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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The melodic motifs are rhythmically diverse and the application of accents helps rising them above the perpetual motion level.
They both have this feeling of continuous motion, the first etude in eighth notes and this one in sixteenth notes. The title is in German, as opposed to the French titles of most of the Etudes.
Ligeti: Etudes pour piano
Example 10a shows the beginning measures with the notation of the flats. International Music Company In addition, the eighth note triplets of this movement foreshadow patterns later applied in Etude no.
The main feature of this etude is a reoccurring motif, heard all throughout the piece, in one voice or another. 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.
Once more, Ligeti deals with fifths, as he did in his second etude — Chordes vides. This movement lacks the perpetual motion that characterizes the other movements. At the end of the piece, the pianist finds himself at the extreme of both the high and low registers.
He is justified to state so. During those decades, Ligeti was subject to various music influences, including those of the avant-garde, the serialists and of the American minimalist school, as Richard Toop informs us8. This ligegi also reminiscent of the first etude, where the two hands were unsynchronized.
This section is ligei and the chords are marked fff — ffffff. Piano Concerto, II, Preludes pour piano New York: The same principles are applied here as in the etudes: Example 22a shows the beginning measures of the concerto. Until that time, Ligeti had only composed short piano pieces such as bagatelles, capriccios, an invention and some etudes for organ The rhythmic pulse becomes more complex with the combination of the piano part and the percussion part.
The second movement is the slowest movement.
Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical
He wrote two volumes of etudes, the first containing six works and the second containing eight. Of course whether it is worth the trouble or not, it is entirely a matter of opinion. We intend to keep a record of our study, thinking and compositional projects to document our work, show the world outside what we do and invite comment. There is highly chromatic motion in both scale and chordal patterns ex. The piano takes part in this interaction ex.
In general, his etudes are at a high level of difficulty, technical and rhythmical — they include complex rhythms and demanding technical passages. Trois etudes de fajfares. This is a blog for staff and students in the Composition Program at Monash University. The right hand chromatic chords move towards the high register of the piano, while the theme emerges even more clearly in the left hand ex.
Etudes pour piano vol. Piano Concerto, V 1, 8. A different piano work by Ligeti that shares compositional characteristics with the etudes is his Fanfarse Concerto. Although he was in awe of the piano virtuosos, he himself never reached that level of performance3 — his technique was ligrti a medium level.
As the piece continues, the range is often 2 octaves lgeti to lead eventually to repeated notes, in groups of either three or four canfares. Ligeti, Etude No2, mm. Toop, Gyorgy Ligeti, — The piece begins with a descending chromatic scale in the right hand, that is joined by lligeti similar chromatic scale on the left hand shortly after and there is a continuous ascending and descending chromatic motion throughout the etude ex.
Example 20 demonstrates the motion and structure of the chords.
For the first time, pppppppp appears, followed by ffffff see ex. Their parts are very dense and together with the percussion section they help maintain the rhythmic pulsation.
György Ligeti – Etude no.4 “Fanfares” | Monash Composers
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. The sound effect reminds the ligsti of a swarm of bees. Ligeti discusses at length the political situation in Griffiths, Gyorgy Ligeti, and in Ligeit. According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above You are commenting using your Facebook account.
This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions The various influences to which he has been exposed through the fanfaers are evident in his compositions. The rhythm changes as triplets begin to appear in each hand.
A transition occurs, during which the sixteenth note movement ceases and gives its place to quarter notes and long syncopated rhythms. Combined with this constant, pulse-like ostinato is an interesting rhythm in the chords.
Chopin, Etude No2 op. Lois Svard makes an interesting note: