In Kurtág’s Double Concerto, cellist Matt Haimovitz joined Kretzschmar and two identical chamber ensembles. The work was anchored in the duo’s imitative lines, surrounded by clouds of spiky droplets in paired harps, celestas, mallets, and cimbaloms, large hammered dulcimers common in Hungarian music. In later sections, antiphonal brass choirs supplied complementary bombast to Kretzschmar’s enormous dynamic range and precise, frenetic fingerwork.
“What an amazing piece the Kurtag is!” said Haimovitz. “I did not know the Double Concerto. It’s an ingenious and complex microtonal score with each soloist in charge of an ensemble within the orchestra.
“I would have agreed to play it in Siberia….but I’ll take Miami.”