LIGETI DEVIL STAIRCASE PDF
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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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.
To find out more, including how to control cookies, xtaircase here: To find out more, including how to control cookies, see here: Usually virtuosic pieces do not particularly enthrall me, as I usually find that there is not a lot of musical content or meaning behind them.
Ligeti also gives the player copious playing notes, mainly to explain some of his more eccentric notation and ideas. Makes sense to me.
It also demonstrates the composers interest in American minimal music. It was with the piano staicase Musica ricercata that the Hungarian composer laid the foundations of an individual musical language in the early s. Email required Address never made public. There is a very consistent and constant pulse throughout the piece, other than three moments of stakrcase mood change.
You are commenting using your Twitter account. Any way I could ask for a copy of the score? The way the piece is actually divided is into large bars of 36 beats, which are then further divided into 3 bars, but this division is asymetrical. As the piece goes on, staircasf ascending sections reach higher and higher closer and closer out of hell?
The opening piece of Musica ricercata shows in a very palpable way the creative forces that a radical self-limitation can unleash.
In stave 3, the bass takes on the role of being a percussive driving force. 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 ligsti reason.
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. In case of emergency. Ataircase are commenting using your WordPress.
You are commenting using your Facebook account. We hope that over time the blog will provide useful hints and ideas about the creative processes of composition. Here, each of the pianist’s hands seems to be moving in a different space.
A great listen, I recommend. The piece is heavily technically difficult llgeti well as heavily metaphorical. It demands not only the greatest possible hand control but also an infallible sense of tone colour as well as extraordinary powers of perception.
This is a blog for kigeti and students in the Composition Program at Monash University. I remember having the same P. This is until there is a sudden and unexpected mood change. We intend to liget a record of our study, thinking and compositional projects stairase document our work, show the world outside what we do and invite comment. Please log in using one of these methods to post your comment: The Piece ascends and ascends to the extreme upper pitches of the piano. The piece continues in this way — ascending for vast periods of musical time, then returning down again, instantaneously.
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Ligeti Etude The Devil’s Staircase | Monash Composers
By continuing to use this website, you agree to their use. Here the composer restricts his musical material — with the exception of the final bars — to a single note: Leave a Reply Cancel reply Enter your comment here Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e. Create a free website or blog at WordPress. 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.
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. With ten fingers, the pianist plays up to seven different layers, each with its own tempo, dynamics and tone colour. Ligeti was a piano player, this is clear from some of the incredible dexterities required of the piano player.
The very consistent and staircwse 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.
Haydn — Symphony No.