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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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This site uses cookies. Robson Books, The slow pace of this movement is somewhat accelerated by the use of triplets and of dotted eighth notes and sixteenth notes. Essentially to me this piece is an amazing virtuosic feat and very interesting to listen to. This shows again his reference to jazz music; only this time the pace is much slower than that in the previous pieces.

Ligeti was not a piano virtuoso. The next etude is different. Ligeti, Etude No2, mm.

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

Toop also refers to this fact Toop mentions that a year and a half after he started composing the concerto, Ligeti had written three movements, premiered in Austria in Email required Address never made public. By continuing to use this website, you agree to their use. The dynamics range from pppp to fffff. There is continuous motion in all three etudes and their themes can be easily distinguished.

However, he is very successful in maintaining his own personal compositional style.

The right hand moves in the white keys while the left hand in the black keys and they alternate. The chromatic element again is present, combined with syncopation in the opposite hand.

Phaidon Press Ltd, Throughout his life, he felt bitter and emotionally hurt by the political and social mayhem of those two decades6. Chopin, Etude No2 op. 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. The sixteenth notes appear once again, this time in the form of repeated arpeggios in the right hand, while the left hand continues in the same way as in the transitional section ex.


Repeated notes, triplets, sixteenth notes, chromatic scales, chords and highly irregular rhythmic patterns occur. The rhythmic groupings are shown in example 18a. Ligeti, according to Toop, considers the fourth movement as the core of the composition, being as lengthy and as difficult as the first movement In the middle of the composition, the familiar chromatic pattern of Etude No.

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.

Enter the email address you signed up with and we’ll email you a reset link. Etudes pour piano vol. During his stay in Berlin, Hamburg, Vienna and other important European music centers he came into contact with the music of Berg, Schoenberg and Webern, composers who had formed the second Viennese School.

However, the etudes undoubtedly hold an important place in the contemporary piano repertoire. Ligeti Fanfarfs pour piano, His etudes are a synthesis of the various musical, rhythmical and compositional ideas to ligwti he has been exposed throughout his compositional career, as I will discuss.

Études (Ligeti)

According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above To find out more, including how to control cookies, see here: This piece is a seriously impressive technical feat. Eighth notes and chords alternate or are combined, chromatically ascending, reaching their peak, in the form of a chord marked ffffffff.


There is similar fanfaares in both hands — they are moving in scales ex. At the end of the movement, the initial mysterious atmosphere reoccurs. Etudes pour Piano vol.

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

Ricordi, Listening fanfres the piece, one can only say that the title could not be more suitable. Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds. Another very interesting aspect of the piece is that it is ridiculously dynamic, with a range from pppppppp to ffffff.

Alfred Brendel, quoted in Toop. Fsnfares course whether it is worth the trouble or not, it is entirely a matter of opinion. The five decades that preceded the s are marked by a fanfates deal of music efforts by groups of young composers. This means that the listener hears melodies liteti rhythms that are not actually there The beginning motif reappears in its original form and opposing chromatic scales in the two hands lead to the conclusion.

There are very sudden differences in nuances — subito p and f and the etude ends quietly in pppp. It is highly polyphonic and in its harmonic construction, jazz influences are evident. A lower voice consisting of syncopations appears, to be followed by the introduction of a theme in the higher voice ex.

The same principles are applied here as in the etudes: