By Bernhardt-Kabisch, Ernest; Floros, Constantin; Ligeti, György
This monograph is an authoritative research of the œuvre of 1 of an important composers of our time. For the 1st time, Ligeti’s key works are awarded within the context in their drafts and sketches. His own and creative improvement is determined forth and illuminated, and his important compositions are analyzed and reinterpreted, according to precise stories of the rankings and drafts, in addition to on own conversations with the composer. furthermore, a variety of questions touching on today’s composing are raised and mentioned. tune doesn't must be puristic: Ligeti’s spheres of curiosity are on the subject of common, embracing historical past, traditional technology, and visible arts, in addition to tune of numerous eras and ethnicities. This extended global of the musical contains not only tones and sounds, speech and track, the vocal and the instrumental: Ligeti conceives song as a cosmos of acoustic shape
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Additional resources for György Ligeti : beyond avant-garde and postmodernism
42 Ex. 3 Aventures: changing expressive characters in Soprano, Alto, Baritone Speaking of music and language: among the most conspicuous characters of Ligeti’s music is that of whispering (bisbigliando). Whispering or whisper-like passages and effects occur repeatedly in the most diverse shadings in both vocal and instrumental works. There is, for example, the “especially intensive whisper directed at the audience (‘stage whisper’)” of the three vocalists in Aventures (mm. 20-37), the whisper-like passage (“like a flitting breath”) of the instrumentalists in the second movement of the Nouvelles Aventures (mm.
The highest note, on which the women’s chorus closes, is the two-line d-flat. 90 DG 3 Continuum for Harpsichord: Macro-form As one can see, the tonal field with which the piece begins is located on the middle pitch region. In the first section, it opens slightly and closes again. The tonal fields of the three middle sections open increasingly and do so in both directions. The tonal band of the concluding part, however, is located in the highest register. 91 Interestingly enough, one of Ligeti’s works bears in fact the (original) title Ramifications.
But the opening of the tonal field in both directions is characteristic also of the beginning of Lontano. Ligeti’s oeuvre also offers instructive examples for the gradual increase of the tonal expanse in a single direction. Thus the beginning of the first movement of the Chamber Concerto is based on a cluster, from whose five notes (fsharp1/g1/a-flat1/a1/b-flat1) “minimalist” figurations are formed (eventually minus the f-sharp). The first 13 bars are furnished from this tonal supply. From m. 14 on, the range gradually increases: the horn enters here on b1.