LIGETI DEVIL STAIRCASE PDF

Goltisar To find out more, including how to control cookies, see here: You are commenting using your Facebook account. Please log in using one of these methods to post your comment: The piece is heavily technically difficult as well as heavily metaphorical. By the last third of the first stave, the piece still moves polymetrically up and down the piano, but the intervals begin to narrow, and as a result, this subtly thickens the texture. We hope that over time the blog will provide useful hints and ideas about the creative processes of composition.

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Mauk In stave 3, the bass takes on the role of being a percussive driving force. This is a blog for staff and students in the Ligetti Program at Monash Ataircase. Often they are not full lines either, but dashed lines very often in the middle of the page, as that seems to be the only consistent place they are. You are commenting using your Twitter account. Stajrcase in all, I got a lot out of studying this piece — I really enjoyed the musical metaphors that were used in this piece, and I found this piece thoroughly entertaining for this very reason.

Makes sense to me. Email required Address never made public. It also demonstrates the composers interest in American minimal music. Again, the imagery this conjures is that the journey begins again — the fleeing soul has made it half way, and has now been thwarted, and must again begin its journey.

The piece is heavily technically difficult as well as heavily metaphorical. By continuing to use this website, you agree to their use. I remember having the same P. You are commenting using your Facebook account.

In case of emergency. Leave a Reply Cancel reply Enter your comment here Ligeti also gives the player copious playing notes, mainly to explain some of his more eccentric notation and ideas. By the last third of the first stave, the piece still moves polymetrically up and down the piano, but the intervals begin to narrow, and as a result, this subtly thickens the texture.

Thanks to our partners and sponsors: You are commenting using your WordPress. With ten fingers, the pianist plays up to seven different layers, each with its own tempo, dynamics and tone colour. We intend to keep a record of our study, thinking and compositional projects to document our work, show the world outside what we do and invite comment.

To find out more, including how to control cookies, see here: The very consistent and constant pulse throughout the piece remains intact, as the highest notes are played at extreme dynamic levels, when, all of a sudden, this consistency is destroyed, with a sudden shift to a very long and slow bass chord played at the lower extreme of the instrumental range.

Please log in using one of these methods to post your comment: Please log in using one of these methods to post your comment: The Piece ascends and ascends to the extreme upper pitches of the piano.

We hope that over time the blog will provide useful hints and ideas about the creative processes of composition. Here the composer restricts his musical material — with the exception of the final bars — to a single note: After over two minutes of constant pulse and movement, flowing upwards, and over 20 seconds playing the highest notes on the piano at very high dynamic levels, there is a sudden shift to a very long and slow bass end chord sequence.

Any way I could ask for a copy of the score? In addition to a video recording of each work, the interactive scores include introductions and performing suggestions as well as film sequences from masterclasses and previously unpublished remarks and explanations from the composer.

There is a very consistent and constant pulse throughout the piece, other than three moments of incredible mood change. It was with the piano collection Musica ricercata that the Hungarian composer laid the foundations of an individual musical language in the early s.

The piece, thus far, seem to lean towards this point, and one might expect a climax, but in bar 18, the consistency of texture, and pitch material drop instantly — much the same as bar stave 3.

A great listen, I recommend. You are commenting using your WordPress. This is until there is a sudden and unexpected mood change. Usually virtuosic pieces do not particularly enthrall me, as I usually find that there is not a lot of musical content or meaning behind them.

The way the piece is actually divided is into defil bars of 36 beats, which are then further divided into 3 bars, but this division is asymetrical. The piece continues in this way — ascending for vast periods of musical time, then returning down again, instantaneously. Ligeti was a piano player, this is clear from some of the incredible dexterities required of the piano player.

Haydn — Symphony No. Create a free website or blog at WordPress. This includes many moments of crossing over the hands, and large leaps and spans. For me, the images created within this piece, are generated by the use of the initial leaps of 2 octaves and a 6th — perfectly imitating the physically disjunctive motion of walking up the stairs. Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e.

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Devil's staircase

Voodooshicage This includes many moments of crossing over the hands, and large leaps and spans. Any way I could ask for a copy of the score? Please log in using one of these methods to post your comment: You are commenting using your Twitter account. A great listen, I recommend. After over two minutes of constant pulse and movement, flowing upwards, and over 20 seconds playing the highest notes on the piano at very high dynamic levels, there is a sudden shift to a very long and slow bass end chord sequence. The piece, thus far, seem to lean towards this point, and one might staircaee a climax, but in bar 18, the consistency of texture, and pitch material drop instantly — much the same as bar stave 3. Usually virtuosic pieces do not particularly enthrall me, as I usually find that there is not a lot of musical content or meaning behind them.

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Devil's staircase

The piece is heavily technically difficult as well as heavily metaphorical. For me, the images created within this piece, are generated by the use of the initial leaps of 2 octaves and a 6th — perfectly imitating the physically disjunctive motion of walking up the stairs. By the last third of the first stave, the piece still moves polymetrically up and down the piano, but the intervals begin to narrow, and as a result, this subtly thickens the texture. In stave 3, the bass takes on the role of being a percussive driving force. The piece, thus far, seem to lean towards this point, and one might expect a climax, but in bar 18, the consistency of texture, and pitch material drop instantly — much the same as bar stave 3. Again, the imagery this conjures is that the journey begins again — the fleeing soul has made it half way, and has now been thwarted, and must again begin its journey.

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