135 DOI: 10.12871/978886741842810 Abstract The use of pre-existing music in new works is a widespread practice in György Kurtág’s V\[W\[ JVUZPKLYPUN [OL U\TILY VM ｺYLJVTWVZP[PVUZｻ [OH[ OL OHZ ILLU ^YP[PUN ZPUJL the Seventies. Among these, works such as the 6ɉJP\T IYL]L PU TLTVYPHT (UKYLHL Szervánszky op. 28 and the /VTTHNL n 9:JO VW K OH]L YLWLH[LKS` ILLU H Z\IQLJ[ of interest for musicologists, due to their complex construction and to the richness of their implications, whereas Kurtág’s more traditional piano transcriptions from Machaut to Bach have been neglected so far. Nonetheless, these transcriptions deserve our attention not only for their relatively large extent, but also for their intentional seeming naivety in a SH[L WVZ[TVKLYUPZ[ JSPTH[L" TVYLV]LY .`YN` HUK 4mY[H 2\Y[mN UL]LY TPZZ [OL JOHUJL to play a selection of them in their concerts. This article, therefore, examines Kurtág’s transcriptions focusing particularly on the Bachian corpus mainly composed in the winter of 1985 after some choral preludes. Thanks to a close investigation of the rewriting [LJOUPX\LZ LTWSV`LK 2\Y[mNｻZ [YHUZJYPIPUN WYVJLZZ WYV]LZ [V IL JVUZ[HU[S` KYP]LU I` HU analytical insight, and thus aimed to an enhancement of the Bach’s fabric. Furthermore, these transcriptions show a subtle closeness between Kurtág’s and Bach’s approaches to the creative practice, which both of them conceive as a creatio alio modo, rather than ex nihilo. * 7HY[L KP X\LZ[V JVU[YPI\[V u Z[H[H WYLZLU[H[H HS JVU]LNUV PU[LYUHaPVUHSL KP Z[\KP organizzato dall’Istituto di Musicologia dell’Accademia ungherese delle Scienze in occasione del 90° compleanno di György Kurtág (Budapest, 2-3 giugno 2016) e al XXIII Convegno della Società Italiana di Musicologia (Como, 21-23 ottobre 2016), nell’ambito KP K\L PU[LY]LU[P WP HTWP Z\SSH YPZJYP[[\YH JVTL WYH[PJH JYLH[P]H PU 2\Y[mN Alio modo: sulle trascrizioni bachiane di György Kurtág * MARILENA LATERZA Università degli Studi di Milano marilena.laterza@unimi.it