Anna Prohaska and Isabelle Faust have recorded one of Kurtág’s most challenging vocal cycle, Kafka-Fragmente. This album has been widely celebrated in reviews:
“Kafka Fragments needs no visual enhancement to cast its spell, and Prohaska and Faust’s recording is among the best of what has become one of Kurtág’s most frequently recorded works.” (The Guardian)
“Kurtág is never an easy listen, but in a disc as indispensable as this, he’s an essential one.” (BBC Music Magazine)
“It is a phenomenal feat from both performers, and a roller-coaster of an hour both emotionally and in terms of the awe I consistently felt as the pair made apparent ease of the panoply of technical demands placed upon both of them.” (prestomusic)

Alessandra Rombolà with her musician partners has made a first complete recordings of Kurtág’s solo and chamber music works with flute. As Candida Felici reminds us: “In Kurtág’s works for solo flute or in ensemble, we find all the characteristic features of his musical language: theatricality of the musical gesture, expressive value of the interval; connection with the word and its intonation; symmetrical writing through expansions and contractions of cells in the sound space, aphoristic and fragmentary writing; reworking and self-quotation. Moreover, these pieces show a humanistic approach, where music, while avoiding any consolatory intent, becomes memory, communication, and sign of affection.”

Kurtág’s compositions for solo violin appear on Movses Pogossian’s forthcoming release. Dan Lippel summarizes the close relationship of composer and performer: “Movses Pogossian’s Hommage à Kurtág honors the special place that the eminent composer holds in Pogossian’s musical life. As a coach, mentor, and spiritual guru through music, Kurtág has had a profound impact on so many musicians that he has interacted with. This album features Kurtág’s Signs, Games, and Messages for Solo Violin, a sixteen-movement masterpiece of subtlety, brevity, and densely packed expressive meaning.”