Clicking the 
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1 L’effet Doppler.
Une fantasie multiphonique pour flute seule dans le style romantique Just a Tube – Five Etudes |
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1 Warszawa Sketch
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| Eugène WALCKIERS (1793-1866): |
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1-4 - Grand Quatuor de Concert (in f# minor) Op.46 5-8 - Trio (in D major) Op.35 9-12 Grand Quartet (in F major) Op. 70 TeTraVERSI Flute Quartet (1-4 , 9-12) |
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KOVÁCS Imre, BODOKY Gergely, ADORJÁN András, ITTZÉS Gergely KOVÁCS Imre 8-11. ROUSSEL: Joueurs de flûte Op.27 ADORJÁN András with GÁBOR József (7-11), URABE Yumiko (13-14) – piano |
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Chapter One* 1-2 J. S. BACH: Prelude and Fugue in G minor BWV 885
Chapter Two 19 SOMOS A.: Passacaglia
TeTraVERSI Flute Quartet |
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BACH: c-moll szonáta ITTZÉS GERGELY (fuvola) (Ittzés G. átiratai) |
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| CD Hungaroton 2004, HCD 32269 | |
Sonate pour Flute et Piano ITTZÉS GERGELY - fuvola, piccolo |
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CD 903 Records, NY
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Suite for flute and piano ITTZÉS GERGELY (fuvola) |
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TALIZMAN IN CONCERT CD Tandem Records 1993, Hungarian Society for Jazz Research, TR-HSJ 2003
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Utazás (Stein) ITTZÉS GERGELY (fuvola) |
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(Ittzés Gergely , fuvolás c. könyv CD melléklete) |
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BACH: a-moll partita BWV 1013 ITTZÉS GERGELY (fuvola) |
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What is the flute? The flute is just a tube. If you are not doing anything else but alternately open and cover one end of it (even if with your shin) while blowing the other end with varied strength, the rich world of overtones hidden within one note will already open for you. (Just a Tube – improvisation for no fingering)
The flute is a tube (of circular diameter) with a bunch of (circular) holes in it. If you keep opening and closing them one after the other plus you learn the few simple key combinations which make the top register easier, the flute literature of 300 years will be available for you.
If you extend the circle and try to take possession of all the possible combinations of every opening, if you become aware how much your body is able to do with this instrument, if you accept that the flute can be blown (or even hit) in many ways and that a sound may be valid, valuable, expressive and musical even if it is not the one usually called „nice”, then you have started on the road to discover an infinite empire.
Interesting things may be born even without moving the fingers or using only 2 or 3 fingering positions (Etudes Nr.1, 3 & 5). You can meditate on the magic microcosm of fine multiphonics (Zhuang Zi’s Dream, Echo-Etude); you can roll the flute out and in, you can blow it without interruption (due to circular breathing) (Flute Roll Music); you can follow the footsteps of the vanguard (Circles, Projections) or minimalist (Sound Poems Nr.2) composers, you may search for the source of the dramatic power of the flute (Ballad, Sound Poems Nr.1, 3) or you can pay tribute to flutist-composers from the past (Doppler) or the presence (Robert Dick) in a joking mood. It may be one part or many notes simultaneously, virtuoso playing or an appearingly endless line of long notes, music which entertains you or makes you think, classical sounds or unusual effects, they all come from the world that I call: FLUTE.
Many years ago I started to roam this realm. This is where I’ve got until now.
Gergely Ittzés, September, 2008
VIOLIN WORKS ON FLUTE:
The thinking of Gergely Ittzés as a performer is just as much determined by violin playing as the tradition and possibilities of the flute. The phrasing and articulation of string instruments and polyphonic thinking constitute a challenge and motivation for wind players, enrich and strengthen their repertoire of expression. A natural consequence of this recognition is that the flautist includes violin works in his repertory which are transcribed for the flute without too many compromises.
The album, which was recorded due to a comission by the instrument maker Károly Csider, and played on the golden flute he had made, is a selection of such pieces. In the Bach Sonata the complex and sophisticated phrasing (realized by using continual breathing), in Mozart’s work the light and the articulated character, in the lovely Dohnányi piece the depth of the timbre and expression come from the tradition of the violin. In his Paganini arrangements, Ittzés aspires to make even the accordic or pizzicato parts of the original works sound convincing on the flute. In order to achieve this, he is employing the results of his experiments in this field in abundance. The possibilities which were unimaginable in Paganini’s time may produce wonders.
Gergely Ittzés admits to being an envious flautist. Not only because of the repertoire, but because the violin is richer in overtones, and in range of timbre and dynamics. But then his extraordinary playing […] is so full of astonishing overtones, timbre and dynamics that you wonder whether his envy is justified.[…] … the Paganini is a virtuoso adventure into the unknown. How does he cope with the double-stopping? […] The effects here are truly amazing, and it is often hard to believe that there is only one flautist playing.
/Pan, London, June, 2002/
SOLOS:
The album gives a cross-section of 20th century music through works which are to be played by a single flautist, following more or less the order of style development. It is not by chance that we are not mentioning solo works since in the Water-Wonder by Szemző, thanks to the digital feed back, an entire flute choir is heard. All the other works are real solos. The CD leads from Dohnányi’s extremely virtuosic late romantic work through Jemnitz, a follower of Schönberg, Szervánszky, whose music features Hungarian national elements, the Darmstadtian piece by Vidovszky to the above mentioned live electronic repetitive work. From here it continues to Sári’s exciting, often multiphonic composition and to Dubrovay, who utilizes the new possibilities of the instrument marvellously. The recording ends with Kurtág’s three short but rather dramatic and dense flute pieces.
