The pre-eminent classical piano music to have emerged over the last half century , Ligeti’s Etudes have received numerous recordings – both in part and as a. In Ligeti’s own description of the Piano Etudes, he says, they are “Etudes in a compositional and pianistic sense”1 that “behave like growing organisms.”2 Upon. “Désordre” (), the first etude in the first book of piano etudes by György Ligeti . (–). After explaining how Gestalt principles can be applied to the.

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After the end of the theme, chromatic motion is resumed in the lligeti hand, which is directed to the lowest registers of the keyboard ex. Arc-en-ciel contains sixteenth notes, in groups of four or triplets and chromatic chords in ascending or descending motion. At the end of the piece, the pianist finds himself at the extreme of both the high and low registers.

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.

Pierre-Laurent Aimard opens a world of imagination in Ligeti’s piano music | Music | The Guardian

Toop seems ligeit believe that there are many more similarities to the Lisztian etudes in this volume Etudes pour piano vol. Schott, 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.


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.

In his Piano Etudes, Ligeti has uniquely assimilated this environment and the result is music that breathes and communicates on a personal level.

However, in this etude a sostenuto pedal is applied for several measures at a time ex. Ligeti, Piano Concerto, 1st movement71 a.

Ligeti Piano Etudes, Bks 1 and 2

However, he is very successful in maintaining his own personal compositional style. Syncopated rhythms in both hands — characterized as jazz-like by Toop19 — appear as the piece becomes even denser rhythmically. The persistent eight notes are strongly reminiscent of the toccata style. Their parts are very poano and together with the percussion section they help maintain the rhythmic pulsation. The tempo is very flexible, with various markings such as rallentando, allargando, accelerando and more.

The theme appears between the sixteenth notes and is reinforced with strong accents. Toop states that etuddes name is in reference to a sculpture by Constanin Brancusi, whose work greatly interested Ligeti. One hand keeps the motion going while the other hand introduces a melodic motif, imitated first by the flute and then by the strings ex.

The dynamics of the piece overstep the boundaries of the extreme — dynamics such as ffffffff appear more than once. Piano Concerto, IV The grouping of the eighth notes is shown in ex. Some features of this site may not work without it.

This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions In addition, Ligeti showed an interest for African rhythms during the s and he integrated piqno elements of African tradition in his works at this time9.


It includes rhythmic and melodic elements of all the concerto movements. The rhythm changes as triplets piaho to appear in each hand. Click here to sign up. Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e.

Interestingly enough, the rhythmic etufes are similar and the rhythmic manipulation is similar — it creates a feeling of circular movement Phaidon Press Ltd, Studies in composition and pianism. Chopin, Etude No2 op.

Its main feature is the horrifying, scream-like sounds produced mainly by wind instruments. The sixteenth notes are ligetj in groups of four and in the beginning the same note is repeated in a range of 3 octaves ex. Author Tsong, Mayron Kacy. There is no real theme to this movement. Ligeti was first introduced to Julia and Mandelbrot sets inToop notes. The eighth notes start again, ascending from the lowest register. Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one.

Ligeti, according to Toop, considers the fourth movement as the core of the composition, being as lengthy and as difficult as the first movement However, the complicated, lkgeti highly organized configuration does not detract liegti poetic expression.