LUX AETERNA LIGETI PDF
Pitch and Texture Analysis of Ligeti’s Lux Aeterna. Jan Jarvlepp. Lux Aeterna ( ) by Gyorgy Ligeti is a single movement composition of about nine minutes. Drei Phantasien Nach Friedrich Hölderlin: II. Wenn Aus Der Ferne. Cappella Amsterdam & Daniel Reuss. 6. Drei Phantasien Nach Friedrich Hölderlin: III . ‘Rules as Strict as Palestrina’s’: The Regulation of Pitch and Rhythm in Ligeti’s Requiem and Lux aeterna – Volume 10 Issue 2 – BENJAMIN R. LEVY.
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Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Domine cum sanctis tuis in aeternum Aeteena 5C bars is a static interval with an additive entry and sub tractive ending see Example Ligeti divides the choir into sixteen parts, which enables him to form, literally, nebulous clusters of notes slowly shifting in subtle and ever-changing patterns.
Lux Aeterna (Ligeti) – Wikipedia
Like blocks 5B and 5C, this serves to emphasize “luceat” as a key word, and creates a connection to the similar sounding “lux”. A release of tension has been accomplished since the B is now in a more relaxed middle range and since the “hole in the middle” effect is now absent.
Two kinds of texture are used in this piece: For clarity, I have named blocks that are superimposed on a previously established textural layer with the same numeral but a different accompanying letter for example blocks 3B and 3C are superimposed over the previously established block 3A.
Block 3C bars appears simultaneously with block 3B, using the same text, but is different in pitch content and canonic structure. Lux Aeterna by Gyorgy Ligeti is a single movement composition of about nine minutes duration for unaccompanied sixteen part mixed choir. Since the elastic talea is not a strict organizational method, there are exceptions to the general tendencies of durational values. The last occurrence of the three note cell is in block 5A see Example Here the pitches of block 2 are used with an upper octave doubling.
These words are sung on a high sustained A, which contrasts with the preceding melodically moving setting of the words “lux aeterna”. There is a pitch gap between the B, A and F of block 5B and the underlying block 5A, whose pitches do not rise above middle C. It turns out that neither is a central pitch but function as pitches which precede the final F and G of the piece. They are marked in the examples with horizontal brackets. To give the reader an overview of the piece and to serve as a point of departure, the blocks of texture are presented in a graphic form in Example 1.
November Total duration: This article includes a list of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations. He also assigns the highest pitch in bars to “lux”, a C.
There is an alto If’ marking in the low register that the com poser says should sound as loud as a tenor or soprano ‘ p ‘.
The A pitch first appears in bar 13 in a dense cluster at which point it is in its lower octave and not individually perceptible.
Each syllable appears with a particular pitch of the canonic melody, except in block 3C which uses an exceptionally short canon to represent a large number of syllables. The syllable “Do” is sung on E preparing the word “Dom ine”, which includes an E aeterha its pitch material. The pitches B, A and F cause it to sound like a B 7th chord with no third to indicate whether it is major or minor.
However, the bass sec tions quickly become staggered again and continue to imitatively follow the melodic line established by the tenors.
The first is intervallically identical of the chord in block 2 but appears two octaves and a lkgeti second lower.
At the same time, block 3B is fading out using the same syllable but the sub tractive method of ending. Similarly there are two ways ligetj which the polyphonic blocks can end.
Articles lacking in-text citations from June All articles lacking in-text citations All stub articles. The pitches are presented in a slow additive canon in which the first pitch is never left.
Lux Aeterna (Ligeti) – Wikiwand
The tension of this high pitch is enhanced by the use of the “hole in the middle” effect. The initial F of the piece is not present, confirming the motion away from the original central pitch of the piece. The final word of the text, aetrna, is left incomplete in two of the four alto sections. This is the only instance of a voice transferring from one block to another.
On the Wergo and Deutsche Grammophon recordings not only is the 7 bar silence omitted, but each recording appears last on the side of the disc. The basses enter, singing in very high falsettoshowing Ligeti’s focus on timbre and texture. This block begins with a unison G attack, which is a clearly audible entry, and then changes into polyphony as the voices canonically leave the initial pitch one by one.
The absence of any clearly articulated head motive contributes to this situation. The A is the most. We hear the bass singers for the first time, a timbral contrast, and we hear homophony for the first time, a textural contrast.
As before, a three note chord with the same intervals is used. This is the only block which cannot be individually perceived.
The second instance of homophony, block 4 barssets the word “Domine” as did the previous homophonic section, block 2. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. In bars the area of maximum vertical density of the whole piece is found. As Ligeti says “a kind of talea structure, not a rigid one as in the isorhythmic motets, but a kind of ‘elastic’ talea” 2 is used to order durational values.