Gyorgy Ligeti- Continuum (1968)

Wikipedia says:

‘Continuum theories or models explain variation as involving a gradual quantitative transition without abrupt changes or discontinuities. It can be contrasted with ‘categorical’ models which propose qualitatively different states.’

This summary encapsulates much of what defines this piece, a rapid succession of notes which gradually shifts the textural quality through variations in rhythmic qualities. Written for solo harpsichord, Continuum explores this central theme with an emphasis on repetitive counter-melody motifs. This contrapuntal texture is varied through use of several rhythmic displacements, to create a slowly evolving blend of sounds which, although dictated by precise notation, creates the feeling of a non-linear approach being undertaken.

With that in mind, it can be favorably compared to the process of phasing. Though, whereas phasing is the technique of 2 instruments (playing the same repetitive motif) slowly shifting out of unison, this piece relies upon the rhythmic placement of each individual note to achieve a similar effect, rather than just 2 motifs being played at the same time in slightly different tempos. That said, the general theory behind continuum embodies characteristics for which phasing can relate to, in terms of sharing the basic principle of a ‘gradual transition without abrupt changes or discontinuities.’

Shannon

Ligeti Etude 13: The Devil’s Staircase

In case of emergency

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 from Hell on the Devil’s own staircase. It’s exciting, and a very clever musical metaphor.

Ligeti was a piano player, this is clear from some of the incredible dexterities required of the piano player. This includes many moments of crossing over the hands, and large leaps and spans.

As with Shannon’s earlier listening regarding the first lot of etudes, this etude doesn’t have bar lines either – or rather, it has some, but they seem to be at completely musically weird places, and certainly nothing to do with the time signature given. Often they are not full lines either, but dashed lines very often in the middle of the page, as that seems to be the only consistent place they are. 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. There is a time signature of 12/8 given, but it’s arbitrary.

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Ligeti also gives the player copious playing notes, mainly to explain some of his more eccentric notation and ideas. Makes sense to me.

There is a very consistent and constant pulse throughout the piece, other than three moments of incredible mood change. 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.

Things I took away from this piece include the very interesting harmonies, the use of this metaphorical music to suggest a very obvious concept, and I really like the utterly fantastic bass line that this piece uses as one of it’s primary motifs, which I am going to steal and bury it away into my musical memory for the future, should I ever need to compose a piece about stairs, and the Devil, and some sort of firey torture and death…

Saska

György Sándor Ligeti: Atmospheres – A Listening Study

The Star-child gazes at earth.

An essential piece of the late Hungarian composer, Gyorgy Ligeti, most famously used in final climatic scenes of Stanley Kubrick’s “2001: A Space Odyssey”. Written for a full orchestra in 1961.

It’s understandable why Kubrick chose to include Atmospheres into his ground-breaking classic film, even without the explicit consent of Gyorgy Ligeti. Every ounce of this work screams Surreal Futurism. It’s a mesmerizing work of art, captivating the listener and conveying imagery of a surreal world moving forward with no pre-conceived pattern. Breaking away from the “norm” of including a melody, rhythm or harmony, Atmospheres is a full exploration (how apt, being linked to 2001: A Space Odyssey) into the manipulation of timbre and texture. I can’t begin to replicate the sounds I hear, not by humming or even by writing, as it seems like every single one of the orchestral strings players, rather than playing tandem or to a certain melody, are playing different notes all at the same time, in contrasting directions. The timbral effect produced is so absolutely robust and massive, it almost seems overwhelming at times.

The only constant factor seems to be the amplitude at which they play. It flows with a sense of purpose, and a powerful one at that. The discordant textures are amazing, and instead of simply being a chaotic vibrating texture that makes you want to cover your ears and scream, it actually evokes an understanding. Instead of thinking to myself how long the piece has been going on for, I seem to be absolutely unaware of where I am in the piece itself. I think this is one of the main reasons Kubrick chose to feature this in the “Jupiter and Beyond the infinite” scenes of 2001: A Space Odyssey.

Although Ligeti can’t have written this piece with the intent of creating a sonic tapestry synonymous with deep space, he has surely created a work that transcend tonal boundaries. I normally do not find myself enjoying a textural piece of music that does away with melody and harmony, but I’m making an exception for Atmospheres.

A timeless masterpiece that makes you lose track of time itself. How apt indeed.

Gyorgy Ligeti: Continuum

Continuum is a piece in which the cembalo (harpsichord) is to be played extremely fast- so fast that the individual tones being played can hardly be perceived-but rather merging them into a continuum. In order for this to happen, the notes need to be played very evenly, without articulation of any sort.

As you look at the score, you can see how the merging of sound works.

Essentially, by changing the number of notes in the sequence from 2-5- each hand changing at different times,  we get a phasing effect.

So basically the piece is a series of different trills and tremelo- but completely notated. We get a cloud of sound when the trills are out of sync and a phase appears to happen when the trills are working in contrary motion meeting at the middle- equalling a kind of neutral point. The sequence’s range in this case and the broadening of the motif act together to change the pieces contour but most importantly the sound continuum. When the sequences are out of phase with each other, the detail is so complex that we can’t quite grasp what is happening aurally- hence, we get sound events that work together rather than individual sound bytes. 

In the recording I listened to – I could hear the keys being pressed- which I think allowed the tones to merge better by having the constant thump underneath.

So, it leads to the question-

I wonder if this piece would have the same effect in sibelius?

“As the string is plucked by the plectrum, apart from the tone you also hear quite a loud noise. The entire process is a series of sound impulses in rapid succession which create the impression of continuous sound.” http://en.wikipedia.org/wiki/Continuum_(Ligeti)

I think this quite sums the piece up.

Pru