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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The main feature of this etude is a reoccurring motif, heard all throughout the piece, in one voice or another. Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one. Ligeti traveled quite a bit during the next thirty years.
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. Shortly after the beginning of the etude, more voices are added gradually. However, it seems that the piano played an important role in his compositional career, which is evident especially through the sets of piano etudes and the piano concerto he composed.
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Ligeti: Etudes pour piano
György Ligeti – Etude no.4 “Fanfares” | Monash Composers
Skip to main content. 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.
Another very interesting aspect of the piece is that it is ridiculously dynamic, with a range from pppppppp to ffffff. Robson Books; London, In general, most of the etudes are harmonically vague and quite confusing to the ear. This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions Ligtei Svard makes an interesting note: 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.
This is also reminiscent of the first etude, where the two hands were unsynchronized. Concerto for Piano and Orchestra. The dynamic range of this etude is more limited than others, although still quite wide — we only see p to fff.
According to Richard Toop, the titles are made up and linked to the pieces after they are composed. This results in a mixture of sounds that can only be characterized as haunting. This section is slow and the chords are marked ligetj — ffffff. Toop comments on the fact that the instruments are pushed to their low or high extremes Although their approaches are different, they all shared the same goal: Schott,1 and As mentioned above, the motion of sixteenth notes is continuous, sometimes in liveti hands and sometimes in one hand, with the other hand playing a melody consisting of syncopated rhythms ex.
Toop, Ligeti had originally listed this etude as no. The tempo is very flexible, with various markings such as rallentando, allargando, accelerando and more.
Ligeti, according to Toop, considers the fourth movement as the core of the composition, being as lengthy and as difficult as the first movement As is pointed out, this ostinato fanfages the piece a very distinct colour, and it is played throughout the piece with only octave transpositions.
Ligeti, Etude No2, mm. Then, the perpetual motion stops and a quite different middle section begins. There is a key signature of five flats that shifts from hand to hand, as in the previous two etudes – numbers 10 and The Hungarian Rebellion of was another major political event that had an impact on Ligeti.
The second movement is the slowest movement. Ligetu, he is very successful in maintaining his own personal compositional style.
Parallel fifths appear again in the piano score. Trois etudes de concert. Ligeti was born in in a small Transylvanian town. In addition, the eighth note triplets of this movement foreshadow patterns later applied in Etude no.
The next etude is different.
As the piece continues, the range is often 2 octaves only to lead eventually to repeated notes, in groups of either three or four ex. Triplets, syncopation and jazzy rhythms occur once more in this strange movement. His etudes are a synthesis of the various musical, rhythmical and compositional ideas to which he has been exposed throughout his compositional career, as I will discuss.
Sixteenth notes replace the eighth notes for a short while and then the eighth notes reappear ex.
The chords are divided into groups, each group starting in a very low register and ascending gradually, as Lois Svard notices