Ligeti, Gyorgy Lux Aeterna
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Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Discographie
Discographie I. Précurseurs musiques savantes Compilations An Anthology Of Noise & Electronic Music, Vol. 1-5 (Sub Rosa, 2000-2007) Le bruit dans la musique 1900-1950 Compilations Dada et la musique (Centre Georges Pompidou/A&T, 2005) Futurism & Dada Reviewed 1912-1959, (Sub rosa, 1995) Musica Futurista : The Art Of Noise (LTM, 2005) George Antheil, Ballet mécanique, dirigé par Daniel Spalding (Naxos, 2001) Belà Bartók, Le mandarin merveilleux, dirigé par Pierre Boulez (Deutsche Grammophon, 1997) John Cage, Sonatas And Interludes For Prepared Piano, interprété par Boris Berman (Naxos, 1999) John Cage, Imaginary Landscapes, dirigé par Jan Williams (Hat Hut, 1995) Henry Cowell, New Music : Piano Compositions By Henry Cowell, interprété par Sorrel Hays, Joseph Kubera, Sarah Cahill (New Albion Records, 1999) Charles Ives, Symphony n°2 etc., dirigé par Léonard Bernstein (Deutsche Grammophon, 1990) Erik Satie, Parade, dirigé par Manuel Rosenthal (Ades, 2007) Arnold Schoenberg, Pierrot lunaire, Lied der Waldtaube, Erwartung dirigé par Pierre Boulez (Sony, 1993) Edgard Varese, The Complete Works, dirigé par Riccardo Chailly (Decca, 1998) Musique et timbre, 1950 à nos jours Luciano Berio, Differences, Sequenzas III & VII, Due pezzi, Chamber Music (Lilith, 2007) György Ligeti, Requiem, Aventures, Nouvelles Aventures (Wergo, 1985) György Ligeti, Chamber Concerto, Ramifications, String Quartet n°2, Aventures, Lux aeterna, dirigé par Pierre Boulez (Deutsche Grammophon, 1983) Tristan Murail, Gondwana, Désintégrations, Time and Again (Disques Montaigne, 2003) Giacinto Scelsi, The Orchestral Works 2 (Mode, 2006) Krzysztof Penderecki, Anaklasis, Threnody, etc., dirigé par Wanda Wilkomirska (EMI, 1994) Karlheinz Stockhausen, Aus den sieben Tagen (Harmonia Mundi, 1988) Karlheinz Stockhausen, Stimmung (Hyperion, 1986) Iannis Xenakis, Orchestral Works, Vol. -
Passacaglia and Lament in Ligeti's Recent Music
tijdschrift 2004 #9/1/2 22-01-2004 09:16 Pagina 1 stephen taylor Passacaglia and lament in Ligeti’s recent music1 György Ligeti’s music since his opera Le Grand Macabre (1974-77, revised 1996) could be described as a collage of different compositional techniques. Two of the most prominent are passacaglia, and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Passacaglia and chromatic scales have appeared in Ligeti’s music since his student days, but they have become especially prominent in his recent music. This essay examines the development of these two techniques, focusing on their combination in the Horn Trio and Violin Concerto. These works not only show us how Ligeti uses the same ideas in different contexts; they also provide an overview of his recent compositional technique. Of the various compositional devices that appear in Ligeti’s music since his opera Le Grand Macabre (1974-77), two of the most prominent are the passacaglia and a melodic figure Ligeti calls the ‘lament motive’, based on the descending chromatic scale. Table 1 shows a list of works from the opera to the late 1990s in which these techniques appear. This essay examines the two slow movements that combine them: the fourth movement of the Horn Trio, ‘Lamento’, from 1982, and the fourth move- ment of the Violin Concerto, ‘Passacaglia: Lento intenso’, written a decade later. While both movements have much in common, their differences also highlight how Ligeti’s music has developed since he embarked on his new style in the early 1980s. -
Characteristics of Choral Writing in György Ligeti's Late Works*
