LIGETI ETUDES PDF

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Ligeti Etude 13 - Download as PDF File .pdf) or read online. Ligeti Etude No. 13 (Piano). Etudes Ligeti PDF - Download as PDF File .pdf), Text File .txt) or read online. Etudes-ligeti-pdf. 1 GYORGY LIGETI Etudes for piano Piano Concerto An analysis Marilina Tzelepi 2 Gyorgy Ligeti is a very versatile composer. He lived and composed.


Ligeti Etudes Pdf

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Ligeti Etudes, Book I: An Analysis and. Performance Guide. Lawrence Quinnett. Follow this and additional works at the FSU Digital Library. For more information . A PDF, I mean. It would be greatly appreciated. DarkWind I saw on derscontcyptuhors.gq that you had the etudes. If this doesn't work could you. György Sándor Ligeti (May 28, – June 12, ) was a composer, born in a Hungarian Jewish family in Transylvania, Romania. He briefly lived i.

Example 10a shows the beginning measures with the notation of the flats. 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. This is also reminiscent of the first etude, where the two hands were unsynchronized.

However, in this etude a sostenuto pedal is applied for several measures at a time ex. Svard also notices that there are frequent offbeat accents that amplify the rhythmic perplexity of the etude The dynamics range from pppp to fffff. Ligeti Etudes, Once more, Ligeti deals with fifths, as he did in his second etude — Chordes vides.

The structure of the etude is mostly chordal. The chords become harmonically more complex as the piece unfolds ex. The last part of the etude is different: the continuous rhythmic pace stops and is replaced by slow, soft chords that lead to the conclusion ex. There are very sudden differences in nuances — subito p and f and the etude ends quietly in pppp. II Mainz : Schott, , Ligeti, Etudes vol.

II, Ligeti Etude No. Listening to the piece, one can only say that the title could not be more suitable. The piece begins with a descending chromatic scale in the right hand, that is joined by a similar chromatic scale on the left hand shortly after and there is a continuous ascending and descending chromatic motion throughout the etude ex.

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Gradually, more chromatic layers are added, making the harmonies even more complex ex. Chromatic scales become chromatic chords, creating a theme from the two outer voices, while the inner voices maintain the chromatic motion. The right hand chromatic chords move towards the high register of the piano, while the theme emerges even more clearly in the left hand 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. The theme appears again in the last part of the etude and the chromatic line thins again, reaching its original scale form to end the composition. The feeling created by listening to this work is similar to that occurring from watching a Hitchcock movie: the suspense, the agony and the feeling of never-ending torment is overwhelming.

Ligeti, Etude No. Toop, Ligeti, Etudes vol. The title is in German, as opposed to the French titles of most of the Etudes. The main feature of this etude is note repetition. The sound effect reminds the listener of a swarm of bees. Shortly after the beginning of the etude, more voices are added gradually. A lower voice consisting of syncopations appears, to be followed by the introduction of a theme in the higher voice ex.

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 key signature consisting of five flats appears in the left hand, then in the right. The beginning motif reappears in its original form and opposing chromatic scales in the two hands lead to the conclusion.

Overall, this etude has a very strong ostinato character and also displays rhythmic elements taken from jazz music. Ligeti, Etudes No.

Etude No. This shows again his reference to jazz music; only this time the pace is much slower than that in the previous pieces. There are accents and syncopations that create a jazzy feeling and the harmonies certainly make reference to impressionism.

II, 19 and 34 17 end of the piece. After a while, quarter notes give their place to eighth notes, creating a slightly more flowing pace that leads to the end of the etude. The grouping of the eighth notes is shown in ex. The right hand moves in the white keys while the left hand in the black keys and they alternate.

There is a key signature of five flats that shifts from hand to hand, as in the previous two etudes - numbers 10 and The theme appears between the sixteenth notes and is reinforced with strong accents. Interestingly enough, the Ligeti and Liszt etudes have the same number no.

There is continuous motion in all three etudes and their themes can be easily distinguished. Ligeti Etudes No.

Etudes ligeti pdf

Liszt, Etude No. The next etude is different. It features a violent rhythmic pulse maintained by eighth notes. According to R. Toop, Ligeti had originally listed this etude as no. The main reasons for this change were the disasters that occurred during his stay in Santa Monica, California in , due to horrible weather conditions.

II, 6 and The rhythmic groupings are shown in example 18a. The persistent eight notes are strongly reminiscent of the toccata style.

The dynamics of the piece overstep the boundaries of the extreme — dynamics such as ffffffff appear more than once. The pianist is required to perform the chords almost as clusters, in order to get the maximum sound effect ex. Then, the perpetual motion stops and a quite different middle section begins. Rhythmic seq. This section is slow and the chords are marked fff — ffffff. There are strong accents and syncopations between the chords ex.

A subito ppp emerges from the mayhem and leads back to the original eighth note motion. Eighth notes and chords alternate or are combined, chromatically ascending, reaching their peak, in the form of a chord marked ffffffff.

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The eighth notes start again, ascending from the lowest register. At the end of the piece, the pianist finds himself at the extreme of both the high and low registers. The several times fortissimo concludes by holding down a long chord and gradually releasing the pedal until the sound has completely faded away ex.

II, 58 and Toop states that this name is in reference to a sculpture by Constanin Brancusi, whose work greatly interested Ligeti. The chords are divided into groups, each group starting in a very low register and ascending gradually, as Lois Svard notices Example 20 demonstrates the motion and structure of the chords.

The two hands switch functions for a brief while — the chords switch to the left hand, while the right hand maintains the eighth note movement — then both hands are joined again in frantic ascending sequences of chords leading to the end of the piece.

