{"id":12728,"date":"2026-09-30T10:00:59","date_gmt":"2026-09-30T08:00:59","guid":{"rendered":"https:\/\/www.eufonie.pl\/?post_type=tribe_events&p=12728"},"modified":"2026-09-29T18:46:21","modified_gmt":"2026-09-29T16:46:21","slug":"kurtag-kafka-kaffka","status":"publish","type":"tribe_events","link":"https:\/\/www.eufonie.pl\/en\/event\/kurtag-kafka-kaffka\/","title":{"rendered":"Kurt\u00e1g | Kafka | Kaffka"},"content":{"rendered":"

Kafka-<\/span>Fragmente<\/span><\/span> by <\/span>Gy\u00f6rgy<\/span> Kurt\u00e1g<\/span> is a masterpiece of <\/span>late<\/span> twentieth<\/span>–<\/span>century<\/span> vocal music<\/span>. The Hungarian composer, <\/span>who celebrates<\/span> his hundredth birthday this year, <\/span>set<\/span> fragments <\/span>from Franz Kafka\u2019s<\/span> letters, diaries<\/span>,<\/span> and aphorisms <\/span>in their original German<\/span>. <\/span>Lasting <\/span>almost an<\/span> hour, the work <\/span>comprises<\/span> forty <\/span>sections<\/span>, <\/span>ranging in length from a dozen or so<\/span> seconds to seven minutes. The evening will <\/span>conclude with readings of<\/span> Kafka<\/span>\u2019<\/span>s <\/span>l<\/span>etters to Milena by actors<\/span>,<\/span> in translations by Feliks Konopka and <\/span>El\u017cbieta<\/span> Ptaszy\u0144ska-Sadowska<\/span>, <\/span>alongside<\/span> poems and <\/span>excerpts from<\/span> letters by the Hungarian poet Margit <\/span>Kaffka<\/span>,<\/span> translated<\/span> by Anna <\/span>Butry<\/span>m<\/span> especially for this occasion.<\/span><\/span>\u00a0<\/span><\/p>\n

PROGRAMME<\/span><\/b><\/p>\n

Gy\u00f6rgy Kurt\u00e1g (b. 1926) <\/span><\/b>
\n<\/span>Kafka-Fragmente<\/span><\/i>, Op. 24<\/span>
\n<\/span>for soprano and violin [50\u2019]<\/span>
\n<\/span>words: fragments of Franz Kafka\u2019s (1883\u20131918) notes, diaries, and letters\u00a0<\/span>
\n<\/span>(1985\u20131987)<\/span>\u00a0<\/span><\/p>\n

Part I<\/span>
\n1. Die Guten gehn im gleichen Schritt\u2026 <\/span>
\n2. Wie ein Weg im Herbst <\/span>
\n3. Verstecke <\/span>
\n4. Ruhelos <\/span>
\n5. Berceuse I <\/span>
\n6. Nimmermehr (Excommunicatio) <\/span>
\n7. \u201eWenn er mich immer fr\u00e4gt\u201c <\/span>
\n8. Es zupfte mich jemand am Kleid <\/span>
\n9. Die Weissn\u00e4herinnen <\/span>
\n10.<\/span> Szene am Bahnhof <\/span>
\n11. Sonntag, den 19. Juli 1910 (Berceuse II, Hommage \u00e0 Jeney)\u00a0 <\/span>
\n12. Meine Ohrmuschel\u2026 <\/span>
\n13. Einmal brach ich mir das Bein (Chassidischer Tanz) <\/span>
\n14. Umpanzert <\/span>
\n15. Zwei Spazierst\u00f6cke (Authentisch \u2013 plagal) <\/span>
\n16. Keine R\u00fcckkehr <\/span>
\n17. Stolz (1920\/15. November, Zehn Uhr) <\/span>
\n18. Tr\u00e4umend hing die Blume (Hommage \u00e0 Schumann) <\/span>
\n19. Nichts dergleichen\u00a0<\/span>\u00a0<\/span><\/p>\n