UDC 784.1 Вестник СПбГУ. Искусствоведение. 2018. Т. 8. Вып. 4 Characteristics of Choral Writing in György Ligeti’s Late Works* A. S. Ryzhinskii Gnesins’ Russian Academy of Music, 30–36, Povarskaya str., Moscow, 121069, Russian Federation For citation: Ryzhinskii, Aleksandr. “Characteristics of Choral Writing in György Ligeti’s Late Works”. Vestnik of Saint Petersburg University. Arts 8, no. 4 (2018): 578–92. https://doi.org/10.21638/ spbu15.2018.403 Article is devoted to the last vocal works a cappella created Gyorgÿ Ligeti in 1980 — the 1990th years: “Drei Phantasien nach Fridrich Hölderlin”, “Magyar Etüdök” and “Nonsense Madrigals”. The author traces relationship between the previous and last choral opuses by the master, between Ligeti’s choral works and choral creativity of his predecessors and contemporaries. So the author reveals features of ligeti’s late choral style: at the levels of relationship between word and music, the texture and timbre organization. The author pays special attention to studying of Ligeti’s neomadrigalism. This phenomenon proves in the organization of musical texture, in interaction of musical and literary texts and also in the general organization of compositions. The opposition of love and death (immemorial categories of human life) is the cornerstone of the dramaturgic organization of a cycle and typical for Ligeti’s vocal works “polyphony of meanings” is shown in the constant present genre and style game with the recipient. The composition intended for “The King’s singers” embodies diverse style hints, corresponding to the wide performing range of this ensemble and own musical interests of the composer. In this last vocal work by Ligeti also his love to literary world of Lewis Carroll with the atmosphere of absurdity, so conformable to the music world of the author of “Le Grand Macabre” was reflected. -
14 November 2008 Page 1 of 19 SATURDAY 08 NOVEMBER 2008 05:59AM BIZET, Transcr
Radio 3 Listings for 8 – 14 November 2008 Page 1 of 19 SATURDAY 08 NOVEMBER 2008 05:59AM BIZET, transcr. Rachmaninov Bartók, Béla (1881-1945) Minuet (‘L’Arlesienne’ Suite No.1) SAT 01:00 Through the Night (b00f8126) Minuetto; Air; Marcia delle Bestie; Tambourine – From Nine Howard Shelley (piano) 01:02AM Little Piano Pieces HYPERION CDA66486 Tr 3 Verdi, Giuseppe (1813-1901) Libretto: Arrigo Boito Jan Michiels (piano) (1842-1918) 08:18 Otello 06:06AM Johan Botha (tenor)……………Otello Haydn, Johann Michael (1737-1806) BAX Nuccia Focile (soprano)……….Desdemona Divertimento (MH.299/P.121) in A major for string quartet The Garden of Fand Carlo Guelfi (baritone)………..Iago Marcolini Quartett BBC Philharmonic Orchestra Tiziana Tramonti (mezzo sop)..Emilia Vernon Handley (conductor) Paul Charles Clarke (tenor)…...Cassio 06:22AM CHANDOS CHAN 10362 Tr 3 Alfred Walzer (bass)………….Lodovico Strauss, Richard (1864-1949) Samuel Youn (bass) ………….Montano 3 Ophelia Songs (Op.67) 08:36 Emanuele d’Auguanno (tenor).Roderigo Ailish Tynan (soprano), Llyr Williams (piano) Michael Vier (bass)………….A Herald ERNST NDR Chorus, Cologne Cathedral Girls' Choir, WDR Radio 06:31AM Allegretto (6 Polyphonic Studies) Chorus, Cologne, WDR Symphony Orchestra, Cologne, Mendelssohn, Felix (1809-1847) Ilya Gringolts (violin) Semyon Bychkov (conductor) Symphony No.4 (Op.90) in A major, 'Italian' HYPERION CDA67619 Tr 3 Bergen Philharmonic Orchestra, Heinz Wallberg (conductor) 03:20AM 08:38 Fauré, Gabriel (1845-1924) Fantasy for flute and piano SAT 07:00 Breakfast (b00fd0nv) FREE THOUGHT Lóránt Kovács (flute), Erika Lux (piano) The complete Breakfast playlist is posted on this site after the Vasily Petrenko - How music can transform people’s lives, both programme has been broadcast. -
Ramifications of Surrealism in the Music of György Ligeti
JUXTAPOSING DISTANT REALITIES: RAMIFICATIONS OF SURREALISM IN THE MUSIC OF GYÖRGY LIGETI Philip Bixby TC 660H Plan II Honors Program The University of Texas at Austin May 9, 2017 ________________________________ Charles Carson, Ph.D. Butler School of Music Supervisor ________________________________ Elliott Antokoletz, Ph.D. Butler School of Music Second Reader Abstract: Author: Philip Bixby Title: Ramifications of Surrealism in the Music of György Ligeti Supervisors: Charles Carson, Ph.D. Elliott Antokoletz, Ph.D. György Ligeti is considered by many scholars and musicians to be one of the late twentieth century’s most ingenious and influential composers. His music has been particularly difficult to classify, given the composer’s willingness to absorb a multitude of musical influences, everything from high modernism and electronic music to west-African music and Hungarian folk-song. One aesthetic influence that Ligeti acknowledged in the 1970s was Surrealism, an early twentieth-century art movement that sought to externalize the absurd juxtapositions of the unconscious mind. Despite the composer’s acknowledgement, no musicological inquiry has studied how the aesthetic goals of Surrealism have manifested in his music. This study attempts to look at Ligeti’s music (specifically the music from his third style period) through a Surrealist lens. In order to do this, I first establish key definitions of Surrealist concepts through a close reading of several foundational texts of the movement. After this, I briefly analyze two pieces of music which were associated with the beginnings of Surrealism, in order to establish the extent to which they are successfully Surreal according to my definitions. Finally, the remainder of my study focuses on specific pieces by Ligeti, analyzing how he is connected to but also expands beyond the “tradition” of musical Surrealism in the early twentieth century. -
Organ (1965) Find a Recap of Recent Classical SCHOTT Based on a Poem in Italian by Giacomo Leopardi
HAL LEONARD Winter 2006 UPDATE VOCAL WILLIAM BOLCOM: SONGS OF INNOCENCE AND OF EXPERIENCE E.B. MARKS A Wonderland William Bolcom’s oratorio, premiered in 1984, is based on writings of William Blake. The piece is enormous in its scale, requiring hundreds of performers, and was recorded for a Naxos of Music release, conducted by Leonard Slatkin. 00220148 Vocal Score.................................................................................................$50.00 (ISBN 1-4234-0289-8) this Winter... JEAN GUILLOU: L’INFINITO, OP. 13 Within this newsletter you will For Bass Voice and Organ (1965) find a recap of recent classical SCHOTT Based on a poem in Italian by Giacomo Leopardi. releases from Hal Leonard, 49013105 (ED 9793).........................................................................................................$16.95 including publications from the HEINZ HOLLIGER: SECHS LIEDER (SIX SONGS) many catalogs we distribute: For Soprano and Piano (1956-57, revised 2003) G. Schirmer SCHOTT Comparable to Alban Berg whose Seven Early Songs show through in the music, Heinz Holliger (b. 1939) has Associated Music picked out some truly rapturous youth songs, set them up in easy arrangements and scored them for orchestra. 49013035 (ED 9461)...........................................................................................................$16.95 Publishers ITALIAN MUSICAL TREASURES OF THE 17TH AND 18TH CENTURIES Favorite Songs and Arias from the Famous Parisotti Collection Ricordi with 2 companion CDs of accompaniments RICORDI Durand 37 well-known songs from the Italian Baroque, arranged by Alessandro Parisotti for landmark Ricordi publications done in the 1880s, the first modern edition of most of this music. These songs Salabert are a perennial favorite of classical voice teachers. This new collection presents the original editions in medium voice keys, with brief composer biographies and English translations of the song texts. -
Read the Printed Program Now for This Concert
