György Ligeti - Melodien (1/2)

Описание

Melodien, for orchestra (1971)

Schönberg Ensemble
Reinbert de Leeuw

To call a piece of music "Melodies" in the context of the experimental milieu in which Ligeti operated in the 1960s and early 1970s was rather an audacious move. Scored for orchestra, Melodien was written in 1971, and first performed in Nuremberg on December 10 of that year.

In the preface of the score, Ligeti refers to the three "strata" of the piece: the foreground which features the melodies of the title, the middle layer made up of secondary figures (some of them ostinato-like), and a background consisting of long, sustained tones. Despite its title, the actual music shares many traits with other of Ligeti's works of the time. Dense tone clusters are heard at some points, as are the upward scale-like patterns that are present in so many contemporaneous works of the composer (for example, the solo harpsichord piece Continuum of 1968). Those scales work their way farther and farther up as they interact with the middle and background layers, which become more or less prominent as the piece progresses. [allmusic.com]

György Ligeti - Melodien (1/2) скачать видео - Download

Похожие видео

György Ligeti: Lux Aeterna

György Ligeti: Lux Aeterna

György Ligeti's Lux Aeterna performed by A Cappella Amsterdam, Daniel Reuss & Susanne Van Els It is by far in my opinion the best interpretation of this work available.

9 лет назад
Iannis Xenakis _

Iannis Xenakis _ "Jonchaies" for 109 musicians (1977)

Nouvelle Orchestre Philarmonique_Gilbert Amy, conductor

8 лет назад
György Ligeti, Concerto de chambre - Ensemble intercontemporain - Tito Ceccherini

György Ligeti, Concerto de chambre - Ensemble intercontemporain - Tito Ceccherini

György Ligeti Concerto de chambre pour treize instrumentistes Ensemble intercontemporain Tito Ceccherini, direction Enregistré en direct le 16 janvier 2015 à : La Philharmonie de Paris / Salle des concerts, Cité de la musique - Philharmonie 2 Coproduction CLC Productions / ARTE France

4 лет назад
Arvo Pärt - Tabula Rasa, I

Arvo Pärt - Tabula Rasa, I

Tabula rasa, concerto for 2 violins (or violin & viola), prepared piano & string orchestra (1977) I. Ludus: Con moto II. Silentium: Senza moto Adele Anthony, violin Gil Shaham, violin Erik Risberg, prepared piano Gothenburg Symphony Orchestra Neeme Järvi Arvo Pärt composed Tabula Rasa in 1977, shortly after emerging from his self-imposed period of intense study and reflection to demonstrate what would become his characteristic musical technique: the so-called tintinnabuli method. The work is thus a prime example of the technique and demonstrates how, even in its early stages, Pärt's new and innovative musical language was connected indelibly with his sense of musical process and form. One not only hears the tintinnabula system working itself out in this piece, but also gets a clear sense of the aesthetic and spiritual underpinnings of the method and its implications for large-scale musical structure. The work calls for two violin soloists supported by an ensemble of orchestral strings and an obbligato prepared piano. These three textural layers -- soloists, prepared piano, and orchestra -- assume distinct roles within the musical process at the heart of the piece. Stated simply, the tintinnabuli method as practiced by Pärt in this and numerous other works combines simple, usually stepwise diatonic melodies with ever-present interactions of tones from the tonic, or home, chord. There is thus both a strong sense of harmonic stability as well as a continually shifting surface of consonances and dissonances: as the melodic lines develop, the individual notes alternately concord and clash with the "tintinnabulating" tonic chord tones. In Tabula Rasa, the interaction of the two kinds of lines, as dispersed among the three textural layers, serves not only to provide the moment-to-moment interest of the piece, but to delineate the shape that the piece eventually comes to assume. The work, which runs about half an hour in performance, is divided into two movements contrasting in their tempi and meter. The first movement, titled "Ludus," or "to play," is the more nimble of the two, and proceeds with delicate but consistent momentum. It begins with stark, loud A's in the violins, separated by four octaves and followed by a gaping, bar-long rest; these two gestures set the parameters of the rest of the movement. Over the course of several variations, which are separated by rests of decreasing length, the soloists move gradually, with arpeggiated figurations on the tonic chord, from the middle of their ranges outward to the extremes articulated in the first bar; at the same time, the orchestra slowly unveils an ever-expanding melodic line that gradually adds new hues to the harmonic color of the movement. The second movement, "Silentium," seems at first to deal much less with silence than the previous movement's conspicuously shrinking rests. In a slower tempo, a new key, and triple meter, this movement recasts much of the musical materials of the previous movement, and creates audible processes of ever-widening melodic arcs. The meaning of the movement's title becomes clear at the end: as the melody approaches its final tonic note it gradually grows quieter until, at what should be the piece's conclusion, the ensemble fades to silence and the final note is only implied. [allmusic.com] Art by Maria Helena Vieira da Silva

