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I still retain a vivid memory of a concert in London’s Queen Elizabeth Hall in December 2013 at which Hungarian composer György Kurtág and his wife Márta sat at an upright piano with their backs to the audience and played excerpts from his Játékok collection of progressive teaching pieces, interspersed with arrangements of Bach chorale preludes for piano duet (Pictured below). The audience might have been eavesdropping on an afternoon of private music-making.
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