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.
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Ligeti Piano Etudes, Bks 1 and 2 |
Click here to sign up. Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e. In this etude, Ligeti starts exaggerating more in the dynamics. The rhythm changes as triplets begin to appear in each hand.
There is continuous motion in all three etudes and their themes can be easily distinguished. Interestingly enough, the Ligeti and Liszt etudes have the same number no. A different piano work by Ligeti that shares compositional characteristics with the etudes is his Piano Concerto.
Ligeti: Etudes pour piano – Wergo: WER – CD or download | Presto Classical
According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above Ligeti started writing his piano concerto in and the final version of it was not completed until A transition occurs, during which the sixteenth note movement ceases and gives its place to quarter notes and long syncopated rhythms.
Alfred Brendel, quoted in Toop. The dynamics of the piece overstep the boundaries of the extreme — dynamics such as ffffffff appear more than once.
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. Above each segment, the different division of twelve eighth notes is shown. In the middle of the composition, the familiar chromatic pattern of Etude No. A lower voice consisting of syncopations appears, to be followed by the introduction of a theme in the higher voice ex. Therefore, his dynamics can only be characterized as pianistically utopian.
Fryderyk Chopin Institut, 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 The motif consists of eight ascending notes, rhythmically arranged inwith accents on the first note of each rhythmic figuration ex. Toop, Gyorgy Ligeti, The orchestration of the concerto contains an extensive amount and variety of percussion instruments, apart from the regular strings, brass and woodwinds.
The grouping of the eighth notes is shown in ex. They both have this feeling of continuous motion, the first etude in eighth notes and this one in sixteenth notes.
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. In his Piano Etudes, Ligeti has uniquely assimilated this environment and the result is music that breathes and communicates on a personal level. Towards the end of the etude, the composer makes the harmonies even denser, by applying chords instead of octaves. This results in a mixture of sounds that can only be characterized as haunting.
Schott,1 and According to Richard Toop, the titles are made up and linked to the pieces after they are composed.
As in the previous movements, motivic imitations occur among the different instruments, creating a harmonic mayhem. As mentioned above, the motion of sixteenth notes is continuous, sometimes in both hands and sometimes in one hand, with the other hand playing a melody consisting of syncopated rhythms ex.
The theme appears between the sixteenth notes and is reinforced with strong accents. Repeated notes, triplets, sixteenth notes, chromatic scales, chords and highly irregular rhythmic patterns occur. Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds.
Ligeti, Etude No2, mm. Degree Master of Music. The harmonic aspect of the work is, in my opinion, definitely worthy of its title.