LIGETI ATMOSPHERES SCORE PDF

The SWF recorded this performance for broadcast, and this recording has been released commercially on CD several times. Paul Griffiths writes that this performance made Ligeti a "talking point". The popular music edition All Music Guide describes the piece as having clusters of notes from which sections fall out, leaving "masses of natural notes". The piece features "shimmering rapid vibrato , multiple high glissandi , waves of string harmonics in different meters , [and] notes moving along the same path but at different speeds". Harald Kaufmann has described it as "acoustically standing still", a stationary sound that has movement within it that is similar to breathing.

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The SWF recorded this performance for broadcast, and this recording has been released commercially on CD several times. Paul Griffiths writes that this performance made Ligeti a "talking point". The popular music edition All Music Guide describes the piece as having clusters of notes from which sections fall out, leaving "masses of natural notes".

The piece features "shimmering rapid vibrato , multiple high glissandi , waves of string harmonics in different meters , [and] notes moving along the same path but at different speeds". Harald Kaufmann has described it as "acoustically standing still", a stationary sound that has movement within it that is similar to breathing.

Rather the listener hears an all but motionless series of sound evolutions unfolding at various moments". Large portions of the piece consist of extremely dense counterpoint , with up to 56 voices each string instrument has his or her own individual part to play.

But the imitative entrances are so close to one another that it is impossible to perceive them separately, with apparent immobility as the result. Consequently, these evolving sound structures seem stationary, as if detached from the passage of time. To paraphrase the composer himself, the micropolyphonic textures tend to hang like a mighty oriental tapestry, suspended outside time. Gigantic clusters of chords hover in a stasis that negates familiar signposts of harmony and pulse.

This dense sound-fog became known as the signature Ligeti style". Some textures could be layered and juxtaposed; some musical structures will mix with others seamlessly, while other structures will stand out. The piece opens with a "fully chromatic cluster covering more than five octaves , held by strings and soft woodwinds ", out of which various groups of instruments drop out successively, followed by various "strands of sonic fabric" reenter the composition, first white notes then black notes along with shifts in timbre and duration of notes that drive the piece forward.

The polyphonic structure, he stated, cannot be heard by the listener, but remains "underwater", hidden from the listener. In A Space Odyssey[ edit ] Stanley Kubrick chose this piece and others by Ligeti for the scenes in deep space and those with the monolith in his film A Space Odyssey because its quality of mystery was a good sonic realization of his vision.

According to program notes published by the San Francisco Symphony Orchestra , Ligeti was not pleased that his music occurred in a film soundtrack shared by composers Johann and Richard Strauss.

Program notes by Edward Downes on the jacket. Music from A Space Odyssey. Suite from Aniara. Music of Our Time. Sony Classical SMK New York: Sony Music Entertainment. Ernest Bour [recorded April ] [].

Wergo Taschen-Diskothek Neuer Musik. Wergo WER Studio-Reihe neuer Musik. Wergo WER 60 Program notes by the composer and others on container and on leaf inserted in container.

Mainz: Wergo. Program notes by the composer and others in German with English and French translations inserted in container. Compact disc, 1 sound disc: digital, stereo. Hamburg: Polydor. Compact Disc. Yomiuri Nihon Kokyo Gakudan, cond. Orchestra Space at Nissei Theatre, , vol. Victor SJV Orchestral Space. Wiener Philharmoniker, cond. Wien Modern. Hamburg: Deutsche Grammophon. Hollywood Bowl Orchestra, cond. City of Birmingham Symphony Orchestra, cond. Simon Rattle [recorded ] Arthaus Musik Leipzig: Arthaus Musik GmbH.

Philharmonisches Orchester Heidelberg, cond. Thomas Kalb [recorded late s]. Nacht der Planeten, vol. Hoepfner Classics. Berliner Philharmoniker, cond. Jonathan Nott [recorded Berlin, Philharmonie, 13—16 Dec ] The Ligeti Project II.

Compact disc recording. Hamburg: Teldec Classics Hamburg: Teldec Classics. Finnish Radio Symphony Orchestra , cond.

Hannu Lintu [recorded Helsinki, Musiikkitalo, 29—31 Aug ] Ondine ODE Ondine Oy.

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György Ligeti: Atmosphères

The bar-lines in this piece are purely a means of synchronization of the individual parts and an aid to temporal articulation. There is no such thing as a beat in the sense of metrical pulsation. Therefore, the beginning of a measure does not mean an accentuation. The piece should be played completely without accent, with the exception of a few places which are specially marked. The top is to be removed. Before beginning the piece, the piano pedal is to be depressed and secured with a wooden wedge or a suitable weight.

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Atmosphères

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G.Ligeti - Atmospheres score

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