György Ligeti: Ten Pieces (1968)

Описание: 00:00 - I. Molto sostenuto e calmo
02:32 - II. Prestissimo minaccioso e burlesco
03:19 - III. Lento
05:00 - IV. Prestissimo leggiero e virtuoso
05:50 - V. Presto staccatissimo e leggiero
06:19 - VI. Presto staccatissimo e leggiero (2x)
07:24 - VII. Vivo, energico
08:25 - VIII. Allegro con delicatezza
11:10 - IX. Sostenuto, stridente
12:19 - X. Presto bizzaro e rubato, so schnell wie möglich
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Ensemble: Berlin Philharmonic Wind Quintet
Year of Recording: 1994
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"Born in Hungarian (now Romanian) Transylvania, György Ligeti (1923–2006) was strongly influenced by Béla Bartók in his youth, and through him also by Hungarian folk music. Already at that time, Ligeti’s musical visions were original; however, under the given conditions, he could not fully realize them. He had the opportunity to become more familiar with the current trends of the avant-garde only after 1956, when he fled to Austria and then to Germany. In the 1960s his compositions Apparitions, Atmosphères, Requiem, Lux aeterna, and Lontano, in which densely interwoven voices of individual instruments merge into a unified stream of sound, caused a sensation. Nevertheless, Ligeti had never frozen in one style; on the contrary, in each composition he created a new world, trying new compositional procedures, always giving precedence to the resulting sound over strict methods.

10 Pieces for Wind Quintet (1968) In 1960s, Gyorgy Ligeti was becoming increasingly well-known for his characteristic “liquid” sound, achieved through so-called micro-polyphony, i.e. dense interweaving of many individual voices. By the end of the decade, however, he started looking for a way to escape this pigeon-hole, moving towards music that would pair timbral considerations with distinct melodies and replace gradual transformation with more dramatic structures and contrasts. Ten Pieces for Wind Quintet hails from this transitional phase: dense and virtually static soundscapes co-exist with much more forceful and eventful elements. The cycle alternates between pieces in which the quintet plays very cohesively and pieces in which one of the instruments comes close to playing a solo part. To the last note of the score, Ligeti appended a quote from Through the Looking-Glass by Lewis Carroll." (Matěj Kratochvíl)
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Note: This composition is incredibly complex, and as a result very difficult to sync with audio; a number of errors could be present. But, overall, this video should still be very usable for study purposes.
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