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.

Author: Zugor Dogami
Country: Iraq
Language: English (Spanish)
Genre: Automotive
Published (Last): 3 August 2017
Pages: 30
PDF File Size: 8.95 Mb
ePub File Size: 9.72 Mb
ISBN: 677-6-79903-263-1
Downloads: 95140
Price: Free* [*Free Regsitration Required]
Uploader: Kazrajora

My personal question is whether or not Ligeti would have written such extremities had he been able to perform them.

Toop states that this name is in erudes to a sculpture by Constanin Brancusi, whose work greatly interested Ligeti. It features a violent rhythmic pulse maintained by eighth notes.

Harmonic elements drawn from jazz music are also applied in this etude. The rhythm changes as triplets begin to appear in each hand.

The chords become harmonically more complex as the piece unfolds ex. Rachmaninoff, Etude-Tableau No9 op. The rhythmic pulse becomes more complex with the combination of the piano part and the percussion part. They both have this feeling of continuous motion, the first etude in eighth notes and this one in sixteenth notes.

Ligeti: Etudes pour piano

II, 6 and 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. After the end of the theme, chromatic motion is resumed in the left hand, which is directed to the lowest registers of the keyboard ex. Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds.


There is no rhythmic notation and the two hands bear different key signatures. According to Svard, Ligeti considers this etude to be a fugue and it appears that the melodic motif occurs quite a few times in different rhythmic values During his studies at the Budapest Academyhis compositions had evident traces of Bartok, as well as of Stravinsky — another composer much admired by Ligeti5.

Toop mentions that a year and a half after he started composing the concerto, Ligeti had written three movements, premiered in Austria in It is shorter than the previous etudes and quite dense in its writing. An Introduction to the early works of Gyorgy Ligeti. He is justified to state so. Overall, this work is very extreme, both technically and acoustically.

The same principles are applied here as in the etudes: In his Piano Etudes, Ligeti has uniquely assimilated this environment and the result is music that breathes and communicates on a personal level. Trois etudes de concert. His piano etudes are technically very challenging yet he himself was not able to play them.

Then, the perpetual motion stops and a quite different middle section begins. As stated earlier, Ligeti was enraptured by piano etudes of various composers from an early age. Their parts are very dense and together with the percussion section they help maintain the rhythmic pulsation.

Ligeti wished to go a step further in the composition of pieces that fall into popular categories, such as the etude and the piano concerto. Lois Svard, Gyorgy Ligeti Etudes pour piano, Etudes pour piano vol.

The structure of the etude is mostly chordal. In addition, it appears that Warsaw Autumn also refers to a Pano annual music festival, in which Ligeti took part during the s Author Tsong, Mayron Kacy. As in the previous movements, motivic imitations occur among the different instruments, creating a harmonic mayhem. It is highly polyphonic and paino its harmonic construction, jazz influences are evident.


At the end of the piece, the pianist finds himself at the extreme of both the high and low registers.

The string instruments play an important role in the fifth movement of the concerto. Example 25 shows the melodic and rhythmic fragments used to compose this movement.

Ligeti Piano Etudes, Bks 1 and 2 |

This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions Phaidon Press Ltd, In addition, Ligeti showed an interest for African rhythms during the s and he integrated some elements of African tradition in his works at this time9.

The third movement is virtually a perpetuum mobile. In general, most of the etudes are harmonically vague and quite confusing to the ear. This movement lacks the perpetual motion that characterizes the other movements.

There are very sudden differences in nuances — subito p and f and the etude ends quietly in pppp.

Pierre-Laurent Aimard opens a world of imagination in Ligeti’s piano music

Ligeti started writing his piano concerto in and the final version of it was not completed until Schott, Piano Concerto, IV 4, During the s he was also introduced to electronic studio music7. Syncopated chords and sixteenth notes also appear in various combinations.

Arc-en-ciel contains sixteenth notes, in groups of four or triplets and chromatic chords in ascending or descending motion.