Part II<\/span>
\nDer wahre Weg (Hommage-message \u00e0 Pierre Boulez)\u00a0<\/span>\u00a0<\/span><\/p>\n

Part III<\/span>
\n1. Haben? Sein? <\/span>
\n2. Der Coitus als Bestrafung (Canticulum Mariae Magdalenae) <\/span>
\n3. Meine Festung <\/span>
\n4. Schmutzig bin ich, Milena\u2026 <\/span>
\n5. Elendes Leben (Double) <\/span>
\n6. Der begrenzte Kreis <\/span>
\n7. Zeil, Weg, Z\u00f6gern <\/span>
\n8. So fest <\/span>
\n9. Verstecke (Double) <\/span>
\n10. Penetrant j\u00fcdisch <\/span>
\n11. Staunend sahen wir das grosse Pferd <\/span>
\n12. Szene in der Elektrischen (1910: \u201eIch bat im Traum die T\u00e4nzerin Eduardowa, sie m\u00f6chte doch den Cs\u00e1rd\u00e1s noch einmal tanzen\u2026\u201d)<\/span>\u00a0<\/span><\/p>\n

Part IV<\/span>
\n1. Zu sp\u00e4t (22. Oktober 1913) <\/span>
\n2. Eine lange Geschichte <\/span>
\n3. In memoriam Robert Klein<\/span>
\n4. Aus einem alten Notizbuch <\/span>
\n5. Leoparden <\/span>
\n6. In Memoriam Joannis Pilinszky<\/span>
\n7. Wiederum, wiederum <\/span>
\n8. Es blendete uns die Mondnacht\u2026\u00a0<\/span>\u00a0<\/span><\/p>\n

Franz Kafka<\/span><\/b>
\n<\/span>Letters to Milena (excerpts)<\/span>
\n<\/span>translated into Polish by: Feliks Konopka, El\u017cbieta Ptaszy\u0144ska-Sadowska<\/span>\u00a0<\/span><\/p>\n

Margit Kaffka (1880\u20131918)\u00a0<\/span><\/b>
\n<\/span>Letters and Poems (selection)<\/span>
\n<\/span>translated into Polish by: Anna Butrym<\/span>\u00a0<\/span><\/p>\n

PERFORMERS<\/b><\/span><\/p>\n

Aleksandra \u017bakiewicz \u2013 soprano<\/span>
\n<\/span>Maria Kapsiak \u2013 violin<\/span>
\n<\/span>Robert Wi\u0119ckiewicz<\/span>\u00a0\u2013 actor\u00a0<\/span>
\n<\/span>Weronika Humaj \u2013 actress<\/span>
\n<\/span>Tomasz Cyz \u2013 concept and direction\u00a0<\/span>
\n<\/span>Anna Dyakowska \u2013 artwork<\/span>\u00a0<\/span><\/p>\n

The co-organizer of the event is the Hungarian Cultural Institute. Special thanks go to Anna Butrym, No\u00e9mi Sz\u00e9csi, and G\u00e1sp\u00e1r Kert\u00e9sz for their assistance in selecting the texts by Margit Kaffka.<\/p>\n

\"\"\"\"<\/p>\n","protected":false},"excerpt":{"rendered":"

Kafka-Fragmente by Gy\u00f6rgy Kurt\u00e1g is a masterpiece of late twentieth–century vocal music. The Hungarian composer, who celebrates his hundredth birthday this year, set fragments from Franz Kafka\u2019s letters, diaries, and aphorisms in their original German.…<\/p>\n","protected":false},"author":990013,"featured_media":12729,"template":"","meta":{"_acf_changed":false,"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[],"tribe_events_cat":[169],"class_list":["post-12728","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry","tribe_events_cat-warsaw","cat_warsaw"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tribe_events\/12728","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/users\/990013"}],"version-history":[{"count":1,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tribe_events\/12728\/revisions"}],"predecessor-version":[{"id":12731,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tribe_events\/12728\/revisions\/12731"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/media\/12729"}],"wp:attachment":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/media?parent=12728"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tags?post=12728"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tribe_events_cat?post=12728"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}