8 лет назад
Ligeti - Atmospheres (1961)

Ligeti - Atmospheres (1961)

- Qui aimes-tu, homme énigmatique, dis ? ton père, ta mère, ta soeur ou ton frère ? - Je n'ai ni père, ni mère, ni frère, ni soeur. - Tes amis ? - Vous vous servez là d'une parole dont le sens m'est resté jusqu'à ce jour inconnu. - Ta patrie ? - J'ignore sous quelle latitue elle est située. - La beauté ? - Je l'aimerais volontiers, déesse et immortelle. - L'or ? - Je le hais autant vous haïssez Dieu. - Eh ! qu'aimes-tu donc, extraordinaire étranger ? - J'aime les nuages... les nuages qui passent... là bas... là bas.... les merveilleux nuages

8 лет назад
Rachmaninov: The Isle of the Dead, Symphonic poem Op. 29 - Andrew Davis

Rachmaninov: The Isle of the Dead, Symphonic poem Op. 29 - Andrew Davis

Royal Stockholm Philharmonic Orchestra Sir Andrew Davis, conductor Painting: "Isle of the Dead", Arnold Böcklin

7 лет назад
Clocks and Clouds -- Gyorgy Ligeti

Clocks and Clouds -- Gyorgy Ligeti

"Clocks and Clouds" for 12-part women's chorus and orchestra. Music accompanied by the video "A Space Journey" and the original video can be found here: http://www.youtube.com/watch?v=Un5SEJ8MyPc from the user "Impermanence". It should also be noted that the idea of pairing this work with outer-space scenery is not mine. A similar video was posted a while back, but it is no longer here. Ligeti's "Clocks and Clouds" is a relatively-short composition from 1972-1973 that takes its title from Karl Popper's 1966 philosophical essay "Of Clouds and Clocks". In this, Popper makes a compelling and easily-understood argument that scientific phenomena can be broken down into two main categories. The "clocks" are things that we can depend on such as, well, clocks. A clock can be easily measured, taken apart, and reconstructed. "Clouds", on the other hand, are things that we can only get a general, macroscopic view of -- things whose inner-workings we are unable to understand in a deterministic way. A cloud cannot be easily measured nor can it be taken apart. Furthermore, Popper argues that clouds are really made up of a cumbersome number of clocks -- so many that the whole cannot be understood completely. It isn't at all surprising that the meteorologist Edward Lorenz was making major breakthroughs in what we now tend to call "chaos theory" -- most easily defined by a sensitivity to initial conditions. Lorenz's major work in this area is known as "The Butterfly Effect" from the famous question he posed "can the flap of a butterfly's wings in Brazil cause a tornado in Oklahoma?" Throughout the 1960s, Ligeti was composing in two distinct styles described perfectly by Popper's essay. The "clouds" category includes works such as "Atmospheres" (1961), Lontano (1967), and the first movement from his "Cello Concerto" (1966). Examples of pieces falling under the "clocks" description are the third movement of his "Chamber Concerto" (1969) and the third movement of his "String Quartet No. 2" (1968). This "mechanical" style can be traced back to his semi-comical 1962 "Poem Symphonique pour 100 Metronomes", in which 100 metronomes are wound-up and left to unwind at various tempos. While compositions such as the "Chamber Concerto" and "String Quartet No. 2" do include both "clouds" and "clocks", they are presented in separate movements. It is in "Clocks and Clouds" where Ligeti seamlessly connects one to the other. Being one of his last works in this micropolyphonic style, it is a great summing up of a stylistic period.

