This radical new musical language was in part facilitated by Ligeti’s recently developed technique of micropolyphony. For much of Atmosphères. GYÖRGY LIGETI – Atmosphères – Volumina · Lux aeterna – Etüde · Etude No. 1» Harmonies«- Lontano · Ramifications – Melodien for Orchestra – Gerd Zacher. Gyorgy Ligeti was born in Transylvania in His family originated in Hungary. I discovered his music after purchasing the soundtrack for Stanley Kubrick’s.
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You are commenting using your Facebook account. The score assigns each individual string player a distinct part rather than one that duplicates other strings, and the result is haunting and vaguely dissonant. Ligeti’s homepage also gives the instrumentation. Rather the listener hears an all but motionless series of sound evolutions unfolding at various moments”.
Stanley KubrickAmerican motion-picture director and writer whose films are characterized by his dramatic visual style, meticulous attention to detail, and a detached, often ironic or pessimistic perspective. Thank you for your feedback.
Gigantic clusters of chords hover in a stasis that negates familiar signposts of harmony and pulse. 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 OrchestraLigeti was not pleased that his music occurred in a film soundtrack shared by composers Johann and Richard Strauss.
These things and others arrive and leave as if of themselves. Thank You for Your Contribution!
György Ligeti, Atmosphères — American Symphony Orchestra
Return to top of page. Instruments enter almost imperceptibly, rising furtively from the mist before gently receding, and as such there is no concept of beginning or end, only abstracted sounds and textures hanging motionless in time and space.
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Paul Griffiths writes that this performance made Ligeti a “talking point”. Rhino Records Compact Disc, “. There was a problem with your submission. Retrieved from ” https: I really love the apparent harmonic progression at 1: If you prefer to suggest your own revision of the article, you can go to edit mode requires login.
The contrast between these two pieces—the Ligeti a study in motionlessness, the Stravinsky a convulsive eruption of movement—was only enhanced by Jurowski’s device, making one listen with refreshed ears.
Instead the listener is confronted with a ligfti succession of textures, one oozing into the other, where the instrumental sonority seems to have more in common with the dissolves and hums of electronic music than that of a normal symphony orchestra. But the imitative entrances are so close to one another that it is impossible to perceive them separately, with apparent immobility as the result. Publishers Group West, Some textures could be layered and juxtaposed; some musical structures will lligeti with others seamlessly, while other structures will stand out.
But the piece reached its widest audience inwhen American filmmaker Stanley Kubrick used it in the sound track of All Music Guide to Classical Music: In an essay titled “Metamorphoses of Musical Form”,  Ligeti developed the concept of musical “permeability” according to which a musical structure is “permeable” if it allows a free choice of intervals and “impermeable” if not.
Consequently, these evolving sound structures seem stationary, as if detached from the passage of time.
June 1, by ASO. The music flows like lava, buzzes like a swarm of bees, or glimmers like a multitude of tiny Aeolian harps. This dense sound-fog became known as the signature Ligeti style”. You may find it helpful to search within the site to see how similar or related subjects are covered.
This was the first work Ligeti began after his time in the electronic music studio, and, as a composition of sounds and of layers of sounds, the score transfers to the orchestral plane an electronic manner of working.
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