We hear the same melody several times. At the start we hear it alone, later on as a canon. It seems that we hear the melody each time at a different distance. This early piece already shows Ligeti’s interest in creating the illusion of space in his music.
When I play Ligeti’s Étude No. 13: L’escalier du diable / The Devil’s Staircase, I have the feeling of climbing and of Escher’s endless staircases that Ligeti loved so much. I have the feeling not of looking at this famous architectural illusion, but of being part of it, and in vain of looking for an exit. And I feel deeply the existential dimension that this situation had for Ligeti.
The newest addition to the Ligeti Project: a full masterclass, an interactive score, and video commentary on Musica ricercata No. 5.
The third of six bagatelles for wind quintet, by György Ligeti, performed by the Barry Tuckwell Wind Quintet, accompanied by an animated graphical score.
Pierre-Laurent Aimard joins conductor David Robertson, ondes Martenot player Valérie Hartmann-Claverie, and the Czech Philharmonic for three performances of Olivier Messiaen’s euphoric Turangalîla-Symphonie, presented on December 7, 8, and 9 …