Eötvös 80.

“Percussion soloists inhabit their own little universe: unique instruments and peculiar techniques… Triangel is composed in a way that provides the musicians with the opportunity to use their individual creativity. The ensemble divided into four groups reacts partly in a fixed way and partly spontaneously to the music played by the soloist. This piece discovers cadenza techniques that were organic parts of concerti about a hundred years ago,” writes Péter Eötvös about the Triangel. The soloist for the world premiere in 1993 was the same Isao Nakamura the audience of Müpa Budapest will also hear tonight. Berio’s Symphony, composed for the 125th anniversary of the New York Philharmonic in 1969, does not lack pessimism, either. Composed for eight voices and an orchestra, the piece depicts an abstract and grotesque cultural history through the various kinds of music it quotes. The diverse sources of the text (speech, whispers and shouts) range from Claude Lévi-Strauss and Samuel Beckett (excerpts from novels) to Gustav Mahler (instructions to performers from full scores).