gy\u00f6rgy Kurt\u00e1g<\/b><\/p>\n

Gy\u00f6rgy Kurt\u00e1gs Musik ist voller Augenblicke, in denen durch die Korridore der Zeit l\u00e4ngst Vergangenes her\u00fcberklingt. In den 6\u00a0Moments musicaux<\/i>\u00a0ist es kurz vor Schluss der\u00a0\u2026\u2009rappel des oiseaux\u2026<\/i>, in dem die V\u00f6gel an fr\u00fchere Zeiten mahnen. Fast ein halbes Jahrhundert liegt zwischen dieser fl\u00fcchtigen Erinnerung und dem \u00bbVogel-Scherzo\u00ab des ersten Quartetts.<\/p>\n

Damals waren es konkrete Erinnerungen an den Gesang der Amseln und das Tschilpen zankender Spatzen in einem Pariser Park, in dessen N\u00e4he er wohnte. Ein Stipendium hatte Gy\u00f6rgy Kurt\u00e1g 1957, nach dem niedergeschlagenen Ungarnaufstand und einem gescheiterten Fluchtversuch, an die Seine gef\u00fchrt. Er verbringt dort einen gro\u00dfen Teil seiner Zeit in der Nationalbibliothek, wo er Partituren von Anton Webern abschreibt.<\/p>\n

Er selbst komponiert nicht. Daf\u00fcr bastelt er Insekten aus Streichh\u00f6lzern. Sp\u00e4ter wird er in die Skizzen zu seinem ersten Streichquartett eine F\u00fclle langbeiniger, kakerlakenartiger Gesch\u00f6pfe zeichnen und sich an das Gef\u00fchl erinnern, selbst eine kafkaeske Verwandlung durchlebt zu haben. Zun\u00e4chst nimmt er aber noch 20 Kilo ab und versucht sogar, seiner Handschrift eckigere Z\u00fcge zu verleihen.<\/p>\n

Den Weg aus der Krise weist ihm schlie\u00dflich die ungarische Psychologin Marianne Stein. Sie r\u00e4t ihm, zun\u00e4chst einmal mit nicht mehr als zwei oder drei T\u00f6nen zu experimentieren. F\u00fcr den damals 33j\u00e4hrigen Ungarn ist es die Erl\u00f6sung. Er komponiert ein Streichquartett, dessen erster Satz den \u00bbWeg der Kakerlake zum Licht\u00ab beschreibt. Das Drama schildert er in wenigen Takten, mit wilden Bogenstrichen, einer kaum mehr als angedeuteten Tanzfigur und zum Licht aufsteigenden Obert\u00f6nen.<\/p>\n

Opus 1, das Kurt\u00e1gs Geburt als Komponisten markiert, besteht aus sechs kurzen S\u00e4tzen, die nach dem Vorbild der Quartette B\u00e9la Bart\u00f3ks zwiebelschalenartig ineinander verschr\u00e4nkt sind. Spuren der Besch\u00e4ftigung mit Anton Webern finden sich in der radikalen Reduktion des Materials und im Gebrauch von Zw\u00f6lftonreihen. Viele Elemente, die Kurt\u00e1gs Musik bis heute pr\u00e4gen, k\u00fcndigen sich in diesem Streichquartett bereits an: die hellen Flageoletts der Streicher, das unruhig pochende Herzklopfen, Kl\u00e4nge mit Fernwirkung, der Vogelgesang, ein sprach\u00e4hnlicher Duktus und seuzferartige Sekundbewegungen.<\/p>\n

Auch die Skizzen zu\u00a0Hommage \u00e0 Mih\u00e1ly Andr\u00e1s<\/i>\u00a0verraten die N\u00e4he der Musik zu sprach\u00e4hnlichen und vorsprachlichen Wendungen. In die Skizzen zum ersten Satz notiert Kurt\u00e1g \u00bbSeufzer\u2026Seufzer-Schreie?\u00ab und wenig sp\u00e4ter \u00bbFl\u00fcstern\u00ab. Dem Kollegen Luigi Nono erkl\u00e4rte er einmal, er verfolge beim Komponieren im Wesentlichen zwei Ziele: \u00bbEine Art Einheit mit den Mitteln des m\u00f6glichen Materials zu erreichen und zu einer Art vokaler Komposition zu gelangen, die sich weitest m\u00f6glich an die verbale Kommunikation ann\u00e4hert\u00ab.<\/p>\n