21st CENTURY CONSORT February 22, 2020 St. Mark’s Episcopal Church 301 A Street, SE, Washington, DC Pre-Concert Discussion 21st Century Consort Christopher Kendall with Paul Moon and Lucy Shelton Program Christopher Kendall, Artistic Director “Time’s Up” Boyd Sarratt, Manager Poeme Symphonique György Ligeti Paul Cigan, clarinet 100 metronomes Lisa Emenheiser, piano Alexandra Osborne, violin Lucy Shelton, Soprano Variations On Time and Time Again Sebastian Currier Sara Stern, flute Ms. Emenheiser, Ms. Stern Nick Stovall, oboe Rachel Young, cello Mark Huffman, recording engineer Tempo e Tempi Elliott Carter Hana Wang, stage manager I. Tempo e Tempi (Eugenio Montale) II. Ed e Subito Sera (Salvatore Quasimodo) III. Oboe Sommerso (Quasimodo) Saturday, February 22, 2020 IV. Una Colomba (Giuseppe Ungaretti) Pre-Concert Discussion 4:00 p.m. V. Godimeto (Ungaretti) VI. L’Arno a Rovezzano (Montale) Concert 5:00 p.m. VII. Uno (Ungaretti) St. Mark’s Episcopal Church VIII. Segreto del Poeta (Ungaretti) 301 A Street SE, Washington, DC Mr. Cigan, Mr. Kendall, Mr. Stovall, Ms. Osborne, Ms. Shelton, Ms Young INTERMISSION ❖ ❖ ❖ Quartet for the End of Time Olivier Messiaen 1. Liturgy of crystal 2. Vocalise for the Angel who announces the end of Time The 21st Century Consort’s 2019–2020 activities are sponsored by 3. Abyss of the birds the Nicolae Bretan Music Foundation, The Amphion Foundation, 4. Interlude and the Board and Friends of the 21st Century Consort. 5. Praise to the Eternity of Jesus www.21stcenturyconsort.org 6. Dance of fury, for the seven trumpets 7. Jumble of rainbows for the Angel who announces the end of Time 8. -
Stephen Downes
38 Reviews mass immolations in twentieth-century history. Andreas Huyssen writes: ‘The potential for rebirth and renewal that fire, mythic fire, may hold for the earth does not extend to human life. Kiefer’s fires are the fires of history, and they light a vision that is indeed apocalyptic, but one that raises the hope of redemption only to foreclose it.’60 As the musical response to humanity’s Todesschrei in the epilogue to Henze’s Tristan suggests, after the love-death transfiguration is infinitely postponed, the processes of lament are recovered but intermina- bly augmented, its grief spoken in the child’s ‘low’ accented recitation of the lover’s anguish, the vocal tones reminding us of a lost, enchanting, magical world. Stephen Downes twentieth-century music 2/2, 000–000 © 2006 Cambridge University Press doi:10.1017/S1478572206220296 Printed in the United Kingdom Richard Steinitz, György Ligeti: Music of the Imagination (London: Faber and Faber, 2003), ISBN 0 571 17631 3 (hb) Hungarian composer György Ligeti has not lacked for attention since coming into contact with Europe’s new music scene in the early 1960s. In 1966 he was featured in Moderne Musik I: 1945–65,1 and by 1969 Erkki Salmenhaara had published a dissertation on three major works.2 Although periodic illness and a painstaking approach to composition slowed his progress, Ligeti continued to refine and expand his style in the 1970s, producing everything from intimate solo works for harpsichord to the suitably grand opera Le Grand Macabre (1974–7, revised 1996). His turn towards traditional orchestral forms and a quasi-diatonic language in the 1980s brought him new prominence, and the voluble composer has seemed ever ready to provide ripe commentary on his work and the state of new music. -
Tempo LIGETI's 'LE GRAND MACABRE'
Tempo http://journals.cambridge.org/TEM Additional services for Tempo: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here LIGETI'S ‘LE GRAND MACABRE’: HOW HE SOLVED THE PROBLEM OF WRITING A MODERNIST OPERA Michael Searby Tempo / Volume 66 / Issue 262 / October 2012, pp 29 38 DOI: 10.1017/S0040298212000356, Published online: 18 October 2012 Link to this article: http://journals.cambridge.org/abstract_S0040298212000356 How to cite this article: Michael Searby (2012). LIGETI'S ‘LE GRAND MACABRE’: HOW HE SOLVED THE PROBLEM OF WRITING A MODERNIST OPERA. Tempo, 66, pp 2938 doi:10.1017/S0040298212000356 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TEM, IP address: 141.241.166.121 on 25 Apr 2013 Tempo 66 (262) 29–38 © 2012 Cambridge University Press 29 doi:10.1017/S0040298212000356 Printed in the United Kingdom ligeti’s ‘le grand macabre’: how he solved the problem of writing a modernist opera Michael Searby Abstract: Ligeti’s Le Grand Macabre (1974–77) is one of the most successful operas of the 20th century in terms of the number of performances. Originally, Ligeti had intended to compose an ‘anti-opera’ in the manner of Kagel’s Staatstheater, but changed his fundamental composi- tional approach during the process of composing the work. He realised that a more traditional opera with a clear narrative (unlike Kagel’s avant-garde opera) was more suitable, and it there- fore became necessary for him to transform his style to one in which the text was audible to an audience. As a result there is very little of his mature micropolyphonic technique in the resulting work, but rather there is an exploration of music from the past, and the use of parody. -
Formák És Kifejezésmódok Ligeti György Vokális Művészetében
ANTAL LAURA FORMÁK ÉS KIFEJEZÉSMÓDOK LIGETI GYÖRGY VOKÁLIS MŰVÉSZETÉBEN DOKTORI ÉRTEKEZÉS 2008 Liszt Ferenc Zeneművészeti Egyetem Doktori iskola (7.6 zeneművészet) FORMÁK ÉS KIFEJEZÉSMÓDOK LIGETI GYÖRGY VOKÁLIS MŰVÉSZETÉBEN ANTAL LAURA TÉMAVEZETŐ: TIHANYI LÁSZLÓ DOKTORI ÉRTEKEZÉS 2008 I TARTALOMJEGYZÉK ELŐZETES MEGJEGYZÉSEK................................................................................................... II 1. INDULÁS – EGY ÚJ IRÁNY ELSŐ CSÍRÁI ...................................................................... 1 1.1. KEZDETEK, KÓRUSÉLMÉNYEK ......................................................................................... 1 1.2. BARÁTSÁG WEÖRES SÁNDORRAL – ÚJ UTAKON................................................................ 2 1.3. ÉJSZAKA - REGGEL.......................................................................................................... 3 2. ÚJ POLIFÓNIA SZÜLETÉSE ........................................................................................... 10 2.1. MIKROPOLIFÓNIA ÉS EXPRESSZIONIZMUS – REQUIEM ..................................................... 10 2.2. MOZDULATLAN VÁLTOZÁS - LUX AETERNA ................................................................... 24 2.3. A STATICO ÉS MECCANICO ELŐZMÉNYEI ÉS VOKÁLIS CSÚCSA – CLOCKS AND CLOUDS ..... 35 3. GROTESZK GESZTUSOK................................................................................................ 46 3.1. AZ ELEKTRONIKÁTÓL A BESZÉDHANGOKIG – AVENTURES, NOUVELLES AVENTURES ....... 47 3.2. FÉLELEM MÁS SZEMSZÖGBŐL: EGY -
A Multifaceted Approach to Analyzing Form in Elliott Carter's Boston Concerto Alan Theisen
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 A Multifaceted Approach to Analyzing Form in Elliott Carter's Boston Concerto Alan Theisen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A MULTIFACETED APPROACH TO ANALYZING FORM IN ELLIOTT CARTER'S BOSTON CONCERTO By ALAN THEISEN A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Alan Theisen defended on June 8, 2010. ____________________________________ Michael Buchler Professor Directing Dissertation ____________________________________ Denise Von Glahn University Representative ____________________________________ Jane Piper Clendinning Committee Member ____________________________________ Evan Jones Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS First, I would like to thank my dissertation advisor and good friend Michael Buchler, for his guidance on this project and throughout my stay at Florida State University. I would also like to thank my committee, Jane Piper Clendinning, Denise Von Glahn, and Evan Jones, for their encouragement and insightful comments during the writing process. My family also deserves thanks for the endless supply of support they have provided over the years; a special thanks go to my parents for insisting that I follow my passion rather than simply chasing the Almighty Dollar. I would also like to thank Joseph Brumbeloe at the University of Southern Mississippi for his support over the years and for encouraging me to continue my music theory studies, particularly those on post-tonal topics.