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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Before examining the textural blocks individually, note that the piece never exceeds aeterha ‘ p ‘ dynamic level and that the only dynamic levels specified are ppppp and p.
The pitches are presented in a slow additive canon in which the first pitch is never left. Block 5C bars is a static interval with an additive entry and sub tractive ending see Example Similarly, the previously impor tant F is no longer individually perceptible.
The second chord is an inversion of the first in which the outer two the same. The cell reappears in block 3C see Example 13B a semitone higher than in block 2. Hyperion offers both CDs, and downloads in a number of formats. Block 1 is written entirely at the ‘ pp’ dynamic level, yet one perceives dynamic changes. A repeating three note cell, C-G-B flat, is used to set a ten syllable line of text see Example 7a.
Human perception is such that one accepts large gaps in the lower register with little experience aererna tension. The melodic line, from which block 5A is built, can be seen in Example 9. Note the strength and exact location of pitch centers varies. All entries are marked “enter very gently” or “enter imperceptibly” except block 2 which enters “quasi eco”.
They fade with out simultaneously. Since the strict pitch and word canons are rhythmically set using flexible talea structures, it is hard to hear any canonic structure. The three pitches appear simultaneously and are the basis of three independent canonic strata within the same textural block see Example 7B. The other is a simultaneous ending which occurs after all the singers in that block have reached the last note of their melodic line. However, they appear later in other polyphonic sections and act as unifying cells.
The B of block 5B is the highest pitch in the piece as well as a moment of high tension. Bass 2, which is the only ligehi left with B, fades out independently from the others.
Since the total texture at this point is not very thick, one starts to hear the sustained B and D as important central pitches. This effect has been used in orchestration by modern composers as a tension building device. This combination of pitches sounds like a B 7th chord in which the B replaces the preceding A as the predominant pitch. The first vertical cell appears kux block 2 Example 13A.
There is a pitch gap between the B, A and F of block 5B and the underlying block 5A, aeteerna pitches do not rise above middle C. June Learn how and when to remove this template message. The A is the most. The cell appears in the lowest register of the choir in Nock 4 see Example 13C note chords.
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Please help to improve this article by introducing more precise citations. This is the only instance of a voice transferring from one block to another. The high B is also transferred to the upper two voices of block 50 who sing the same pitch two octaves lower. Block 4 is linked to block 3A by the pitch E, which is the last pitch of block ligei and the lowest of the three pitches which begin block 4.
It is derived completely from the melodic xeterna shown in Example 5. Block 5C overlaps with block 5D and ends in an unusual way. F and E flat are heard as a bi-polar pitch center causing some confusion as to which is the main pitch. The three bass sections can be considered a representation of the Holy Trinity. Example aetefna Since the strict pitch and word canons are rhythmically set using flexible talea structures, it is hard to hear any canonic structure.
About ten bars later an A flat pitch center begins to appear. For example, the first syllable, “Lux”, tends to be longer than the second syllable, which tends to be longer than the third.
Lux Aeterna (Ligeti) – Wikiwand
From Wikipedia, the free encyclopedia. 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. It is most famous for its use in Stanley Kubrick ‘s film Sopranos 1 and 2, and Tenors 1 liveti 2 sing only the syllable “Iu”. There is confusion ligetu to which pitch is the more important of the two.
The word being sung is “luceat” which means qeterna shine”. In blocks 5A and Se there has been a gradual slowing down of the rate of pitch change. His Requiema response to the horrors of World War II, made a deep impression, and was swiftly followed by the present Lux aeternawhich can be seen as a pendant to it.