Sei Pezzi per cimbalom ungherese e quartetto d’archi 


for Hungarian cimbalom and string quartet
Total duration: 25'

I             Leggiermente in sospeso (2')
II            Allegretto giocoso (4'25'')
III           Allegro agitato (6'01'')
IV           Poco lento (6'09'')
V            Allegro vivace (2'46'')
VI           Poco vivo (2'35'')

The six pieces in this cycle are formally similar. A loosely-structured exposition section, which presents the basis of the harmonic references of the respective movement, evolves into a denser section that combines the basic chords and their transformations. Or, to put it another way: the exposition sections present the possible connections between two chords, while the combination sections expand the process to chordal chains by following a specific methodology.

Within this formal unity, each movement maintains a specific character.

In the first piece, delicate harmonics frame a duet between cimbalom and cello, while in the almost imperceptible section that emerges from it, the melody, initially divided among all the players, leads to a homophonic ending in which only the cimbalom stands out due to its highly rhythmic articulation.

The beginning of the second piece, on the other hand, is characterized by dance-like impulses, with the two violins dominating the proceedings. The second, evolutionary part transforms the rhythm in manifold ways, whereby the cimbalom gradually gains in importance.

The third piece is also primarily dance-like, with the cimbalom striving in constantly new impulses towards a cadenza that prepares the base for a concluding stretto.

The fourth piece primarily aims to highlight the distinctive color of the unusual instrumentation by condensing the homophonic chordal structures into dramatic, but also tonally more refined formations.

The fifth piece contrasts competing parts of violin and cimbalom with a diversification of the other musical lines, which are mostly components of the harmony, but at times also seek to provide important impulses of their own.

The final piece begins with compact, interlocking double-stop rhythms from which pulsating elements emerge. Impulse and sound surface thereby generate the end of the work.

On the whole, the Evoluzioni elaborate upon homophonic structures, which, however, open a window onto a wide range of compositional possibilities and tricks through unorthodox procedures. The unexpected thereby places a surprising emphasis upon seemingly pre-planned formal and harmonic dispositions.