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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Toop, Gyorgy Ligeti, However, he is very successful in maintaining his own personal compositional style. Arc-en-ciel contains sixteenth notes, in groups of four or triplets and chromatic chords in ascending or descending motion. 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 International Music Company The piano takes part in this interaction fajfares.

The first three etudes are dedicated to Pierre Boulez for his sixtieth birthday, as Richard Toop informs us Schott, Etudes pour piano vol. Ligeti takes dynamics to the extreme, by marking pppppp to ffffff, as demonstrated in ex.

The string instruments play an important role in the fifth movement of the concerto. The ostinato itself is very interesting melodically. Remember me on this computer. Parallel fifths appear again in the piano score.

Fajfares specifically, the composer was drawn to the music and rhythms of South America, Africa and the Caribbean mainly after fanfres encounter with the Puerto Rican composer Roberto Sierra. The chords become harmonically more complex as the piece unfolds ex.


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

Shortly after the beginning of the etude, more voices are added gradually. Ligeti started writing his fanfarea concerto in and the final version of it was not completed until Syncopated rhythms in both hands — characterized as jazz-like by Toop19 — appear as the piece becomes even denser rhythmically.

After the end of the theme, chromatic motion is resumed in the left hand, which is directed to fqnfares lowest registers of the keyboard ex. Although their approaches are different, they all shared the same goal: Skip to main content.

It features a violent rhythmic pulse maintained by eighth notes. Example 10a shows the beginning measures with the notation of the flats.

Ligeti: Etudes pour piano

Ligeti, however, was not totally satisfied until he completed and added two more movements to it, giving it its liyeti form in He is justified to state so. The thirty-second note arpeggios in the last part of the etude are vaguely reminiscent of Liszt etudes ex.

Its main feature is the horrifying, scream-like sounds produced mainly by wind instruments. The second movement is the slowest movement. 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.

The grouping of the eighth notes is shown in ex. 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.


Robson Books; London, 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. Towards the end of the etude, the composer makes the harmonies even denser, by applying chords instead of octaves.

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

Lois Svard, Gyorgy Ligeti, Etudes pour piano. Ligeti traveled quite a bit during the next thirty years.

By continuing to use this website, you agree to their use. Each rhythmic or melodic instance does not last more than three measures at a time.

II, 58 and His parents were of Jewish origin and both shared a great love for music, although they themselves ligetk not play any instruments. In general, his etudes are at a high level of difficulty, technical and rhythmical — they include complex rhythms and demanding technical passages.

This is also reminiscent of the first etude, where the two hands were unsynchronized. The orchestral parts are imitative, and there seems to be a constant interaction between the instruments and the piano.