Download scientific diagram | Score extract from Gyorgy Ligeti’s Devil’s Staircase, representing the TSU Endless trajectory. Reprinted with kind permission of. A really interesting point that I absolutely love about this piece is the fact that there is almost always an upwards movement, trying to escape. So this week I decided to study “The Devil’s Staircase”, by Hungarian composer, Gyorgy Ligeti. The piece is heavily technically difficult as well.
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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. Makes sense to me.
Please log in using one of these methods to post your comment: The piece, thus far, seem to lean decil this point, and one might expect a climax, but in bar 18, the consistency of staircaae, and pitch material drop instantly — much the same as bar stave 3. Leave a Reply Cancel reply Enter your comment here 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.
This bonkers Ligeti etude could be the loudest piece we’ve ever heard (it has EIGHT fortes)
This includes many moments of crossing over the hands, and large leaps and spans. It was with the piano collection Musica ricercata that the Hungarian composer laid the foundations of an individual musical language in the early s.
With ten fingers, the pianist plays up to seven different layers, each with its own tempo, dynamics and tone colour. You are commenting using your WordPress. You are commenting using your Facebook account.
This bonkers Ligeti etude could be the loudest piece we’ve ever heard (it has – Classic FM
This is a blog for staff and students in the Composition Program at Monash University. 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 wtaircase to a very long and slow bass end chord sequence.
Here, each of the pianist’s hands seems to be deil in a different space. Please log in using one of these methods to post your comment: We hope that over time the blog will provide useful hints and ideas about the creative processes of composition.
Email required Address never made public. By continuing to use this website, you agree to their use. In stave 3, the bass takes on the role of being a percussive driving force. Usually virtuosic pieces lligeti not particularly enthrall me, as I usually find that there is not a lot of musical content or meaning behind them. As the piece goes on, the ascending sections reach higher and higher closer and closer out ligwti hell?
You are commenting using your Twitter account. 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.
Leave a Reply Cancel reply Enter your comment here 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.
Create a free website or blog at WordPress. There is a very consistent and constant pulse throughout the piece, other than three moments of incredible mood change. 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. In his second etude Ligeti follows this tradition by using the interval of a fifth.
Ligeti also gives the player copious playing notes, mainly to explain some of his more eccentric notation and ideas. A great listen, I recommend.
Thanks to our partners and sponsors: I remember having the same P. Haydn — Symphony No. 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.
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. We hope that over time the blog will provide useful hints and ideas about the creative devol of composition. You are commenting using your Twitter account. To find out more, including how to control cookies, see here: It demands not only the greatest possible hand control but also an infallible sense of tone colour as well as extraordinary powers of perception.
Chopin, Liszt, Debussy and ligeto composed piano etudes that concentrated on specific sstaircase e.