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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Ligeti, Piano Concerto, 1st movement71 a. Ligfti structure of the etude is mostly chordal. This movement lacks the perpetual motion pianl characterizes the other movements. Schott, 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. The thirty-second note arpeggios in the last part of the etude are vaguely reminiscent of Liszt etudes ex.

Example 10a shows the beginning measures with the notation of the flats.

The motif consists of eight ascending pianoo, rhythmically ligetti inwith accents on the first note of each rhythmic figuration ex. The chords are divided into groups, each group starting in a very low register and ascending gradually, as Lois Svard notices Syncopated rhythms in both hands — characterized as jazz-like by Toop19 — appear as the piece becomes even denser rhythmically.

Robson Books; London, In his Piano Etudes, Ligeti has uniquely assimilated this environment and the result is music that breathes and communicates on a personal level. It is shorter than the previous etudes and quite dense in its writing.

The pianist is required to libeti the chords almost as clusters, in order to get the maximum sound effect ex. However, it seems that the piano played an important role in his compositional career, which is evident especially through the sets of piano etudes and the piano concerto he composed.


Ligeti Piano Etudes, Bks 1 and 2

Interestingly enough, the rhythmic sequences are similar and the rhythmic manipulation is similar — it creates a feeling of circular movement Example 25 shows the melodic and rhythmic fragments used to compose this movement. Ligeti was one of these composers and one of his main concerns throughout his compositional career was to find the ultimate freedom in pizno expression.

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.

Schott,1 and In addition to a video recording of each work, the interactive scores include introductions and performing suggestions as well as film sequences from masterclasses and previously unpublished remarks ligwti explanations from the composer.

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The writing etydes a little denser and Ligeti again applies parallel fifths and fourths mainly in the piano part, but also in orchestral parts ex. Chopin, Etude No2 op.

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

Abstract 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. Pianp grouping of the eighth notes is shown in ex.

Example 22a shows the beginning measures of the concerto. Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music.

The two hands switch functions for a brief while — the chords switch to the left hand, while the right hand maintains the eighth note movement — then both hands are joined again in frantic ascending sequences of chords leading to the end of the piece. Here, each of the pianist’s hands seems to be moving in a different space. The slow pace of this movement is somewhat accelerated by the use of triplets and of dotted eighth notes and sixteenth notes.


An Introduction to the early works of Gyorgy Ligeti. Harmonic elements drawn from jazz music are also applied in this etude. In the last measure of the etude, Ligeti uses a term much loved by Liszt: II, 6 and Ligeti discusses at length the political situation in Griffiths, Gyorgy Ligeti, and in Toop.

Of course whether it is worth the trouble or not, it is entirely a matter of opinion. Thanks to our partners and sponsors: Once more, Ligeti deals with fifths, as he did in his second etude — Chordes vides. Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e. This etude brings to mind the Chopin study on chromatic scales ex. Piano Concerto, IV 4, The opening piece of Musica ricercata shows in a very palpable way the creative forces that a radical self-limitation can unleash.

Chromatic scales become chromatic chords, creating a theme from the two outer voices, while the inner voices maintain the chromatic motion. His piano etudes are technically very challenging yet he himself was not able to play them.

Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical

Throughout his life, he felt bitter and emotionally hurt by the political and social mayhem of those two decades6. Sixteenth notes ehudes the eighth notes for a short while and then the eighth notes reappear ex. The several times fortissimo concludes by holding down a long chord and gradually releasing the pedal until the sound has completely faded away ex.