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Splinters: 20th Century Hungarian Works for Piano

Mariann Marczi

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Splinters, Op. 6/d  
1
I. Molto agitato
György Kurtág; Mariann Marczi
1:04
2
II. Sostenuto
György Kurtág; Mariann Marczi
1:12
3
III. Vivo - Prestissimo - Vivo
György Kurtág; Mariann Marczi
1:03
4
IV. in memoriam Ştefan Romaşcanu. Mesto Pesante, strascinando
György Kurtág; Mariann Marczi
3:33
5
Fém (Études, Book II)
György Ligeti; Mariann Marczi
3:02
6
Méditation sur un motif de Claude Debussy
Zoltán Kodály; Mariann Marczi
4:58
Seven Pieces for Piano  
7
I. Lento
Zoltán Kodály; Mariann Marczi
1:50
8
II. Complainte Székely. Rubato, parlando
Zoltán Kodály; Mariann Marczi
2:23
9
III. „— il pleut dans mon cœur comme il pleut sur la ville —” (Verlaine). Allegretto malinconico
Zoltán Kodály; Mariann Marczi
1:47
10
IV. Épitaphe. Rubato.
Zoltán Kodály; Mariann Marczi
6:54
11
V. Tranquillo
Zoltán Kodály; Mariann Marczi
2:23
12
VI. Chanson populaire Székely. Poco rubato
Zoltán Kodály; Mariann Marczi
3:32
13
VII. Rubato
Zoltán Kodály; Mariann Marczi
7:07
14
(... de l’automne et du champ...) from Contes Op. 2. No. 10
László Lajtha; Mariann Marczi
2:27
Trois Burlesques pour piano, Op. 8/c  
15
I. (querelle). Presto
Béla Bartók; Mariann Marczi
2:30
16
II. (un peu gris...). Allegretto
Béla Bartók; Mariann Marczi
2:20
17
III. Molto vivo, capriccioso
Béla Bartók; Mariann Marczi
2:51
18
Ricercare
Zoltán Jeney; Mariann Marczi
4:13
19
Arthur Rimbaud in the Desert
Zoltán Jeney; Mariann Marczi
5:16
20
The Ultimate Goal
Gyula Csapó; Mariann Marczi
8:04
Total Playing Time    68:29
Pianist Mariann Marczi performs a very personal program of 20th century works from her native Hungary, featuring works that form two pillars at either ends of the last century, grouped between 1907 and 1918 and from 1976 to 1989. Like pylons, these two blocks of compositional styles and techniques are linked by a hidden and complex network of bridges arpeggios that at times imitate the sounds of the harp, dulcimer or far-away bells, a strong French influence, be it biographical, musical and frequent references to francophone poetry, and a common tendency towards the transcendental.

Mariann has worked together with all of the living composers on her album, and authoritatively carries out their intentions, while bringing to light the subtle nuances across the interesting and varied landscape of last century’s Hungarian music.
96 kHz / 24-bit PCM – Odradek Records Studio Masters

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