5 лет назад
Yuja Wang - Ligeti Fanfares & Der Zauberlehrling

Yuja Wang - Ligeti Fanfares & Der Zauberlehrling

Yuja Wang performs two Ligeti's etudes

9 лет назад
Proms 2013-Bavarian RSO-Ligeti-Concert Romanesc

Proms 2013-Bavarian RSO-Ligeti-Concert Romanesc

Mariss Jansons conducts the Bavarian Radio Symphony Orchestra as they perform the fourth movement of Gyorgy Ligeti "Concert Romanesc" for their encore during Proms 2013 season at the Royal Albert Hall

6 лет назад
Hannigan & GSO - LIGETI Mysteries of the Macabre

Hannigan & GSO - LIGETI Mysteries of the Macabre

Barbara Hannigan performs Ligeti's Mysteries of the Macabre with Gothenburg Symphony. Recorded 12 April 2013 in Gothenburg. Filmed by Måns Pär Fogelberg More free concerts at http://www.gsoplay.com Like us at http://www.facebook.com/gothenburgsymphony Read about GSO at http://www.gso.se

6 лет назад
LIGETI - Cello concerto - Alexis Descharmes

LIGETI - Cello concerto - Alexis Descharmes

György LIGETI - Cello concerto - Live performance - 3rd May 2013 in Marseille (Théâtre de la Criée), Festival Les Musiques - GMEM. Alexis Descharmes, solo cello & Ensemble C barré, conducted by Sébastien Boin.

5 лет назад
Steve Reich - Proverb

Steve Reich - Proverb

Proverb is a musical composition by Steve Reich for three sopranos, two tenors, two vibraphones, and two electric organs. It is set to a text by Ludwig Wittgenstein.[1] It was written in 1995 and was originally intended for The Proms and the Utrecht Early Music Festival. It was premiered at Alice Tully Hall in New York City on February 10, 1996 by Theatre of Voices with Paul Hillier, to whom the piece is dedicated.[2] Proverb was written during a period when Reich was experimenting with "speech melody", and is influenced by the period Reich spent working on The Cave with Paul Hillier and singers with a strong background in medieval polyphony. This is especially apparent in the two tenor parts, which pay homage to Pérotin and organum in their use of rhythmic modes and pedal points. The text is: "How small a thought it takes to fill a whole life!" This text is an excellent explanation of the piece itself, as well as perhaps Reich's career, much of it spent exploring minimalism. (Wikipedia)

8 лет назад
Ligeti - Lontano (1967)

Ligeti - Lontano (1967)

8 лет назад
Ligeti: String quartet No.2 - Arditti quartet.

Ligeti: String quartet No.2 - Arditti quartet.

György Ligeti (1923-2006): String Quartet No.2 (1968) Quatuor à cordes n°2 I Allegro nervoso II Sostenuto, molto calmo III Come un meccanismo di precisione IV Presto furioso, brutale, tumultuoso V Allegro con delicatezza Arditti Quartet

8 лет назад
György Ligeti: Ramifications (1968/1969) / Maderna

György Ligeti: Ramifications (1968/1969) / Maderna

György Ligeti (1923-2006): Ramifications, per archi (1968/1969) -- Royal Concertgebouw Orchestra diretta da Bruno Maderna (dal vivo: Festival d'Olanda estate 1973) -- work by Piero Manzoni ---- The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.

8 лет назад
György Ligeti - Piano Concerto, I-II

György Ligeti - Piano Concerto, I-II

Piano Concerto (1985-1988) I. Vivace molto ritmico e preciso II. Lento e deserto III. Vivace cantabile IV. Allegro risoluto, molto ritmico V. Presto luminoso Pierre-Laurent Aimard, piano Asko Ensemble Reinbert de Leeuw György Ligeti completed his Piano Concerto in 1988. It is in five movements, twenty-five minutes in duration, and perhaps the finest concerto from the 1980s. In the late 1960s and early 1970s the composer wrote many successful concertos. In these earlier works, Ligeti was writing extremely dense and dissonant works in a style that utilized micropolyphony, a method of writing he created where numerous independent melodic lines become a larger, sonorous mass of sound. Ligeti had acquired enough listeners and imitators to be at the forefront of the avant-garde. Then in the late 1970s he suffered a heart condition that made him incapable of composing for years. When he returned to health in the 1980s the music he was writing was different, in some ways returning to his original love of Bartók which preceded his period of micropolyphony compositions. Ligeti's Piano Concerto is a super-modern piano concerto, featuring all the knowledge and musicality of a brilliant composer who had carefully absorbed the musical lessons and currents of the twentieth century. It eludes serialism but does not shy completely away from the sonorities associated with it. Ligeti and Boulez were good friends, and Boulez often conducted and recorded Ligeti's. It is interesting that Boulez had once championed a specific kind of avant-garde approach and claimed it to be the only one of value, but became an advocate of one of the very few composers who ignored this mandate completely. The beginning of the Concerto is among the most consonant moments in Ligeti's catalog, spiraling into regions of timbre and rhythmic impetus that have no precedent. It is not regressive or grindingly rigorous, never sounding as though it attempts to fit a new method of composing into an exclusive musical envelope. Other important influences at work here are the piano rolls of Conlon Nancarrow, and fractal mathematics. Clearly, this is synthetic music. Furthermore, Ligeti is not afraid to have a horn solo sail over the burgeoning musical engine of great excitement, even though the idea is unoriginal in theory. In this work, there is very little of a foreground/background duality. The piano steers the ship from within, making its presence not a separate component but rather a vital one. What is really wondrous about this work is its lack of lofty tone. Ligeti here seems jubilant, having a great time, and is well-disposed towards all. Ligeti's Piano Concerto is an excellent piece for introducing the uninitiated to the world of the avant-garde; it is welcoming, warm, and makes a total lack of triviality sound as approachable as a Buster Keaton film. [allmusic.com] Art by Richard Anuszkiewicz

8 лет назад
György Ligeti - Six Bagatelles, CARION, 2014 (HD)

György Ligeti - Six Bagatelles, CARION, 2014 (HD)

Ligeti's Six Bagatelles is Carion's signature piece since 2004. It perfectly demonstrates Danish ensembles unique performance style - movement and elements of choreography. https://www.facebook.com/carion see also our video of Nielsen's Quintet op. 43 - http://youtu.be/Ow0sYQH-8HQ http://www.carion.dk György Ligeti ( 1923-2006), Six Bagatelles for Woodwind Quintet I. Allegro con spirito II. Rubato. Lamentoso III. Allegro grazioso IV. Presto ruvido V. Adagio. Mesto -- Belá Bartók in memoriam VI. Molto vivace. Capriccioso CARION: Dora Seres, flute Egils Upatnieks, oboe Egīls Šēfers, clarinet David M.A.P. Palmquist, horn Niels Anders Vedsten Larsen, bassoon Recorded in Mogens Dahl Concert Hall in Copenhagen Video by Jānis Vingris, Eho Filma.

5 лет назад
Continuum for harpsichord - György Ligeti

Continuum for harpsichord - György Ligeti

"Continuum" for harpsichord solo by György Ligeti, performed by John Hansmann McKean.

