Two Kinds of Infinity Anna Rákóczy

• Johann Sebastian Bach (1685 - 1750): Suite No 4 in E-Flat Major, BWV 1010:
• 1 J.S. Bach: Suite No 4 in E-Flat Major, BWV 1010: Prelude 04:37
• 2 J.S. Bach: Suite No 4 in E-Flat Major, BWV 1010: Allemande 04:51
• 3 J.S. Bach: Suite No 4 in E-Flat Major, BWV 1010: Courante 04:16
• 4 J.S. Bach: Suite No 4 in E-Flat Major, BWV 1010: Sarabande 05:37
• 5 J.S. Bach: Suite No 4 in E-Flat Major, BWV 1010: Bourrée I – II – I 04:57
• 6 J.S. Bach: Suite No 4 in E-Flat Major, BWV 1010: Gigue 02:45
• Barnabás Dukay (b. 1950): Abandoned Path Toward The Misty Distance:
• 7 Dukay: Abandoned Path Toward The Misty Distance 24:14
• Total Runtime 51:17

Info for Two Kinds of Infinity

Playing Bach on a solo flute, with the instrument's limitations and the fragility of its sound, seems to me in a sense to be the opposite of the perfection that defines Bach's music. But perhaps it is precisely between the instrument’s fragility and the music’s perfection that the arc is drawn — a rainbow-bridge between the divine and the human.

How does one play on flute a work written originally for cello? During my time with Covid, I played through the cello suites. I spent a great deal of time with the E-flat major Suite and it taught me to listen more deeply, to seek solutions and explore harmonic and melodic relationships in ways I had never experienced before. Gradually, I began performing it wherever people would listen — concert halls, churches, gardens, homeless shelters — and eventually I felt that my version of the E-Flat major suite had developed a voice of its own. I see this version more as a stage in an ongoing process — one that nonetheless embraces the full responsibility and stakes of transcription, allowing the work’s inner possibilities and features to emerge in a new light.

Anna Rákóczy, flute

Anna Rákóczy
flutist graduated at the Liszt Ferenc Academy of Music under Zoltán Gyöngyössy.  She was awarded the Scholarship of the Hungarian Republic and a Fulbright Scholarship to the Peabody Conservatory (Johns Hopkins University, Maryland, USA), where she received a Master’s degree in flute with distinction and special prize in 2004, as a student of Marina Piccinini.  International festival appearances: National Orchestral Institute (2002); International Festival Institute at Round-Top, Texas (2003); Lucerni Fesztivál (Pierre Boulez vezényletével (2004); Arcus Temporum, Pannonhalma (2012, 2013); International Bartók Seminar, Szombathely (2015). Her masters include also István Matuz and Barthold Kuijken.

She is a founding member of the Qaartsiluni Ensemble (2012, artistic director Lajos Rozmán), which has appeared on stages in Slovakia, the Czech Republic, Poland, Romania, Crna Gora, Armenia, Austria and Switzerland.  She is co-leader of the Metrum Ensemble, the successor to the Qaartsiluni Ensemble. As a soloist and chamber musician, she has performed at the Tonhalle Zurich, BMC, Hungarian Radio, Liszt Academy, TRAFÓ, FUGA, among others. 

Anna Rákóczy’s collaborations with renowned contemporary composers such as Barnabás Dukay, Ádám Kondor, Marián Lejava, József Sári and László Sáry have resulted in Hungarian and foreign premieres, recordings and radio recordings of numerous solo and chamber works.  As chairman of the board of trustees of the In-Spiral Art Foundation, she co-organises the minifestival “Encounters on the Path” at the Monastery of St Mauricius in Bakonybél.

Booklet for Two Kinds of Infinity