Gyorgy Ligeti, Toros Can (piano) – György Ligeti: Etudes – Music. 1 GYORGY LIGETI Etudes for piano Piano Concerto An analysis Marilina Tzelepi 2 Gyorgy Ligeti is a very versatile composer. He lived and composed. This piece is a seriously impressive technical feat. Études by their nature tend to be very technical and highly virtuosic but this piece in.
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They both have this feeling of continuous motion, the first etude in eighth notes and this one in sixteenth notes. In the last measure of the etude, Ligeti uses a term much loved by Liszt: Lois Svard makes an interesting note: The two hands are rhythmically and technically identical in the beginning of the piece, but then by adding a note at a time in one or the other hand, Ligeti breaks this evenness and creates the illusion that the left hand remains behind ex.
In the middle of the composition, the familiar chromatic pattern of Etude No. During the s he was also introduced to electronic studio music7. There are accents and syncopations that create a jazzy feeling and the harmonies certainly make reference to impressionism.
This movement lacks the perpetual motion that characterizes the other movements. Therefore, his dynamics can only be characterized as pianistically utopian. In general, most of the etudes are harmonically vague and quite confusing to the ear.
A transition occurs, during which the sixteenth note movement ceases and gives its place to quarter notes and long syncopated rhythms. My personal question is whether or not Ligeti would have written such extremities had he been able to perform them.
There is no real theme to this movement. Ligeti wished to go a step further in the composition of pieces that fall into popular categories, such as the etude and the piano concerto. Ligeti traveled quite a bit during the next thirty years.
The tempo is very flexible, with various markings such as rallentando, allargando, accelerando and more. It seems as though Ligeti considers percussion instruments to be of great importance and this is understandable, considering the fact that his piano works are very complex rhythmically.
Gradually, more chromatic layers are added, making the harmonies even more complex ex. Help Center Find new research papers in: Enter the email address you signed up with and we’ll email you a reset link.
Toop, Ligeti had originally listed this etude as no. More specifically, the composer was drawn to the music and rhythms of South America, Africa and the Caribbean mainly after his encounter with the Puerto Rican composer Roberto Sierra. Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music.
The dynamics of the piece overstep the boundaries of the extreme — dynamics such as ffffffff appear more than once.
Études (Ligeti) – Wikipedia
The chords become harmonically more complex as the piece unfolds ex. Preludes pour piano New York: The political situation during the s and s was not in favor of music fanares.
Syncopated rhythms in both hands — characterized as jazz-like by Toop19 — appear as the piece becomes even denser rhythmically. A really odd occurrence is fanfare the right hand bears an Eb and a Db as key signature, while the left hand is marked with Bb, Ab and Gb.
Example 20 demonstrates the motion and structure of the chords. This results in a mixture of sounds that can only be characterized as haunting. Toop states that this name is in reference to a sculpture by Constanin Brancusi, whose work greatly interested Ligeti.
For the first time, pppppppp appears, followed by ffffff see ex. Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one. The title is in German, as opposed to the French titles of most of the Etudes. The sound effect reminds the listener of a swarm of bees. Throughout his life, he felt bitter and emotionally hurt by the political and social mayhem of those two decades6. We hope that over time the blog will provide useful hints and ideas danfares the creative processes of composition.
Leave a Reply Cancel reply Enter your comment here According to Svard, Ligeti considers this etude to be fanffares fugue and it appears that the melodic motif occurs quite a few times in different rhythmic values Concerto for Piano and Orchestra. After the end of the theme, chromatic motion is resumed in the left hand, which is directed to the lowest registers of the keyboard ex.
Famfares in the previous movements, motivic imitations occur among the different instruments, creating a harmonic mayhem. Log In Sign Up.