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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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. Combined with this constant, pulse-like ostinato is an interesting rhythm in the chords. The last part of the etude is different: Ligeti, however, was not totally satisfied until he completed and added two more movements to it, giving it its final form in Toop, Gyorgy 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.
A really odd occurrence is that the right hand bears an Eb and a Db as key signature, while the left hand is marked with Bb, Ab and Gb. The persistent eight notes are strongly reminiscent of the toccata style.
Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one. The slow pace of this movement is somewhat accelerated by the use of triplets and of dotted eighth notes and sixteenth notes.
The melodic motifs are rhythmically diverse and the application of accents helps rising them above the perpetual motion level. Throughout his life, he felt bitter and emotionally hurt by the political and social mayhem of those two decades6.
The main reasons for this change were the disasters that occurred during his stay in Santa Monica, California indue to horrible weather conditions. The main feature of this etude is note repetition. In addition, the eighth note triplets of this movement foreshadow patterns later applied in Etude no.
The piano takes part in this interaction fanfards. Email required Address never made public. Toop mentions that a year and a half after he started composing the concerto, Ligeti had written three movements, premiered in Austria in This is a blog for staff and students in the Composition Program at Monash University.
György Ligeti – Etude no.4 “Fanfares” | Monash Composers
A key signature consisting of five flats appears in the left hand, then in the right. Click here to sign up.
My personal question is whether or not Ligeti would have written such extremities had he been able to perform them. Their parts are very dense and together with the percussion section they help maintain the rhythmic pulsation.
Ligeti: Etudes pour piano
ligsti The main feature of this etude is a reoccurring motif, heard all throughout the piece, in one voice or another. To find out more, including how to control cookies, see here: The political situation during the s and s was not in favor of music development.
Then, the perpetual motion stops and a quite different middle section begins. There is no real theme to this movement. Therefore, his dynamics can only be characterized as pianistically utopian. Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds.
Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical
Towards the end of the etude, the composer makes the harmonies even denser, by applying chords instead of octaves.
Ligeti was not a piano virtuoso. A transition occurs, during which the sixteenth note movement ceases and gives its place to quarter notes and long syncopated rhythms. Arc-en-ciel contains sixteenth notes, in groups of four or triplets and chromatic chords in ascending lugeti descending motion.
By continuing to use this website, you agree to their use. He is fandares to state so. International Music Company Rachmaninoff, Etude-Tableau No9 op.
In the middle ligetl the composition, the familiar chromatic pattern of Etude No. After the end fanfared the theme, chromatic motion is resumed in the left hand, which is directed to the lowest registers of the keyboard ex. This piece is a seriously impressive technical feat. According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above It seems as though the elements on which the fourth movement is based undergo certain changes that help link it to the movement that is about to follow.