N\u00e4her als im f\u00fcnften Satz der\u00a0Hommage \u00e0 Mih\u00e1ly Andr\u00e1s<\/i>\u00a0ist er seinem Ziel selten gekommen. \u00bbDas Irdische spricht, der Kosmos antwortet\u00ab schreibt er sp\u00e4ter \u00fcber \u00bbLontano\u00ab, das zu den wenigen Kompositionen geh\u00f6rt, die er uneingeschr\u00e4nkt gelten l\u00e4sst, und sp\u00e4ter f\u00fcr den Finalsatz von\u00a0\u2026\u2009quasi una fantasia\u2026<\/i>\u00a0Modell stehen wird. Aber bereits in\u00a0Hommage \u00e0 Mih\u00e1ly Andr\u00e1s<\/i>\u00a0kommt Material aus \u00e4lteren Werken zum Einsatz.<\/p>\n

Erstmals bedient er sich dabei aus der seit 1973 entstehenden Klaviersammlung\u00a0J\u00e1t\u00e9kok<\/i>. Allein der Untertitel,\u00a012 Mikroludien<\/i>, l\u00e4sst auf die Verwandtschaft mit\u00a0Jat\u00e9k\u00f3k<\/i>\u00a0(Spiele) schlie\u00dfen, bringt aber auch Bart\u00f3ks\u00a0Mikrokosmos<\/i>\u00a0ins Spiel. Dar\u00fcber hinaus erinnern die chromatisch aufsteigend angeordneten Zentralt\u00f6ne der zw\u00f6lf S\u00e4tze an Johann Sebastian Bachs\u00a0Wohltemperiertes Klavier<\/i>. Kurt\u00e1g selbst bezeichnet das Quartett auch als eine \u00bbmikro-wohltemperierte Folge ohne Tonartenzwang\u00ab.<\/p>\n

In\u00a0Officium breve<\/i>\u00a0sind die wichtigsten Bezugsfiguren Anton Webern und Andreae Szerv\u00e1nszky, dem die kurze liturgische Feier wie ein Miniaturrequiem \u00bbin memoriam\u00ab zugeeignet ist. Kurt\u00e1g verbindet Musik von Anton Webern, teils in notengetreuen Zitaten, teils fantasieartig paraphrasiert, mit dem C-Dur einer Streicherserenade Szerv\u00e1nszkys, die im letzten Satz, \u00bbArioso interrotto\u00ab, unvermittelt abrei\u00dft.<\/p>\n

Auch das letzte Werk der dem Verleger Alfred Schlee gewidmeten Reihe\u00a0Aus der Ferne<\/i>\u00a0l\u00e4sst sich als \u00bbPocket Requiem\u00ab deuten. Es entstand 1999 nach dem Tod des Freundes. \u00bb\u00d6d und traurig\u00ab, mit trockenen Pizzikati repetiert das Cello zu Beginn den Ton\u00a0es<\/i>, den Anfangsbuchstaben des Nachnamens. Sforzato-Aufschreie und zwei Takte im Fortissimo schildern den Schmerz \u00fcber den Verlust.<\/p>\n

Aus der anschlie\u00dfenden Ruhe l\u00f6st sich eine Himmelfahrt in F-Dur, mit der sich\u00a0Aus der Ferne V<\/i>\u00a0in der Stille verliert. Kurt\u00e1g arbeitet h\u00e4ufig mit Nah- und Fernwirkungen. Viele seiner S\u00e4tze sind mit \u00bbLontano\u00ab \u00fcberschrieben oder \u00bbwie aus der Ferne\u00ab zu spielen.<\/p>\n

In\u00a0Hommage \u00e0 Jacob Obrecht<\/i>\u00a0klingen die schnell dahinhuschenden, metall-ged\u00e4mpften Einsch\u00fcbe, als w\u00e4re eine musikalische Erinnerung im Schnelldurchlauf zu h\u00f6ren. Auch der entr\u00fcckte Klang des j\u00fcngsten Quartetts\u00a0Arioso<\/i>\u00a0entsteht durch mechanische Filterung. Die zwei Versionen dieser Aufnahme gingen aus Experimenten mit Metall- und Holzd\u00e4mpfern hervor, die Gy\u00f6rgy Kurt\u00e1g beide f\u00fcr g\u00fcltig erkl\u00e4rt hat.<\/p>\n

Die 2005 entstandenen\u00a06 Moments musicaux<\/i>\u00a0schlagen mit ihren sechs S\u00e4tzen und der Erinnerung an das Vogelstimmen-Scherzo den Bogen \u00fcber fast ein halbes Jahrhundert zur\u00fcck zu Opus 1. Das Modell f\u00fcr die formale Anlage liefert nun aber nicht mehr Bart\u00f3k, sondern Franz Schuberts\u00a0Moments musicaux<\/i>. Hier wie dort stehen die rascheren S\u00e4tze an dritter und f\u00fcnfter Stelle.<\/p>\n

Gemeinsam ist den Schwesterwerken auch die Hommage an Johann Sebastian Bach im jeweils vierten Satz. Gy\u00f6rgy Kurt\u00e1g erinnert mit der Tonfolge B-A-C-H an seinen verstorbenen Pianisten-Freund Gy\u00f6rgy Seb\u00f6k und ihre gemeinsame Bach-Bewunderung. Der Schlusssatz verweist auf Ludwig van Beethovens programmatische Abschiedssonate\u00a0Les Adieux<\/i>. Darin wiederum hallt das Stierhorn aus Wagners\u00a0Die Meistersinger von N\u00fcrnberg<\/i>\u00a0in einem Aufschrei der Violine nach.<\/p>\n

Dar\u00fcber hinaus reichen die Reminiszenzen an eigene Kompositionen in den\u00a06 Moments musicaux<\/i>\u00a0ungew\u00f6hnlich weit zur\u00fcck. Der zweite Satz, \u00bbfootfalls\u00ab, mit seinem stockenden Herzschlag ist die Bearbeitung eines Satzes aus der Suite f\u00fcr Klavier von 1943, \u00bbmeine erste Komposition, zu der ich immer mehr stehen kann\u00ab. Es sieht aus, als g\u00e4be es in Kurt\u00e1gs Kosmos kein Vorher und Nachher, nur lose Enden, die darauf warten, verbunden zu werden.<\/p>\n

Martina Seeber<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n

[01]\u00a0Arioso \u2013 Hommage \u00e0 Walter Levin 85<\/b>, in Alban Bergs Manier (2009)*\u00a003:09
\n<\/b>Adagio (wooden mutes)<\/p>\n

6 Moments musicaux<\/b>\u00a0op. 44 for string quartet (2005) \u2013\u00a0\u00e0 mon fils<\/i>\u00a014:33
\n<\/b>[02]\u00a0I Invocatio [un fragment]. Con moto, passionato<\/i>\u00a001:23
\n[03]\u00a0II Footfalls\u2026\u2013 \u2026mintha valaki j\u00f6nne\u2026 Molto sostenuto<\/i>\u00a002:38
\n[04]\u00a0III Capriccio. Ben ritmato<\/i>\u00a001:29
\n[05]\u00a0IV In memoriam Gy\u00f6rgy Seb\u00f6k. Mesto, pesante<\/i>\u00a003:27
\n[06]\u00a0V \u2026 rappel des oiseaux \u2026 [l\u2018\u00e9tude pour les harmoniques]. L\u00e9ger, tendre, volatil \u2013 \u00e0 Tabea Zimmermann 02<\/i>:37
\n[07]\u00a0VI Les Adieux [in Jan\u00e1eks Manier]. Parlando, rubato<\/i>\u00a002:51<\/p>\n

[08]\u00a0Hommage \u00e0 Jacob Obrecht<\/b>\u00a0(2004\/2005) Sostenuto \u2013\u00a0Dedicated to J\u00e1nos Bali<\/i>\u00a0*\u00a004:29<\/b><\/p>\n

Officium breve in memoriam Andreae Szerv\u00e1nszky<\/b>\u00a0op. 28 for string quartet (1988\/1989)\u00a012:28
\n<\/b>Dedicated to Wilfried Brennecke
\n<\/i>[09]\u00a0I Largo<\/i>\u00a000:33
\n[10]\u00a0II Pi\u00f9 andante<\/i>\u00a000:38
\n[11]\u00a0III Sostenuto, quasi giusto<\/i>\u00a000:37
\n[12]\u00a0IV Grave, molto sostenuto<\/i>\u00a000:34
\n[13]\u00a0V (Fantasie \u00fcber die Harmonien des Webern-Kanons). Presto<\/i>\u00a000:43
\n[14]\u00a0VI (Canon a 4). Molto agitato<\/i>\u00a000:17
\n[15]\u00a0VII Canon a 2 (frei nach op. 31\/VI von Webern). Sehr flie\u00dfend<\/i>\u00a000:34
\n[16]\u00a0VIII Lento<\/i>\u00a000:36
\n[17]\u00a0IX Largo<\/i>\u00a000:52
\n[18]\u00a0X [Webern: Canon a 4 (op. 31\/VI)]. Sehr flie\u00dfend<\/i>\u00a000:27
\n[19]\u00a0Xa\u00a0A tempo (X Da Capo al fine)<\/i>\u00a000:57
\n[20]\u00a0XI Sostenuto<\/i>\u00a002:04
\n[21]\u00a0XII Sostenuto, quasi giusto<\/i>\u00a000:39
\n[22]\u00a0XIII Sostenuto, con slancio<\/i>\u00a000:53
\n[23]\u00a0XIV Disperato, vivo<\/i>\u00a000:49
\n[24]\u00a0XV Arioso interrotto (di Endre Szerv\u00e1nszky). Larghetto<\/i>\u00a001:13<\/p>\n

[25]\u00a0Aus der Ferne V<\/b>\u00a0for string quartet (1999) Alfred Schlee in memoriam*\u00a002:58
\n<\/b>\u00d6d und traurig \u2013\u00a0Dedicated to the Arditti Quartet<\/i><\/p>\n

Hommage \u00e0 Mih\u00e1ly Andr\u00e1s<\/b>\u00a012 Mikroludien f\u00fcr Streichquartett op. 13 (1977\/1978)\u00a011:12
\n<\/b>Dedicated to the city of Witten
\n<\/i>[26]\u00a0I<\/i>\u00a000:48
\n[27]\u00a0II (quasi allegretto)<\/i>\u00a000:24
\n[28]\u00a0III<\/i>\u00a000:33
\n[29]\u00a0IV Presto<\/i>\u00a000:15
\n[30]\u00a0V Lontano, calmo, appena sentito<\/i>\u00a002:30
\n[31]\u00a0VI<\/i>\u00a001:23
\n[32]\u00a0VII<\/i>\u00a000:40
\n[33]\u00a0VIII Con slancio<\/i>\u00a000:22
\n[34]\u00a0IX<\/i>\u00a000:55
\n[35]\u00a0X Molto agitato<\/i>\u00a000:32
\n[36]\u00a0XI<\/i>\u00a001:45
\n[37]\u00a0XII Leggiero, con moto, non dolce<\/i>\u00a000:48<\/p>\n

[38]\u00a0Aus der Ferne III<\/b>\u00a0for string quartet (1991)\u00a002:55
\n<\/b>For the 90th birthday of Alfred Schlee<\/i><\/p>\n

String Quartet op. 1<\/b>\u00a0(1959) \u2013\u00a0Dedicated to Marianne Stein<\/i>\u00a014:27
\n[39]\u00a0I Poco agitato<\/i>\u00a001:16
\n[40]\u00a0II Con moto<\/i>\u00a001:50
\n[41]\u00a0III\u00a0(Variationen)<\/i>\u00a003:09
\n[42]\u00a0IV Con spirito<\/i>\u00a001:57
\n[43]\u00a0V Molto ostinato<\/i>\u00a002:10
\n[44]\u00a0VI Adagio<\/i>\u00a003:58<\/p>\n

[45]\u00a0Arioso \u2013 Hommage \u00e0 Walter Levin 85<\/b>, in Alban Bergs Manier (2009)* 03:02
\nAdagio (metallic mutes)<\/p>\n

total time: 70:18<\/p>\n

Athena Quartett<\/a><\/b>
\nSaskia Viersen, violin 1 \u00b7 Margherita Biederbick, violin 2
\nMiriam G\u00f6tting, viola \u00b7 Hannah Klein, viola [02\u201307] \u00b7 Kathrin Bogensberger, violoncello<\/p>\n

* World Premiere Recordings<\/p>\n

Pressestimmen:<\/p>\n


\n6\/2011<\/p>\n

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\n25.10.2011<\/p>\n

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\n21.10.2011<\/p>\n

This important SACD from NEOS of all of the works by Gy\u00f6rgy Kurt\u00e1g for string quartet, which is not the same as all of Kurt\u00e1g’s String Quartets (in fact only one is so named) is superbly played by the Athena Quartet with Hanna Klein’s second viola in the Six Moments musicaux. These are typical of the pared-down, refined, concentrated world in which Kurt\u00e1g felt so at home and in which he picked up the influence of Webern, albeit a rougher, more ragged, impromptu Webern. Together with the other seven works on this SACD (half of which are world premi\u00e8re recordings), these short works are played with panache, spontaneity and a real sense of presence (yet they are all studio recordings). In the Moments musicaux with the allusion to composers such as Beethoven and Schubert from the Classical period another trait of Kurt\u00e1g’s is evident: a recollection of the past. It’s not so much a memory, still less a veneration, of earlier music. More an expressionistic and highly exposed exercise in absorbing the past.<\/p>\n

Although Kurt\u00e1g’s music is full of respect. It’s not iconoclastic; nor does it consciously seek to adapt anything which has influenced him. Rather, it aims \u2013 often with an overt and potentially painful effort \u2013 to render whole what might otherwise be fragmented because of its influences. In the case, for example, of the eleventh, sostenuto movement from the Officium breve in memoriam Andreae Szerv\u00e1nszky, Op. 28 [tr.20], the rawest of sounds from the mid strings in particular is produced unashamedly\u2026 the unadorned essence of the violin’s lower notes and those of the viola. It’s as though the genuineness of that sound (the Athenas are miked closely in these recordings) constitutes a reality that reflects the common factors possessed by all other instances of the instrument(s) in question. Rather like Beethoven’s solo strings and Schubert’s piano.<\/p>\n

Kurt\u00e1g also aims for speech-like feelings; for the rhythms and phraseology of human utterance. Another reference to something outside the music. Just as the Homage \u00e0 Mih\u00e1ly Andr\u00e1s [tr.s 26-37] acknowledges not only earlier music of Kurt\u00e1g’s; but also that of Bach and Bart\u00f2k. None of what we hear on this stimulating and exciting CD, though, is in any way derivative, or „secondary“. Indeed, it’s all highly original and creative music. What’s more, the Athenas (Germany-based, formed in 1999) have the gift of playing it as though the composer were at their collective elbow so real, immediate and alive yet striking is their thorough control of tempi, texture and timbre.<\/p>\n

Their fearless approach to the slow movements in these pieces (which is the majority, is has to be noted) indicates a span of technique that better than reproduces \u2013 is recreates \u2013 the tension between calm and anxiety which surely lies at the heart of Kurt\u00e1g’s string writing. The plaintiveness is not that of Shostakovich. The calm not that of Sibelius. Yet there is an analogous disparity between the open, the spacious, the free on the one hand; and the claustrophobic, the obsessive and the neurotic on the other. This could all too easily run away with less experienced and committed players: all the scope for taking some of the music’s „determination“ as mere effect is there. Yet in fact the Athenas approach such pieces as the two Aus der Ferne (III and V) with an almost tender, colorful care.<\/p>\n

