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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It is shorter than the previous etudes and quite dense in its writing.
The main feature of this etude is a reoccurring motif, heard all throughout the piece, in one voice or another. In his second etude Ligeti follows this tradition by using the interval of a fifth.
As one might expect, his etudes are quite different than those of Chopin, Liszt and the rest of the great etude composers of the past few centuries There are accents and syncopations that create a jazzy feeling and the harmonies certainly make reference to impressionism. The title is in German, as opposed to the French titles of most of the Etudes. The writing becomes a little denser and Ligeti again applies parallel fifths and fourths mainly in the piano part, but also in orchestral parts ex.
Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music. The first three etudes are dedicated to Pierre Boulez for his sixtieth birthday, as Richard Toop informs us There is continuous motion in all three etudes and their themes can be easily distinguished.
Griffiths, Gyorgy Ligeti, Fryderyk Chopin Institut, 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 ascending and descending chromatic motion throughout the etude ex.
Ligeti takes dynamics to the extreme, by marking pppppp to ffffff, as demonstrated in ex. In his first book of etudes, the differences are less extreme and less extensive than in the late volume.
The feeling created by listening to this work is similar to that occurring from watching a Hitchcock movie: A lower voice consisting of syncopations appears, to be followed by the introduction of a theme in the higher voice ex. Etudes pour piano Vol.
Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical
Ligeti Etudes pour piano, The rhythmic flow goes uninterrupted to the end of the piece. Piano Concerto, IV 4, Eighth notes and chords alternate or are combined, chromatically ascending, reaching their peak, in the form of a chord marked ffffffff.
The motif consists of eight ascending notes, rhythmically arranged inwith accents on the first note of each rhythmic figuration ex. Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one. The political situation during the s and s was not in favor of music development.
Études (Ligeti) – Wikipedia
Enter the email address you signed up with and we’ll email you a reset link. It features a violent rhythmic pulse maintained by eighth notes. Lois Svard, Gyorgy Ligeti Etudes pour piano, Interestingly enough, the rhythmic sequences are similar and the rhythmic manipulation is similar — it creates a feeling of circular movement It is highly polyphonic and in its harmonic construction, jazz influences are evident.
The theme appears again in the last part of the etude and the chromatic line thins again, reaching its original scale form to end the composition. However, he is very successful in maintaining his own personal compositional style.
Ligeti: Etudes pour piano
The two hands switch functions for a brief while — the chords switch to the left hand, while the right hand maintains the eighth rtudes movement — then both hands are joined again in frantic ascending sequences of chords leading to the end of the piece. Toop comments on the fact that the instruments are pushed to their low or high extremes The last part of the etude is different: Efudes this etude, Ligeti starts exaggerating more in the dynamics.
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.
It was with the piano collection Musica ricercata that the Hungarian composer laid the foundations of an individual musical language in the early s. Example 22a shows the beginning measures of the concerto. Ligeti was first introduced to Julia and Mandelbrot sets inToop notes.
Toop seems to believe that there are many more similarities to the Lisztian etudes in this volume The first book of the Etudes pour piano was composed ineighteen years since he last composed for the piano.
According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above After a while, quarter notes give their place to eighth notes, creating a slightly more flowing pace that ligsti to the end of the etude.
According to Richard Toop, the titles are made up and linked to the pieces after they are composed.
The orchestration of the concerto contains an extensive amount and variety of percussion instruments, apart from the regular strings, brass and woodwinds. Rachmaninoff, Etude-Tableau No9 op. This shows again his reference to jazz music; only this time the pace is much slower than that in the previous pieces. This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions The structure of the etude is mostly chordal.
Pino are strong accents and syncopations between the chords ex. Ligeti over-exaggerates the dynamics, not taking into consideration that the piano as an instrument can only produce certain levels of soft and loud sound.
Ligeti was one of these composers and one of his main concerns throughout his compositional career was to find the ultimate freedom in music expression. The period beginning in the s brought about a period of musical experimentations for Rtudes.