10 лет назад
Ligeti - Lux Aeterna

Ligeti - Lux Aeterna

György Ligeti (1923-2006) Lux Aeterna for 16 solo voices. Lux aeterna luceat eis, Domine, cum sanctis tui in aeternum quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Chor des Norddeutschen Rundfunks Hamburg Dir. Helmut Franz Recording: 1968 Photo: Guido Costa (1871-1951)

11 лет назад
Gyorgy Ligeti String Quartet No. 1

Gyorgy Ligeti String Quartet No. 1

Erica Kiesewetter and Yinbin Qian, violins; Marie Daniels, viola; Jake Hanegan, cello. Round Top Festival Institute Saturday July 9, 2011

8 лет назад
GYÖRGY LIGETI - Sonata for Cello solo | Mathias Johansen

GYÖRGY LIGETI - Sonata for Cello solo | Mathias Johansen

From September 2016 I'll be professor at the State Conservatory in Feldkirch. More details: www.mathiasjohansen.de http://www.vorarlbergerlandeskonservatorium.ac.at/ Check out for updates: www.facebook.com/mathiasjohansencellist - Here's the more recent version of this piece recorded in Jan 14! http://youtu.be/-qRn8UyHogA György Ligeti - Sonate für Cello solo 11.05.11 | Musikhochschule Lübeck | Großer Saal Mathias Johansen - Cello

8 лет назад
Ligeti Atmospheres

Ligeti Atmospheres

Graphic Synopsis with some analysis data. Sinopse gráfica com alguns dados analíticos.

11 лет назад
György Ligeti - Requiem [w/ score]

György Ligeti - Requiem [w/ score]

Be sure to subscribe for the latest score videos Requiem - for soprano, mezzo-soprano, 2 choruses & orchestra (vocal score) Written by György Ligeti in 1963-1965 Performed by Barbara Hannigan (soprano), Virpi Räisänen-Midth (mezzo-soprano), Philharmonique de Radio France, Choeur de Radio France, conducted by Esa-Pekka Salonen. Edition Peters © 00:00 - I. Introitus 07:50 - II. Kyrie 15:31 - III. De die judicii sequentia 24:22 - IV. Lacrimosa 'The works of György Ligeti often seem to take as an auxiliary aim the obsolescence of terms normally used to identify -- and distinguish -- the various parameters of music, such as melody, harmony, rhythm, and especially texture. In this regard, his work is presaged by the perpetually unfamiliar soundscapes of Edgard Varèse and finds certain resonance with the transparent surfaces of minimalism, as well as the Penderecki's tone clusters and Stockhausen's obscure timbres. To varying degrees, it echoes in the electronic and microtonal experimentation of the twentieth century's end. Ligeti's Requiem, which he began composing in 1963 and finished two years later, in many ways bears the edgy, modernist characteristics general to his most prominent works. At the same time, as the title suggests, it also positions itself in relation to musical tradition, as if applying the composer's pioneering sonorities to the service of "expression," in a more visceral and subjective manner than modernism usually admits. Perhaps the most striking feature of the work, which is scored for two choirs, orchestra, and two soloists (soprano and mezzo-soprano) is its vibrant, quivering surface. The individual parts comprising his chromatic clusters are often too close to each other to be individually discerned, but their motion adds a distinctive, acoustical glimmer. Melody, then, is generally subsumed by the work's texture, but contributes crucially to its character. This technique also becomes a variant in and of itself, as the pace of the work and the character of the various liturgical sections or texts are often established by the register and relative opacity of the contrapuntal clusters. One startling effect, perhaps inspired by the creepy bass intonations of Vaèse's Nocturnal from a few years before, is the use of two low men's voices in near unison, their pitches offset enough to create a hauntingly beating effect. Likewise, when one of the high female solo voices breaks through the thick chromatic pall of the orchestra and chorus, the lucidity of her line is cast in brighter relief. These contrasts, coupled with extremes of dynamics and articulation, reach their apex in the carefully disjointed Dies Irae. Thus, despite Ligeti's unique and complex musical language, the ultimate result of his work is not entirely different in principle from the large-scale requiems of previous centuries, which projected grandeur, intensity, and intimacy through the careful deployment of their vocal and instrumental forces.' - Jeremy Grimshaw This video is for educational purposes only. I do not own the rights to the music or the performance. If you want to perform or purchase this score, please contact Edition Peters

9 месяцев назад
György Ligeti - Hamburg Concerto [With score]

