LIGETI MONUMENT SELBSTPORTRAIT BEWEGUNG PDF

Both of the capricci were finished in The two pieces were composed when Ligeti was still studying in Sandor Veress 's class at the Franz Liszt Academy of Music , this is, as a part of his academic exercises. The set has been published by Schott Music together with Ligeti's Invention for piano, which is put in the middle and which the set is strongly associated with. The first capriccio is in a form of a sonatina, with its sections to be played continuously.

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As he was completing work on the original version of the opera Le Grand Macabre in , Ligeti 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 influence on his style that Ligeti explicitly acknowledges 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 a much higher level of dissonance than one normally finds in Reich's or Riley's work.

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 at 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 piece, "Self-portrait with Reich and Riley and Chopin in the background.

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 title 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 piece 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. The composer has described the final piece, "With gently flowing motion," as a "liquefied" variation on "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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3 Piece for 2 pianos: Monument, Selbstporträt and Bewegung

As he was completing work on the original version of the opera Le Grand Macabre in , Ligeti 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 influence on his style that Ligeti explicitly acknowledges 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

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Pieces (3) for 2 pianos: Monument, Selbstporträt & Bewegung

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Monument · Self portrait · Movement

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