KARG-ELERT:
This German representative of late romanticism (who was not exempt from French influences either) left a very exciting heritage for flautists. This album is so far the most complete collection of his pieces and includes, besides the works for solo flute and flute with piano, a fabulous but rarely played piece of the flute chamber literature, the quartet entitled Jugend (Youth). The interpreters focus on the exceptionally rich imagination of the composer, wishing to realize first of all his extreme, suddenly changing emotions, dynamics and timbres.
The works may seem to be overvalued due to the understanding and committed interpretation but we have a definite impression that they have a beautiful awakening from their Sleeping Beauty dream, having been so rarely played before. As we listen to them, we feel we have become richer, we have been given a gift.
/Gramofon, Budapest, July, 2000/
’Gergely Ittzés strikes me not only as a very accomplished and expressive flute player, but also as a highly intelligent and commited musician. […] … an impressive and convincing performance which reaches every corner of tonal and dynamic spectrum, arresting the listener and leaving one in no doubt as to the composer’s intention. […] It is rare to hear such great music, and to hear it played with such autority and passion makes this disk a definite ’must-have’.’
/Pan, London, June, 2002/
DOPPLER:
The works by the Hungarian flautist-composer-conductor of the Austro-Hungarian Monarchy are played even today all over the world. Besides the Fantasie Pastorale Hongroise, the duets for two flutes accompanied by piano are the most well known. These were partly composed together with his brother, Karl Doppler. On this early Ittzés recording, every piece by Franz Doppler composed for flute and piano can be heard except for the above-mentioned Hungarian Fantasy since this piece has been recorded by several artists) and it also includes a fantasy by the performer himself which is a modern version of a romantic salon work with a lot of humour, virtuosity and, especially, an entirely new, complex adaptation of polyphonic possibilities fit for the traditional flute sound as well. The other speciality is the paraphrase on Doppler’s themes by the former Liszt pupil, Anton Pfeiffer, which is demanding on the pianist as well and so, besides Schubert’s Variations, is almost the only romantic chamber work in this manner.
SÁRI:
Gergely Ittzés has been interpreting the flute works of this significant and very productive Hungarian composer for a long time with a strong devotion. Most of the pieces are canons written for several flutes. On this recording, in order to reach a homogeneous sound, Ittzés plays all the parts himself, utilizing the playback technics of modern recording technology. These special, very disciplined, minimalist pieces, which are not at all monotonous or emotion-free, achieve a calming and, at the same time, captivating effect by changing the various flute types and by the pointedly individual character of each movement. Besides Sári’s canons there is a fantasy-like virtuoso solo work on the CD, a duet composed for the flautist’s wedding (which he plays with his wife, Zsuzsanna Ittzés) and a short canon by the performer himself using three different unusual ways of articulation.
DUBOIS:
With a self-ironic smile on his face, Dubois seems to view the past and himself in a sarcastic light, at a wise distance. Dissonance in his harmonic musical world is more of a grimace than a reflection of modern-time shambolism. The predecessors’ influence can be identified in Dubois’s music. As a student of Milhaud’s he seems to have made it his mission to carry on the ideas of Les Six but he gives the post-Impressionist French tones a Russian-style contour. The salient feature of his world is humour. Dubois’s brand of humour is never coarse, superficial or sensationalist, he is not into clowning about. He always operates with highly-polished musical means.
NEWMAN:
Anthony Newman is an extremly versatile musician known around America first of all as a specialist in early music. He has recorded more than 150 CDs as an organ and harpsichord player as well as a pianist, fortepiano player or conductor. At the same time, he is also a very productive composer. Most of his works are based on the forms and harmonic language of the Baroque, the style which plays a very important role in his practice as a performer. However, he has found a very special and witty way to shape the archaic style to fit his own personality and our era. His flute pieces are generally virtuosic, energetic works. Several have been dedicated to Gergely Ittzés.
(www.anthonynewmanmusician.com)
TALIZMÁN:
The style of the Talizmán group has been influenced by jazz, rock, ethno as well as classical music. Among their models we can recognize musicians like Ralph Towner and the Oregon group, Chick Corea, Pat Metheny, the Yes or Bach, Bartók and Debussy. Even though their numbers are complex, seriously composed, they include plenty of improvisations. Their major characteristics are asymmetric rhythms, colourful harmonies, mainly modal thinking, proportional chamber sound and, last but not least, a well-prepared performance. Their live recording includes eight compositions by the group members.
MULTIPLE EGO:
The recording, as it is indicated by the title, is supposed to represent the versatile Ittzés. The works of old classics are followed by Ittzés’s compositions written in different styles. Their common feature is that he uses the possibilites of the complex flute technique (developed further partly by himself) in all of them to an extreme ― even in the ’Doppler Effect’ which recalls the style of romantic salon pieces and in Mr. Dick, which has a woogy-boogy flavour. The last two pieces are from a completely different world. They come from the repertoire of the ethno-jazz-rock group, Talizmán. The experiences obtained in Talizmán also had an important role in the artistic development of Ittzés.
(The CD is not distributed any more.)