Overall, this work is very extreme, both technically and acoustically. 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.

Therefore, his dynamics can only be characterized as pianistically utopian. Of course whether it is worth the trouble or not, it is entirely a matter of opinion.

However, the etudes undoubtedly hold an important place in the contemporary piano repertoire. A different piano work by Ligeti that shares compositional characteristics with the etudes is his Piano Concerto. Ligeti started writing his piano concerto in and the final version of it was not completed until Toop mentions that a year and a half after he started composing the concerto, Ligeti had written three movements, premiered in Austria in Ligeti, however, was not totally satisfied until he completed and added two more movements to it, giving it its final form in Ligeti, according to Toop, considers the fourth movement as the core of the composition, being as lengthy and as difficult as the first movement Alfred Brendel, quoted in Toop.

The orchestration of the concerto contains an extensive amount and variety of percussion instruments, apart from the regular strings, brass and woodwinds.

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. Example 22a shows the beginning measures of the concerto.

The same principles are applied here as in the etudes: strong accents, syncopation and dance-like rhythms, as well as the familiar continuous motion. Sixteenth notes replace the eighth notes for a short while and then the eighth notes reappear ex. The sixteenth-note motion resembles that of etude No. In addition, the eighth note triplets of this movement foreshadow patterns later applied in Etude no.

Interestingly enough, the rhythmic sequences are similar and the rhythmic manipulation is similar — it creates a feeling of circular movement The orchestral parts are imitative, and there seems to be a constant interaction between the instruments and the piano. The rhythmic pulse becomes more complex with the combination of the piano part and the percussion part.

John Warnaby. TEMPO, no. Ligeti, Piano Concerto, 1st movement71 a.

Concerto for Piano and Orchestra. Fascimile-Score Mainz: Schott, , 1 and 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.

The second movement is the slowest movement. Its main feature is the horrifying, scream-like sounds produced mainly by wind instruments. Toop comments on the fact that the instruments are pushed to their low or high extremes This results in a mixture of sounds that can only be characterized as haunting.

This movement lacks the perpetual motion that characterizes the other movements. Instead, quarter notes and longer values are applied.

Influence of Tango Nuevo, Slavonian Folk and Jazz Music on G. Ligeti’s “Etudes pour piano”

There is no real theme to this movement. The piano takes part in this interaction ex. The slow pace of this movement is somewhat accelerated by the use of triplets and of dotted eighth notes and sixteenth notes. The writing becomes a little denser and Ligeti again applies parallel fifths and fourths mainly in the piano part, but also in orchestral parts ex.

According to Warnaby, they both have a very sparse texture, which becomes denser as the piece progresses, as mentioned above At the end of the movement, the initial mysterious atmosphere reoccurs. An important addition to the orchestration of this movement is the use of ocarina and side-whistle which, according to Toop, are used for intonation purposes Warnaby, The third movement is virtually a perpetuum mobile. This means that the listener hears melodies or rhythms that are not actually there Piano Concerto, II, One hand keeps the motion going while the other hand introduces a melodic motif, imitated first by the flute and then by the strings ex.

The melodic motifs are rhythmically diverse and the application of accents helps rising them above the perpetual motion level.

There is highly chromatic motion in both scale and chordal patterns ex. 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.

Piano Concerto, III: 1, 10, Ligeti was first introduced to Julia and Mandelbrot sets in , Toop notes. One of the results of this compositional approach is that although this is a fast movement, it does not feel this way — it feels much slower than its actual tempo Example 25 shows the melodic and rhythmic fragments used to compose this movement.

Each rhythmic or melodic instance does not last more than three measures at a time. It seems that a motif is introduced by a group of instruments and then immediately mimicked by another group of instruments or by the piano.

Triplets, syncopation and jazzy rhythms occur once more in this strange movement. Parallel fifths appear again in the piano score. Syncopated chords and sixteenth notes also appear in various combinations.

It seems as though the elements on which the fourth movement is based undergo certain changes that help link it to the movement that is about to follow. Piano Concerto, IV 4, It includes rhythmic and melodic elements of all the concerto movements. Toop also refers to this fact The string instruments play an important role in the fifth movement of the concerto. Their parts are very dense and together with the percussion section they help maintain the rhythmic pulsation.

Repeated notes, triplets, sixteenth notes, chromatic scales, chords and highly irregular rhythmic patterns occur. As in the previous movements, motivic imitations occur among the different instruments, creating a harmonic mayhem. Piano Concerto, IV 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.

Piano Concerto, V 1, 8. 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. A study in polytempo , it consists of a continuous transformation of the initial descending figure — the "lamento motif " as Ligeti called it [7] — involving overlapping groups of 3, 4, 5, 6, 7, 8, ending up at the bottom of the keyboard.

Based on chords of the open fifth, with short, irregular, asymmetrically grouped melodic fragments playing off one another. Prestissimo, staccatissimo , leggierissimo A dancing melodic line is kept in perpetual motion by irregularly dispersed staccato accents. En Suspens. L'escalier du diable The Devil's Staircase.

It is dedicated to pianist Volker Banfield. This piece is a revised version of the etude later published as No. White on White. Pour Irina. Presto con bravura A manic two-part canon that abruptly ends with slow pianissimo chords.Although the theorization is valid more or less for all the etudes, we will concentrate our writ on the most meaningful etudes, especially from the first and the second book.

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 Toop, Ligeti, Flag for inappropriate content. Continuum and Der Zauberlehrling share a goal of an imaginary continuous sound which is created by means of repeated patterns of greatest speed. This is also reminiscent of the first etude, where the two hands were unsynchronized.

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