Beginning in the mid-1970s, György Kurtág began to reflect a musical past through quotation, many of which refer to his own personal experiences rather than an attempt to convey universal relevance. Kurtág's music can be discussed in relation to Theodor Adorno's idea of "sedimentation" and the concept of subjective memory described by Georg Lukács. The string quartet Officium breve in memoriam Andreae Szervánsky borrows music of Anton Webern, specifically the canonic structure of the sixth movement of Cantata No. 2, and Endre Szervánsky's Serenade for String Orchestra. Kurtág utilizes pre-existent material to evoke an historical awareness of musical material similar to Adorno's concept of sedimentation; that music has an historic relationship to society and may or may not have relevance to that society. For Kurtág, Webern's music recalls the memory of his student years in Paris where he extensively studied this music. Furthermore, Kurtág's Op. 1 string quartet is inextricably connected to the works of Webern. Quotation thus creates a complex web of memory in Kurtág's compositions.

Works: Kurtág: Officium breve in memorium Andreae Szervánsky, Op. 26 (52, 56, 60, 62-66), Játékok (51, 56-57, 62-66).

Sources: Webern: Cantata No. 2 (52, 60, 63); Szervánsky: Serenade for String Orchestra (52, 60, 64-65); Kurtág: Játékok (51, 56-57, 62-66), String Quartet, Op. 1 (63-64).

Index Classifications: 1900s

Contributed by: Christopher Holmes