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 echecs16.info 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.
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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.
Etudes ligeti pdf The Hungarian composer Gyrgy Ligeti composed a cycle of 18 tudes for solo. Gyrgy Ligeti, tudes for Piano Book 1. The music published on my channel is dedicated solely to the. A Polyryhthmic Study. Ligeti, Gyrgy. PDF Ligeti, Gyrgy.
View Available File s. In these two etudes, he combines complex polyrhythm with other components, including triadic harmonies, jazz and the lament motive. Ligeti states that the three sets of etudes are studies for both performer and composer.
Fanfares and Arc-en-ciel exhibit two contrasting characters: Fanfares is built with humor and rhythmical vitality, while Arc-en-ciel is an elegant and expressive etude. This document will illustrate his ingenuity in manipulating rhythm, dynamics control and formal structure. I begin with a general overview of piano etudes and their development over history, including composers Scarlatti, Bach, Czerny, Chopin, Debussy, and representative twentieth century composers.
The lineage shows how the genre of etude has evolved and how etudes mirror the style of each period. Ligeti began to compose his etudes in and launched a new style of etude at the end of the twentieth century.
Committee Caroline Hong Advisor. Subject Headings Music. APA Citation. Chen, Y. 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. During the s he was also introduced to electronic studio music7.
The period beginning in the s brought about a period of musical experimentations for Ligeti. During those decades, Ligeti was subject to various music influences, including those of the avant-garde, the serialists and of the American minimalist school, as Richard Toop informs us8. In addition, Ligeti showed an interest for African rhythms during the s and he integrated some elements of African tradition in his works at this time9.
Ligeti, Ligeti discusses at length the political situation in Griffiths, Gyorgy Ligeti, and in Toop. Griffiths, Ligeti, Ligeti, , It was during the same decade that he wrote some of his most important compositions for the piano — the two volumes of Etudes pour le piano.
The first book of the Etudes pour piano was composed in , eighteen years since he last composed for the piano. Until that time, Ligeti had only composed short piano pieces such as bagatelles, capriccios, an invention and some etudes for organ As stated earlier, Ligeti was enraptured by piano etudes of various composers from an early age. He wrote two volumes of etudes, the first containing six works and the second containing eight.
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 Ligeti was not a piano virtuoso.
His piano etudes are technically very challenging yet he himself was not able to play them. He looked up to the masters of etude composition and it seems that he wanted to leave his own legacy on the genre. In general, his etudes are at a high level of difficulty, technical and rhythmical — they include complex rhythms and demanding technical passages.
Ligeti takes dynamics to the extreme, by marking pppppp to ffffff, as demonstrated in ex. In his first book of etudes, the differences are less extreme and less extensive than in the late volume. 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.
Ligeti in Conversation. London: Eulenburg Books, , Griffiths, Gyorgy Ligeti, Lois Svard, Gyorgy Ligeti, Etudes pour piano. Toop, Gyorgy Ligeti, According to Richard Toop, the titles are made up and linked to the pieces after they are composed.
This is strongly reminiscent of both Schumann and Debussy, who applied a similar method in naming many of their piano compositions In general, most of the etudes are harmonically vague and quite confusing to the ear. The first three etudes are dedicated to Pierre Boulez for his sixtieth birthday, as Richard Toop informs us The harmonic aspect of the work is, in my opinion, definitely worthy of its title.
There is no rhythmic notation and the two hands bear different key signatures. There is similar movement in both hands — they are moving in scales ex. Lois Svard makes an interesting note: the right hand plays the white keys and the left hand makes use only of the black keys The two hands are rhythmically and technically identical in the beginning of the piece, but then by adding a note at a time in one or the other hand, Ligeti breaks this evenness and creates the illusion that the left hand remains behind ex.
Etudes pour piano vol. I, Mainz: Schott, , Svard, Ligeti Etudes pour Piano, Towards the end of the etude, the composer makes the harmonies even denser, by applying chords instead of octaves. The dynamic range of this etude is more limited than others, although still quite wide — we only see p to fff. Its main feature is a construction based on fifths — each note is a fifth higher or lower than the previous one.
In the first part of the etude, the two hands play eighth-note ascending and descending arpeggios, based upon this idea ex. The rhythm changes as triplets begin to appear in each hand. Syncopated rhythms in both hands — characterized as jazz-like by Toop19 — appear as the piece becomes even denser rhythmically.
Eighth notes are replaced by sixteenth notes, which are, in turn, replaced by thirty-second notes as the piece unfolds. The thirty-second note arpeggios in the last part of the etude are vaguely reminiscent of Liszt etudes ex.
Etudes pour Piano vol. Ligeti, Etude No2. Ligeti, Etude No2, mm. This etude brings to mind the Chopin study on chromatic scales ex. Lois Svard observes that the gaps between the chromatic scales seem to increase from one eighth to two, then three and so on, making the etude become more and more spacious Chopin, Etude No2 op.
The main feature of this etude is a reoccurring motif, heard all throughout the piece, in one voice or another. The motif consists of eight ascending notes, rhythmically arranged in , with accents on the first note of each rhythmic figuration ex. This creates a rhythmic atmosphere strongly resembling South American rhythms — strong beats and the motif. Harmonic elements drawn from jazz music are also applied in this etude. In this etude, Ligeti starts exaggerating more in the dynamics. For the first time, pppppppp appears, followed by ffffff see ex.
Lois Svard, Gyorgy Ligeti Etudes pour piano, I, Frederic Chopin. Etudes Warsaw: Fryderyk Chopin Institut, , Etudes pour piano Vol. It is shorter than the previous etudes and quite dense in its writing. It is highly polyphonic and in its harmonic construction, jazz influences are evident. Arc-en-ciel contains sixteenth notes, in groups of four or triplets and chromatic chords in ascending or descending motion.
The tempo is very flexible, with various markings such as rallentando, allargando, accelerando and more. In the last measure of the etude, Ligeti uses a term much loved by Liszt: perdendosi — drifting away. Rachmaninoff, Etude-Tableau No9 op. In addition, it appears that Warsaw Autumn also refers to a Polish annual music festival, in which Ligeti took part during the s Sergei Rachmaninoff. Etudes Tableaux op.
Toop, Gyorgy Ligeti, — The sixteenth notes are organized in groups of four and in the beginning the same note is repeated in a range of 3 octaves ex. 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. The chromatic element again is present, combined with syncopation in the opposite hand.
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 A transition occurs, during which the sixteenth note movement ceases and gives its place to quarter notes and long syncopated rhythms. 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.
Ligeti Etudes pour piano, The Lisztian influence is further reinforced by the final measures, where a descending passage dominated by chromatic octaves occurs — frequently encountered in Liszt compositions. Rachmaninoff, Prelude op. Franz Liszt. The eight etudes of the second book are considered to be even more difficult and complex than those found in the first book.
Toop seems to believe that there are many more similarities to the Lisztian etudes in this volume He is justified to state so. They both have this feeling of continuous motion, the first etude in eighth notes and this one in sixteenth notes. The rhythmic flow goes uninterrupted to the end of the piece. 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.
Thus, the two hands play two different scales, both whole-tone. 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.
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. Liszt, Etude No. The next etude is different. It features a violent rhythmic pulse maintained by eighth notes.