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.
|Published (Last):||1 October 2005|
|PDF File Size:||17.44 Mb|
|ePub File Size:||2.57 Mb|
|Price:||Free* [*Free Regsitration Required]|
To find out more, including how to control cookies, see here: You are commenting using your Facebook account. Please log in using one of these methods to post your comment: The piece is heavily technically difficult as well as heavily metaphorical. 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.
We hope that over time the blog will provide useful hints and ideas about the creative processes of composition. This includes many moments of crossing over the hands, and large leaps and spans.
This bonkers Ligeti etude could be the loudest piece we’ve ever heard (it has – Classic FM
I remember having the same P. Here the composer restricts his musical material — with the exception of the final bars — to a single note: All in all, I got a lot out of studying this piece — I really enjoyed the musical edvil that were used in this piece, and I found this piece thoroughly entertaining for this very stakrcase.
Makes sense to me. 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. You are commenting using your Twitter account. The piece continues in this way — ascending for vast periods of musical time, then returning down again, instantaneously.
This is until there is a sudden and unexpected mood change. It also demonstrates the composers sraircase in American minimal music.
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 ligehi layers, each with its own tempo, dynamics and tone colour.
Chopin, Liszt, Debussy and others composed piano etudes that concentrated on specific intervals e. Please log in using one of these methods to post your comment: 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 ligeri is destroyed, with a sudden shift to a very long and slow bass chord played at the lower extreme of the instrumental range.
In stave 3, the bass takes on the role of being a percussive driving force. As the piece goes on, the ascending staircasf reach higher and higher closer and closer out of hell? By continuing to use this website, you agree to their use. Ligeti was a piano player, this is clear from some of the incredible dexterities required of the piano player. The opening piece of Musica ricercata shows in a very palpable way the creative forces that a radical self-limitation can unleash.
Haydn — Symphony No. In case of emergency. This is a blog for staff and students in stalrcase Composition Program at Monash University. ligei
Études (Ligeti) – Wikipedia
Thanks to our partners and sponsors: It demands not only the greatest possible hand control but also an infallible sense of tone colour as well as extraordinary powers of perception.
By continuing to use this website, you agree to their use. Leave a Reply Stircase reply Enter your comment 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. Any way I could ask for a copy of the score? You ligetk commenting using your WordPress.
Create a free website or blog at WordPress. Email required Address never made public. You are commenting using your Facebook account.
This bonkers Ligeti etude could be the loudest piece we’ve ever heard (it has EIGHT fortes)
There is a very consistent and constant pulse throughout the piece, other than three moments of incredible mood change. Leave a Reply Cancel reply Enter your comment here The Piece ascends and ascends to the extreme upper pitches of the piano. We intend to keep a record of our study, thinking and compositional projects staircsae document our work, show the world outside what we do and invite comment. Often they are not full lines either, but dashed eevil very often in the middle of the page, as that seems to be the only consistent place they are.
In his second etude Ligeti follows this tradition by using the interval of a fifth. The piece, thus far, seem to lean devio 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. A great listen, I recommend.