LIGETI METAMORPHOSES NOCTURNES PDF

Its first half consisted of two works written in post-World War II times, followed by one of the late Beethoven quartets after interval. No crowd-pleasers here; audience members with a disinterest towards intellectual challenges need not turn up. Indeed, to plan, prepare and present such a programme assumes exceptional physical and mental groundwork and commendable artistic valour. Such a work would have been regarded as dangerously avant-garde and thus against the ideological principles of Communist Hungary in the darkest years of Soviet oppression.

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The first word of the sub-title Metamorphoses nocturnes refers to the form. The quartet can be considered as having just one movement or also as a sequence of many short movements that melt into one another without pause or which abruptly cut one another off. The basic concept, which is always present in the intervals but which is in a state of constant transformation, consists of two major seconds that succeed each other transposed by a semitone.

It is not tonal music, but it is not radically atonal, either. Although his studies progressed quickly, the early s were not a good time to be a young Jewish man in Central Europe. Ligeti was sent to a labor camp in but was released a year later, avoiding the fate of most of his family in Auschwitz. It was during this period that Ligeti wrote his Cello Sonata , the piano cycle Musica ricercata , and the First String Quartet, pushing the envelope in terms of Communist-allowed harmonic language and therefore consigning all of them to the bottom drawer, not to be performed until years later.

He fled to Austria in , leaving behind most of his portfolio and dedicating himself to the twelve-tone system whose study and practice had been banned in the Eastern Bloc. He settled in Cologne, where he heard the groundbreaking electronic textures of Karlheinz Stockhausen which partially inspired the slowly evolving pitch clusters that Ligeti began to call micropolyphony.

Ligeti moved away from dense atonality in the s, inspired by the work of minimalists Steve Reich and Terry Riley to write San Francisco Polyphony for orchestra and Three Pieces for Two Pianos His only opera or anti-anti-opera, as he dubbed it , the striking Le Grand Macabre , rev. Jump to Navigation. Program Note The first word of the sub-title Metamorphoses nocturnes refers to the form.

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The first word of the sub-title Metamorphoses nocturnes refers to the form. The quartet can be considered as having just one movement or also as a sequence of many short movements that melt into one another without pause or which abruptly cut one another off. The basic concept, which is always present in the intervals but which is in a state of constant transformation, consists of two major seconds that succeed each other transposed by a semitone. It is not tonal music, but it is not radically atonal, either.

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Ligeti: String Quartet “Metamorphoses nocturnes”

In , sketches and notes for his projected String Quartets Nos. These two movements were written for the graduation exam at the Franz Liszt Academy of Music in Budapest , with a stylistic uncertainty. It is thus representative of what the composer himself used to call "the prehistoric Ligeti", referring to the works he wrote before leaving Hungary in The quartet is approximately 21 minutes in duration, and was premiered at the Vienna Musikverein on 8 May by the Ramor Quartet, [6] an ensemble that had also fled into exile. The work is written in one continuous movement, which can be divided into seventeen contrasting sections: [4]. The five movements differ widely from each other in their types of motion. In the first, the structure is largely broken up, as in Aventures.

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