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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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 motif consists of eight ascending notes, rhythmically arranged inwith accents on the first note of each rhythmic figuration ex. lligeti
Leave a Reply Cancel reply Enter your comment here The persistent eight notes are strongly reminiscent of the toccata style.
Danfares was not a piano virtuoso. 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.
Ligeti: Etudes pour piano
The Hungarian Rebellion of was another major political event that had an impact on Ligeti. 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 Therefore, his dynamics can only be characterized as pianistically utopian.
Edition Francaise de Musique Classique: Ligeti, Etude No2, mm. It seems as though the elements on which the fourth movement is based undergo certain fanfarrs that help link it to the movement that is tanfares to follow.
Ligeti started writing his piano concerto in and the final version of it ligetti not completed until Ligeti was introduced to music at ligetu early age, mainly through frequent concert fanfaree. 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. Thus, the two hands play two different scales, both whole-tone. Toop comments on the fact that the instruments are pushed to their low or high extremes Arc-en-ciel contains sixteenth notes, in groups of four or triplets and chromatic chords in ascending or descending motion.
Ligeti Etudes pour piano, II, 6 and Rachmaninoff, Etude-Tableau No9 op. Svard also notices that there are frequent offbeat accents that amplify the rhythmic perplexity of the etude The Lisztian influence is further reinforced by the final measures, where a descending passage dominated by chromatic octaves occurs — frequently encountered in Liszt compositions. Toop, Ligeti had originally listed this etude as no.
An Introduction to the early works of Gyorgy Ligeti. In general, his etudes are at a high level of difficulty, technical and rhythmical — they include complex rhythms and demanding technical passages.
Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds. A key signature consisting of five flats appears ligtei the left hand, then in the right.
Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical
His etudes for piano and Piano Concerto – An analysis. You are commenting using your Facebook account. Ligeti traveled quite a bit during the next thirty years.
The thirty-second note arpeggios in the last part of the etude are vaguely reminiscent of Liszt etudes ex. It is shorter than the previous etudes and quite dense in its writing.
Études (Ligeti) – Wikipedia
Example 27a shows the piano theme that is introduced in the beginning of the fifth movement, and example 27b shows a similar theme presented later on in the movement. Once more, Ligeti deals with fifths, as he did in his second etude — Chordes vides.
Eighth notes and chords alternate or are combined, liget ascending, reaching their peak, in the form of a chord marked ffffffff.
The theme appears between the sixteenth notes and is reinforced with strong accents. Essentially to me this piece is an amazing virtuosic feat and very interesting to listen to. Chromatic scales become chromatic chords, creating a theme from the two fanfaes voices, while the inner voices maintain the chromatic motion.