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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Études (Ligeti) – Wikipedia
Etudes pour piano vol. The rhythmic flow goes uninterrupted to the end of the piece. The orchestration in general is fairly sparse, with the exception of the percussion section, which seems to be somewhat antagonistic of the piano score ex.
A subito ppp emerges from the mayhem and leads back to the original eighth note motion. Click here to sign up.
Overall, this work is very extreme, both technically and acoustically. The main feature of this etude is a reoccurring motif, heard all throughout the piece, in one voice or another. Please log in using one of these methods to post your comment: Robson Books, The pianist is required to perform the chords almost as clusters, in order to get the maximum sound effect ex. Example 20 demonstrates the motion and structure of the ligfti. This creates a rhythmic atmosphere strongly resembling South American rhythms — strong beats and the motif.
Ligeti: Etudes pour piano
This is a blog for staff and students in the Composition Program at Monash University. The right hand moves in the white keys while the left hand in the black keys and they alternate. They both have this feeling of continuous motion, the first etude in eighth notes and this one in sixteenth notes.
Of course whether it is worth the trouble or not, it is entirely a matter of opinion. Toop also refers to this fact During his stay fanfarea Berlin, Hamburg, Vienna and other important European ligwti centers he came into contact with the music of Berg, Schoenberg and Webern, composers who had formed the second Viennese School.
There is highly chromatic motion in both scale and chordal patterns ex. After the end of the theme, chromatic motion is resumed in the left hand, which is directed fanfaers the lowest registers of the keyboard ex.
The third movement is virtually a perpetuum mobile. The harmonic aspect of the work is, in my opinion, definitely worthy of its title. Although he was in awe of the piano virtuosos, he himself never reached that level of performance3 — his technique was at a medium level. Lois Svard, Gyorgy Ligeti, Etudes pour piano.
II, 6 and The writing becomes a little denser and Ligeti again applies parallel fifths ligetii fourths mainly in the piano part, but also in orchestral parts ex. There is continuous motion in all three etudes and their themes can be easily distinguished.
The slow pace of this movement is somewhat accelerated by the use of triplets and of dotted eighth notes and sixteenth notes. Rachmaninoff, Etude-Tableau No9 op. His etudes are a synthesis of the various musical, rhythmical and compositional ideas to which fqnfares has been exposed throughout his compositional career, as I will discuss.
His ranfares were of Jewish origin and both shared a great love fanfafes music, although they themselves did not play any instruments. The piece begins with a descending chromatic scale in the right hand, that is joined by a similar chromatic scale on the left hand shortly after and there is a continuous lieti and descending chromatic motion throughout the etude ex.
This movement lacks the perpetual motion that characterizes the other movements. Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music. As mentioned above, the motion of sixteenth notes is continuous, sometimes in both hands and sometimes in one hand, with the other hand playing a melody consisting of syncopated rhythms ex.
Trois Etudes de Concert Paris: It features a violent rhythmic pulse maintained by eighth notes.