{"content":"\n    <div class=\"detail-content\">\n        \n        <strong>About work:</strong> <p>I began composing Intermezzo for 6 Flutes in Baranow, Poland (the memorable meeting Spotkania muzyczne 1976; about 15 Slovak composers and musicians, including me, who attended it, were later harassed by the communist establishment). I chose this title (no connection with Brahms) because the time spent in Baranow, and a few days later in Warsaw at the Warsaw Autumn Festival, filled me with totally unwarranted optimism: I thought the communist crackdown after the Prague Spring had ended (it lasted nine more years, if we consider glasnost). Three years later, as if to confirm my inner and professional optimism, I wrote my second Intermezzo for 12 Cellos. This title thus for me began designating works for homogenous instrumental combinations (two more compositions followed, one for pianos, and Intermezzo No. 4 per 5 corni, 1998). Intermezzo for two pianos was premiered excellently by tonight’s musicians in December 1996 on a concert organised by the ISCM – Slovak Section, and performed a year later on the Melos-Ethos Festival. The work follows Lutosławski’s idea of building the form from two blocks: the opening sequence of several (five, in this case) short sections as an “exercise” (for everybody – the composer, the pianists, the listeners, and the composition itself) followed by the main section (a continuous build-up).</p><br>\n        \n        <br>\n        \n\n        <p>\n                <p><strong>First performance in Slovakia</strong></p>\n                \n                \n                1996,\n                SK\n\n<br><span class=\"type\">Performers: </span>Miki Skuta (pf)\n                <br>\n\n\n            </p>\n    </div>\n"}