The fragments are not ordered according to its thematic content, or to construct some sort of narrative. The primary concern is musical, and the order of the pieces has changed many times – even after its 1987 premiere performance.
Because of the ‘pulse’ mentioned at the beginning, the music has a hypnotic quality when listened to. The melodies echo folk tunes of Kurtág’s native land at certain points, as well as continue the trends established in Western art music at the beginning of the twentieth century. It also hints at the Jewish ancestry that both he and Kafka share.
I personally find various musical phrases haunting for several days after hearing them, indeed as if a pulse is revived and then slips gently into the background of one’s mind. This song cycle commands to be listened to attentively and without disruption, devoid of other distractions.
After repeat listenings, I did eventually succumb to reading the text translations of Kafka’s fragments. They are definitely part of this piece’s continuing allure. They are rarely self-contained and leave one thinking: what on earth were they extracted from? A short story? Kafka’s diary? His correspondence? To whom, if so? They are equally as haunting and unresolved as the music.
Of course, the performers, soprano Juliane Banse and violinist András Keller, naturally have an awful lot to do with the success of this composition – not just this recording. Both artists worked very closely with the composer and are experienced in its performance and interpretation. Keller showed Kurtág the limitations of his instrument during the compositional process.
The performers give the impression of being intimately connected with Kurtág’s piece, and clearly revel in their musical relationship. Each performer is keenly attuned to their partner and as a result produce a recording that sounds effortless, pure and considered. This was most evident in parts where either performer would be playing or singing a simple musical phrase and then would suddenly launch into virtuosic contemporary music techniques, as a question-answer device. However, each musician had this occur in their own part so that effectively they would answer their own question, which is trickier than conversing with one another.
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