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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Études (Ligeti) – Wikipedia
Ligeti also gives the player copious playing notes, mainly to explain some staircwse his more eccentric notation and ideas. Thanks to our partners and sponsors: There is a very consistent and constant pulse throughout the piece, other than three moments of incredible mood change. 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.
This bonkers Ligeti etude could be the loudest piece we’ve ever heard (it has EIGHT fortes)
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 is a blog for staff and students in the Composition Program at Monash University. Haydn — Symphony No. Email required Address never made public. 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scores include introductions and performing suggestions as well as film sequences from masterclasses and previously unpublished remarks and explanations from the composer.
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.
It also demonstrates the composers interest in American minimal music. You are commenting using your WordPress. Any way I could ask for a copy of the score?
All 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. The Piece ascends and ascends to the extreme upper pitches of the piano. I remember having the same P.
We hope that over time the blog will provide useful hints and ideas about the creative processes of composition. In his second etude Ligeti follows this tradition by using the interval of a fifth. 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.
Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e. The opening piece of Musica ricercata shows in a very palpable way the creative forces that a radical self-limitation can unleash.
Makes sense to me. Ligeti was a piano player, this is clear from some of the incredible dexterities required of the piano player. You are commenting using your Twitter account.
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. You are commenting using your Twitter account.
Ligeti Etude The Devil’s Staircase | Monash Composers
Create a free website or blog at WordPress. By continuing to use this website, you agree to their use. Here, each of the pianist’s hands seems to be moving in a different space.
In stave 3, the bass takes on the role of being a percussive driving force.
In case of emergency. Email required Address never made public. This is until there is a sudden and unexpected mood change. Often they are not full lines either, but dashed lines very often in staircasr middle of the page, as that seems to be the only consistent place they are. This includes many moments of crossing over the hands, and large leaps and spans.