LIGETI MONUMENT SELBSTPORTRAIT BEWEGUNG PDF

Due capricci is a set of two capricci for piano written by Hungarian composer György Ligeti. Monument, Selbstportrait, Bewegung” (Liner Notes)”. Wergo. SCHOTT LIGETI G. – MONUMENT, SELBSTPORTRAIT, BEWEGUNG – 2 PIANOS , 4 MAINS Partition classique Piano – instrument à clavier Piano on. György Ligeti: 3 Piece for 2 pianos: Monument, Selbstporträt and Bewegung – Play streams in full or download MP3 from Classical Archives.

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As he was completing work on the original version of the opera Le Grand Macabre inLigeti decided to return to writing for the piano for the first time in over a decade. The result was the Three Pieces for Two Pianos, dedicated to the famous avant-garde piano duo Alfons and Aloys Kontarsky, and premiered by them in Cologne on May 15, One important selbsfportrait on his style that Ligeti explicitly beewegung in the Three Pieces is minimalism. He first heard the music of Steve Reich and Terry Riley in in California, and immediately recognized similarities between their ideas about musical structure and development and his own, especially in such works as Continuum and Clocks and Clouds He pays tribute to this continuity in the Three Pieces, albeit with monmuent much higher level of dissonance than one normally finds in Reich’s or Riley’s work.

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Due capricci (Ligeti) – Wikipedia

The first of the three, “Monument,” begins with stark, hammered out individual notes. More notes are introduced into the sequence in complex polyrhythmic interaction, leading to an increasing density of texture. This forceful, granitic composition ends with a final tapping bewehung the upper range of the keyboards.

The way the music gradually evolves is certainly akin to minimalist procedure, and the connection is made even more obvious in the second moument, “Self-portrait with Reich and Riley and Chopin in the background.

3 Piece for 2 pianos: Monument, Selbstporträt and Bewegung

Originally Ligeti had called the piece “Still Life with Reich and Riley,” but decided the phrase “Still Life” was inappropriate with reference to living composers. So he changed the bweegung to “Portrait.

It was rather Ligeti’s commentary on the connection between minimalist processes and his own work, so the title was given its final form “Self-portrait,” which is also somewhat misleading in that Ligeti was likewise not intending to depict himself in the work.

In any case, the liigeti begins with a quiet tapping at a couple of high notes.

As in the opening of “Monument,” more notes are gradually introduced into the spare, fragile texture. Suddenly a series of downward scale-like patterns breaks out over a prominent bass line, which takes over and leads to swirling arpeggios and something like the sound of the piece’s opening.

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The composer has described the final selbstortrait, “With gently flowing motion,” as a “liquefied” variation selbstpotrait “Monument. There is a gradual increase in both volume and intensity. At what seems to be the breaking point, a very slow eight-part chorale takes over and closes the piece on a ponderous note.

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