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Now 99 years old, György Kurtág has been writing tiny pieces for piano since 1973, gradually accumulating these miniatures into ten volumes of Játékok (“Games”). They are gaining increasing attention from major pianists, with excerpts recorded by Leif Ove Andsnes (2009) and Vikingur Ólafsson (2022). This year has now seen two releases dedicated exclusively to selections of these works: a two-disc set from Pierre-Laurent Aimard appeared in April, and October saw the release of a single-disc survey from Montreal-based Brigitte Poulin.

The 50 pieces on Poulin’s album range in length from 21 seconds to a little under three minutes, and include several world-premiere recordings. In these “Games,” Kurtág was inspired to explore sounds on the piano just as occurs with “children playing spontaneously, children for whom the piano still means a toy. They experiment with it, caress it, attack it and run their fingers over it.” Poulin is attuned to the intensity and variety Kurtág brings to these pieces, creating whole moods in just seconds of music. They range from playful to gentle, mournful to energetic, capable of communicating deep emotion in only a few moments and often in only a few notes.

Poulin’s range of sound is wide, from the most delicate pianissimi to resonant chordal clusters, fully attuned to Kurtág’s immense sound palette. She is attentive to Kurtág’s instructions when the music is notated precisely, but also creative when the composer provides only an approximate graphic notation. Listen to the sparkle of Thistles, the contrasts in Scherzo, and the quiet intensity of Quiet Talk with the Devil to get an idea of Poulin’s range and naturalness in this music. 

Whether sampled a few at a time, or taken together as a 70-minute suite, this recital is an impressive achievement that should be heard by all admirers of contemporary piano music.

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