Keywords: Ligeti, etudes, piano, analyze. INTRODUCTION. Whatever the era that a work has been composed in, we all understand and agree. Ligeti Etudes, Book I: An Analysis and. Performance Guide. Lawrence Quinnett. Follow this and additional works at the FSU Digital Library. For more information. Ligeti referred to this étude as a "tempo fugue". A study in polytempo, it consists of a continuous transformation of the initial descending figure – the "lamento motif" as Ligeti called it – involving overlapping groups of 3, 4, 5, 6, 7, 8, ending up at the bottom of the keyboard.‎Scope of the work · ‎The 18 études · ‎Book 1 · ‎Book 2.


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Preludes pour piano New York: The eight etudes of the second book are considered to ligeti fanfares even more difficult and complex than those found in the first book.

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Ligeti fanfares 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 ligeti fanfares 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 ligeti fanfares 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 ligeti fanfares, both whole-tone.

Etudes (6) for piano, Book 1 | Details | AllMusic

Example 10a shows the beginning measures with the notation ligeti fanfares the flats. As mentioned above, the motion of sixteenth notes is continuous, ligeti fanfares 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 ligeti fanfares 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 ligeti fanfares to fffff.

Etudes (6) for piano, Book 1 | Details | AllMusic

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 ligeti fanfares There are very sudden differences ligeti fanfares nuances — subito p and f and the etude ends quietly in pppp.


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 ligeti fanfares 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 ligeti fanfares 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 ligeti fanfares outer voices, while the inner voices maintain ligeti fanfares 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 ligeti fanfares.

The ligeti fanfares 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 title is in German, as opposed to the Ligeti fanfares 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 ligeti fanfares of the etude, more voices are added gradually.

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