György Ligeti - Hamburg Concerto [With score]

-Composer: György Sándor Ligeti (28 May 1923 – 12 June 2006) -Ensemble: Asko Ensemble -Horn: Marie-Luise Neunecker -Conductor: Reinbert de Leeuw Hamburg Concerto [Hamburgisches Konzert], for solo horn and chamber orchestra with four obbligato natural horns, written in 1998-1999, revised in 2003 00:07 - I. Praeludium 02:53 - II. Signale, Tanz, Choral 04:29 - III. Aria, Aksak, Hoketus 05:35 - IV. Solo, Intermezzo, Mixtur, Kanon 09:59 - V. Spectra 12:31 - VI. Capriccio 13:41 - VII. Hymnus Hamburg Concerto (Hamburgisches Konzert) is one of György Ligeti's last works, composed in 1998–99 and revised in 2003. The work was commissioned by the ZEIT-Foundation, expressing the special wish that it should be associated with the City of Hamburg. It is dedicated to the German horn player Marie Luise Neunecker, who premiered the original six movements with the Asko Ensemble in January 2001 in Hamburg (the place of the premiere being another special wish from the ZEIT-foundation). The final revision is cast in seven movements: Praeludium Signale, Tanz, Choral Aria, Aksak, Hoketus Solo, Intermezzo, Mixtur, Kanon Spectra Capriccio Hymnus György Ligeti wrote about his work: "In this piece I experimented with very unusual non-harmonic sound spectra. In the small orchestra there are four natural horns, each of which can produce the 2nd to the 16th overtone. By providing each horn or group of horns with different fundamentals I was able to construct novel sound spectra from the resulting overtones. These harmonies, which had never been used before, sound "weird" in relation to harmonic spectra. I developed both "weird" consonant and dissonant harmonies, with complex beats. Horns blend very well together, and to enrich the sound further, the two clarinetists play basset horns. Even though it is replete with spectra of strange beats, the resulting overall sound is soft and mellow." The name of the work was chosen in analogy to Bach's Brandenburg Concertos (Brandenburgische Konzerte), Ligeti saw the naming as a dedication: "The ”ZEIT“ Foundation which commissioned the work had the special wish that the World Première should take place in Hamburg and the movement titles also be associated with the city. I thought to myself: Bach dedicated his wellknown six Concerti grossi to the Margrave of Brandenburg – why should I not dedicate my horn concerto to the Free and Hanseatic City of Hamburg?" [wikipedia.org]

1 лет назад
Ligeti - Atmosphères - HD

Ligeti - Atmosphères - HD

Graphic Synopsis with some analysis data (now in better resolution) // Sinopse gráfica com alguns dados analíticos (agora em melhor resolução) The audio is from the CD Wien Modern (Vienna Philharmonic, Claudio Abbado, DGG).

7 лет назад
Ligeti, Négy lakodalmi tánc

Ligeti, Négy lakodalmi tánc

Quaint, wonderful little things... Based on Hungarian wedding dances, I believe

10 лет назад
György Ligeti - Trio for Horn, Violin and Piano (I)

György Ligeti - Trio for Horn, Violin and Piano (I)

Denes Varjon, Piano Tamas Major, Violin Zora Slokar, Horn

9 лет назад
Ligeti - Artikulation

Ligeti - Artikulation

In the 70's, Rainer Wehinger created a visual listening score to accompany Gyorgy Ligeti's Artikulation. I scanned the pages and synchronized them with the music. Enjoy!

12 лет назад
Ligeti: Melodien for Orchestra

Ligeti: Melodien for Orchestra

Provided to YouTube by Universal Music Group Ligeti: Melodien for Orchestra · London Sinfonietta · David Atherton Ligeti: Melodien; Double Concerto; Chamber Concerto etc. ℗ 1976 Decca Music Group Limited Released on: 1989-01-01 Producer: James Mallinson Studio Personnel, Balance Engineer: Simon Eadon Composer: György Ligeti Auto-generated by YouTube.

6 месяцев назад