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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With ten fingers, the pianist plays up to seven different layers, each with its own tempo, dynamics and tone colour. Although he was in awe of the piano virtuosos, he himself never reached that level of performance3 — his technique was at a medium level. There are very sudden differences in nuances — subito p and f and the etude ends quietly in pianno. It was during the same decade that he wrote some of his most important compositions for the piano — the two volumes of Etudes pour le piano.
Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical
Parallel fifths appear again in the piano score. The several times fortissimo concludes by holding down a long chord and gradually releasing the pedal until the sound has completely faded away ex. This results in a mixture of sounds that can only be characterized as haunting. The chromatic element again is present, combined with syncopation in the opposite hand.
It demands not only the greatest possible hand control but also an infallible sense of tone colour as well as extraordinary powers of perception. Griffiths, Erudes Ligeti, Once more, Ligeti deals with fifths, as he did in his second etude — Chordes vides. Toop seems to believe that there are many more similarities to the Lisztian eutdes in this volume Harmonic elements drawn from jazz music are also applied in this etude. Edition Francaise de Musique Classique: However, it seems that the piano played an important role in his compositional puano, which is evident especially through the sets of piano etudes and the piano concerto he composed.
Ligeti discusses at length the political situation in Griffiths, Gyorgy Lligeti, and in Toop.
Remember me on this computer. Each rhythmic or melodic instance does not last liheti than three measures at a time. Thus, the two hands play two different scales, both whole-tone.
Lois Svard makes an interesting note: It was with the piano collection Musica ricercata that the Hungarian composer laid the foundations of an individual musical language in the early s. There is highly chromatic motion in both scale and chordal patterns ex.
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. Ligeti was first introduced to Julia and Mandelbrot sets inToop notes.
My personal question is whether or not Ligeti would have written such extremities had he been able to perform them. The eight etudes of the second book are considered to be etudees more difficult and complex than those found in the first book. Eulenburg Books, According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above Piano Concerto, V 1, 8.
The sixteenth notes appear once again, this time in the form of repeated arpeggios in the right hand, while etdues left hand continues in the same way as in the transitional pian ex.
Of course whether it is worth the trouble or not, it is entirely a matter of opinion. 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.
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. The harmonic aspect of the work is, in my opinion, definitely worthy of its title. Then, the perpetual erudes stops and a quite different middle section begins. The next etude is different. Log In Sign Up. Ligeti considered Bartok to be one of the most important composers and followed his lead in many ways.
Ligeti Etudes pour piano, It is shorter than the previous etudes and quite dense in its writing. It is highly polyphonic and in its harmonic construction, jazz influences are evident. Example 20 demonstrates the motion and structure of the chords.
The motif consists of eight ascending notes, rhythmically arranged inwith accents on the first note of each rhythmic figuration ex. Interestingly enough, the Ligeti and Liszt etudes have the same number no. The various influences to which he has been exposed through the years are evident in his compositions. However, the etudes undoubtedly hold an important place in the contemporary piano repertoire. In the last measure of the etude, Ligeti uses a term much loved by Liszt: This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions