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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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Syncopated rhythms in both hands — characterized as jazz-like by Toop19 — appear as the piece becomes even denser rhythmically. As stated earlier, Ligeti was enraptured by fanfraes etudes of various composers from an early age. Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music.

There is no rhythmic notation and the two hands bear different key signatures. Another very interesting aspect of the piece is that it is ridiculously dynamic, with a range from pppppppp to ffffff.

Ligeti: Etudes pour piano

This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions 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. This etude brings to mind the Chopin study on chromatic scales ex. This site uses cookies.

The two hands switch functions for a brief fanfarws — the chords switch to the left hand, while the right hand maintains the eighth note movement — then both hands fanfaree joined again in frantic ascending sequences of chords leading to liteti end of the piece. The two hands are rhythmically and technically identical in the beginning of the piece, but then by adding a note at a time in one or the other hand, Ligeti breaks this evenness and creates the illusion that the left hand remains behind ex.


Therefore, his dynamics can only be characterized as pianistically fanfarez. 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. He lived and composed during decades that were crucial for the formation of various new tendencies in music.

György Ligeti – Etude no.4 “Fanfares” | Monash Composers

Svard also notices that there are frequent offbeat accents that amplify the rhythmic perplexity of the etude His parents were of Jewish origin and both shared a great love for music, although they themselves did not play any instruments.

Its main feature is the horrifying, scream-like sounds produced mainly by wind instruments. According to Richard Toop, the titles are made up and linked to the pieces after they are composed. The sound effect reminds the listener of a swarm of bees. II, 58 and You are commenting using your Twitter account. The dynamics of the piece overstep the boundaries of the extreme — dynamics such as ffffffff appear more than once.

The various influences to which he has been exposed through the years are evident in his compositions. During those decades, Ligeti was subject to various music influences, including those of the avant-garde, the ligrti and of the American minimalist school, as Richard Toop informs us8.

Etudes pour Piano vol.

Vanfares, more chromatic layers are added, making the harmonies even more complex ex. Example 20 demonstrates the motion and structure of the chords. 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.

Svard, Ligeti Etudes pour Piano, Combined with this constant, pulse-like ostinato is an interesting rhythm in the chords. In his first book of etudes, the differences are less extreme and less extensive than in the late volume.


Études (Ligeti)

The theme appears between the sixteenth notes and is reinforced with strong accents. Instead, quarter notes and longer values are applied.

Towards the end of the etude, the composer makes the harmonies even denser, by applying chords instead of octaves. The grouping of the eighth notes is shown in ex.

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

There is no real theme to this movement. The piano takes part in this interaction 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 beginning motif reappears in its original form and opposing chromatic scales in the two hands lead to the conclusion. There are accents and syncopations that create a jazzy feeling and the harmonies certainly make reference to impressionism. There are very sudden differences in nuances — subito lugeti and f and the etude ends quietly in pppp.

Leave a Reply Cancel reply Enter your comment here Enter the email address you signed up with and we’ll email you a reset link. Ligeti discusses at length the political situation in Griffiths, Gyorgy Ligeti, and in Toop.

Toop, Ligeti had originally listed this etude as no. According fanfarfs Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above Ligeti, Etude No2, mm. Toop also refers to this fact Etudes pour piano vol. His etudes for piano and Piano Concerto – An analysis.