– Atmospheres score – Download as PDF File .pdf) or read online. Full score. Get this from a library! Atmospheres (Ligeti).. [György Ligeti]. Sheet Music – £ – Universal edition number: UE

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Atmospheres … (Ligeti).

Click here to subscribe. Citations are based on reference standards. According to program notes published by the San Francisco Symphony OrchestraLigeti was not pleased that his music occurred in a film soundtrack shared by composers Johann and Richard Strauss. This makes me feel a bit confused — I’m rather sure that there was an “edit” button somewhere in the forum pages I see your point.

Sign up for our newsletter! Micropolyphony has its first great example here in a mirror canon in forty-eight parts, the twenty-eight violins moving in a downward direction while the twenty violas and cellos climb.

Indiana University Press, The piece heavily utilizes tone clusters of notes meaning several adjacent notes on a scale are played in which generally no scors instruments ever play the same note. Gigantic clusters of chords hover in a stasis that negates familiar signposts of harmony and pulse. I need the score to write the music!!! You’re unlikely to find a legal copy of it in any other format because of copyright restrictions.

György Ligeti: Atmosphères

Retrieved November 18, There is absolutely no discernible melody, harmony is reduced to the drifting of saturated chromatic clusters, and pulse — or any sense of normal rhythmical articulation — is entirely absent.


I love whatever is constructed. Create lists, bibliographies and reviews: Of course, if someone else already did the job The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. Oxford University Press, No Linguistic Content Rating: Elsewhere in the work, and more usually, Ligeti achieves the sense of one uninterrupted sound mass by having his textures overlap with no clear divisions—entries are often to be imperceptible and extinctions gradual—or else by having one texture emerge out of another.

In reply to One can easily learn about by stevebob. Tiny traces of influence can just be discerned – perhaps Debussy, a little Richard Strauss, certainly Bartok – though Ligeti’s vision is of startling, indeed radical, originality. To paraphrase the composer himself, the micropolyphonic textures tend to hang like a mighty oriental tapestry, amtospheres outside time.

That button disappears as soon as someone replies. The SWF recorded this performance for broadcast, and this recording has been released commercially on CD several times.

Atmospheres (Ligeti). (Musical score) []

Concert NotesSpatial Explorations. Your request to send this item has been completed. Atmospheres exemplifies much of Ligeti’s theory suspending harmony in favor of sustained sounds.

In reply to I see your point. A Space Odyssey because its quality of mystery was a good sonic realization of his vision.

Write a review Rate this item: Hope it meets your needs. Reviews User-contributed reviews Add a review and share your thoughts with other readers. I’ll try to “translate” it It’s a very hard job!!!

I just get the audio MP3 file, but atmospheges piece is too much complicated as to try to write it “on-the-fly”. These things and others arrive and leave as if of attmospheres. Please choose whether or not you want other users atmosphrres be able to see on your profile that this library is a favorite of yours.


Your rating has been recorded. Rather the listener hears an all but motionless series of sound evolutions unfolding at various moments”. To be able to use Universal Edition in full range, we recommend activating Javascript in your browser. However, formatting rules can vary widely between applications and fields of interest or study. Support the ASO with a contribution today.

He also valued contrapuntal writing for its probity, for its traditional scoge, and for its own sake: The Definitive Guide to Classical Music. This page was last edited on 24 Marchat Home About Help Search.

Paul Griffiths writes that this performance made Ligeti a “talking point”. But the imitative entrances are so close to one another that it is impossible to perceive them separately, with apparent immobility as the result.

Beyond such stylistic concerns the ear atmosspheres take immediate delight in the way the work moves, how the sound surface glides across registers with subtle shifts in pace and beguiling transformations in timbre.

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