Indeed, much of Kurt\u00e1g’s music is so vivid and sinuous (the two Berg-inspired Arioso \u2013 Homage \u00e0 Walter Levin 85 [tr.s 1,45], for instance) that it’s almost as visual as it is verbal. Again, it’s to the credit of the Athenas that this is such a vivid, clean and meaningful juxtaposition of sound and ideas. Above all, these are performances which do more than reproduce a searing regretfulness of the sort in which, say, Gubaidulina is so practiced. Still less do they merely acknowledge implicitly that loss and despair can be the strong forces which they can. It was surely Kurt\u00e1g’s intention to recreate these (and other often very basic) emotions in his music. It needs performers who can rebuild and present that recreation. Kurt\u00e1g has found them in the Athena Quartet (Saskia Viersen, violin; Margherita Biderbick, violin; Miriam G\u00f6tting, viola; and Kathrin Bogensberger, cello).<\/p>\n

The acoustic, then, is painstakingly well-suited to the import of this intimate and invasive music. There is little extraneous atmosphere. The result is that the listener’s experience seems to have been personalized. The booklet accompanying the SACD is informative and explains the context of the composer as experimentalist and architect well. Even were these not virtually the only available recordings of these works (there are two recordings of each of the Officium breve and Aus der Ferne III as well as those and the Homage \u00e0 Mih\u00e1ly Andr\u00e1s and String Quartet Opus 1 by the Keller String Quartet on ECM 1598), they could be recommended for aficionados of Kurt\u00e1g immediately. And ought to be given a try for anyone interested in the more original paths down which contemporary string writing leads us.<\/p>\n

Copyright \u00a9 2011, Mark Sealey.<\/p>\n

http:\/\/www.classical.net\/music\/recs\/reviews\/n\/neo11033a.php<\/a><\/p>\n

 <\/p>\n


\n05\/2011<\/p>\n

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 <\/p>\n


\n05\/2011<\/p>\n

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 <\/p>\n

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\n09\/2011<\/p>\n

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Auszeichnungen & Erw\u00e4hnungen:<\/p>\n

<\/p>\n


\n25.10.2011<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Die Streichquartette von Gy\u00f6rgy Kurt\u00e1g Gy\u00f6rgy Kurt\u00e1gs Musik ist voller Augenblicke, in denen durch die Korridore der Zeit l\u00e4ngst Vergangenes her\u00fcberklingt. In den 6\u00a0Moments musicaux\u00a0ist es kurz vor Schluss der\u00a0\u2026\u2009rappel des oiseaux\u2026, in dem die V\u00f6gel an fr\u00fchere Zeiten mahnen. Fast ein halbes Jahrhundert liegt zwischen dieser fl\u00fcchtigen Erinnerung und dem \u00bbVogel-Scherzo\u00ab des ersten […]<\/p>\n","protected":false},"featured_media":3023,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[878,26],"product_tag":[],"class_list":{"0":"post-3022","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-streichquartett","7":"product_cat-zeitgenossische-musik","8":"pa_artikelnummer-neos-11033","9":"pa_brand-neos-music","10":"pa_ean-569","11":"desktop-align-left","12":"tablet-align-left","13":"mobile-align-left","15":"first","16":"instock","17":"taxable","18":"shipping-taxable","19":"purchasable","20":"product-type-simple"},"yoast_head":"\nGy\u00f6rgy Kurt\u00e1g: Complete Works for String Quartet - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/gyoergy-kurtag-complete-works-for-string-quartet\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gy\u00f6rgy Kurt\u00e1g: Complete Works for String Quartet - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Die Streichquartette von Gy\u00f6rgy Kurt\u00e1g Gy\u00f6rgy Kurt\u00e1gs Musik ist voller Augenblicke, in denen durch die Korridore der Zeit l\u00e4ngst Vergangenes her\u00fcberklingt. 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