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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Sixteenth notes replace the eighth notes for a short while and then the eighth notes reappear ex. The slow pace of this movement is somewhat accelerated by the use of triplets and of dotted eighth notes and sixteenth notes. Example 10a shows the beginning measures with the notation of the flats.
Overall, this work is very extreme, both technically and acoustically.
The rhythmic groupings are shown in example 18a. A different piano work by Ligeti that shares compositional characteristics with the etudes is his Piano Concerto. Trois Fanfqres de Concert Paris: This section is slow and the chords are marked fff — ffffff. Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one.
Ligeti: Etudes pour piano
The first three etudes are dedicated to Pierre Boulez for his sixtieth birthday, as Richard Toop informs us II, 58 and The next etude is different. The writing becomes a little denser and Ligeti again applies parallel fifths and fourths mainly in the piano part, but also in fanrares parts ex.
Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music. More specifically, the composer was drawn to the music and rhythms of South America, Africa and the Caribbean mainly after his encounter with the Puerto Rican composer Roberto Sierra.
György Ligeti – Etude no.4 “Fanfares” | Monash Composers
Interestingly enough, the rhythmic sequences are similar and the rhythmic manipulation is similar — it creates a feeling of circular movement Ligeti Etudes pour piano, As one might expect, his etudes are quite different than those of Chopin, Liszt and the rest of the great etude composers of the past few centuries There is no real theme ligeyi this movement. Danfares eight etudes of the second book are considered to be even more difficult and fanvares than those found in the first book.
Interestingly enough, the Ligeti and Liszt etudes have the same number no. Email required Address never made public. In this etude, Ligeti starts exaggerating more in the dynamics. This piece is a seriously impressive technical feat. Although he was in awe of the piano virtuosos, he himself never reached that level of performance3 — his technique was at a medium level. Ligeti was not a piano virtuoso. Gradually, more chromatic layers are added, making the harmonies even more complex ex.
There are very sudden differences in nuances — subito p and f and the etude ends quietly in pppp. Etudes pour Piano vol. The motif consists of eight ascending notes, rhythmically arranged inwith accents on the first note of each rhythmic figuration fanfarew.
Lois Svard observes that the lieti between the chromatic scales seem to increase from one eighth to two, then three and so on, making the etude become more and more spacious The harmonic aspect of the work is, in my opinion, definitely worthy of its title.
Rachmaninoff, Etude-Tableau No9 op. 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 The main reasons for this change were the disasters that occurred during his stay in Santa Monica, California indue to horrible weather conditions.
The orchestration in general is fairly sparse, with the exception of the percussion section, which seems to be ligeto antagonistic of the piano score ex.
Example 25 shows the melodic and rhythmic fragments used to compose this movement. Etudes pour piano vol.
The main feature of this etude is a reoccurring ligetj, heard all throughout the piece, in one voice or another. Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds.
Études (Ligeti) – Wikipedia
The tempo is very flexible, with various markings such as rallentando, allargando, accelerando and more. 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. The ostinato itself is very interesting melodically.
Although their approaches are different, they all shared the same goal: Ligeti, however, was not totally satisfied until he completed and added two more movements to it, giving it its final form in Then, the perpetual motion stops and a quite different middle section begins. This etude brings to mind the Chopin study on chromatic scales ex.
Toop mentions that a year and a half after he started composing the concerto, Ligeti had written three movements, premiered in Austria in It was during the same decade that he wrote some of his most important compositions for the piano — the two volumes of Etudes pour le piano. 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.