By Bernhardt-Kabisch, Ernest; Floros, Constantin; Ligeti, György
This monograph is an authoritative learn of the œuvre of 1 of crucial composers of our time. For the 1st time, Ligeti’s key works are offered within the context in their drafts and sketches. His own and creative improvement is determined forth and illuminated, and his relevant compositions are analyzed and reinterpreted, in line with designated stories of the ratings and drafts, in addition to on own conversations with the composer. additionally, a number of questions touching on today’s composing are raised and mentioned. track doesn't need to be puristic: Ligeti’s spheres of curiosity are with reference to common, embracing historical past, ordinary technology, and visible arts, in addition to tune of numerous eras and ethnicities. This elevated global of the musical includes not only tones and sounds, speech and song, the vocal and the instrumental: Ligeti conceives tune as a cosmos of acoustic shape
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Additional info for György Ligeti : beyond avant-garde and postmodernism
These events suddenly happening here and there gradually altered the structure of the web: in some places, inextricable knots formed, caverns in others, in which some shreds from the originally coherent mesh floated about like gossamer. The changes in the system were irreversible; no configuration, once past, could recur. 56 This dream not only reads like a Kafkaesque short story but above all provides a key, even the key, to a fuller understanding of Ligeti’s music. “Net,” “netting,” “web,” “grate,” “mesh”: Ligeti uses these terms frequently in explaining the compositional techniques of many of his works.
Music is to him everything between the soft flageolet to the full orchestral sound. It is symptomatic for him that he did not attempt a synthesis of electronic and instrumental music. His domain is instrumental and vocal music, albeit a music sui generis that profited from his experiences with electronics and that frequently ranges in a region between the world of tones and that of noise. That explains why many of his instrumental works, such as Apparitions, Atmosphères or Continuum, evoke associations with electronic music in the listener – associations of tonal mixtures, impulses, as well as white noise.
It is well known that several composers of the 20th century developed innovative compositional methods. Arnold Schönberg invented the method of composing with twelve mutually related tones, Paul Hindemith formulated his Unterweisung im Tonsatz, Olivier Messiaen experimented with new modi, Karlheinz Stockhausen and Pierre Boulez paid homage, in the ‘fifties and ‘sixties, to the principles of serialism, Iannis Xenkis translated mathematical calculations into music. It is characteristic of Ligeti that he did not commit himself to any fixed method.