This radical new musical language was in part facilitated by Ligeti’s recently developed technique of micropolyphony. For much of Atmosphères. GYÖRGY LIGETI – Atmosphères – Volumina · Lux aeterna – Etüde · Etude No. 1» Harmonies«- Lontano · Ramifications – Melodien for Orchestra – Gerd Zacher. Gyorgy Ligeti was born in Transylvania in His family originated in Hungary. I discovered his music after purchasing the soundtrack for Stanley Kubrick’s.
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Leave a Reply Cancel reply Enter your comment here Whilst the pitch played by each instrument remains the same for the following minute of music, there is an illusion of harmonic progression as various instrumental groups rise and fall in volume; listen in particular for the striking clarity of the harmony in the brass at 2: First published in New Hungarian Quarterly. 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.
I really love the apparent harmonic progression at 1: Notify me of new comments via email. Avant-gardeThomas May.
Atmosphères | work by Ligeti |
Discover some of the most interesting and trending topics of There was a problem with your submission. It gained further exposure after being used in Stanley Kubrick’s film The piece heavily utilizes tone clusters of notes meaning several adjacent notes on a scale are played in which generally no two instruments ever play the same note. An expatriate, Kubrick was….
Some textures could be layered and juxtaposed; some musical structures will mix with others seamlessly, while other structures will stand out. Instead the listener is confronted with a slow-motion succession of textures, one oozing into the other, where the instrumental sonority seems to have more in common with the dissolves and hums of electronic music than that of a normal symphony orchestra.
All Music Guide to Classical Music: At the bottom of the article, feel free to list any sources that support your changes, so that we can fully understand their context.
August 13, at 6: The contrast between these two pieces—the Ligeti a study in motionlessness, the Stravinsky a convulsive eruption of movement—was only enhanced by Jurowski’s device, making one listen with refreshed ears. Please note that our editors may make some formatting changes or correct spelling or grammatical errors, and may also contact you if any clarifications are needed.
This music is at once both tactile and vague, seductive and esoteric: Modern Music and After. Keep us on point!
Archived from the original on July 18, In the process he recast the orchestra — seen by many in the post-war avant-garde as an irrelevant, archaic institution — as a site of endless potential for contemporary sonic exploration, assembling huge static clouds of steadily morphing musical textures.
György Ligeti, Atmosphères — American Symphony Orchestra
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Archived from the original on You are commenting using your Facebook account. You are commenting using your Twitter account. Sustained chords build tension through the gradual alteration of pitch.