Word: ligeti
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Dates: during 1960-1969
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GYORGY LIGETH LUX AETERNA (Deutsche Grammophon). Moviegoers may be familiar with Ligeti's score from its use in 2001: A Space Odyssey, where it accompanies the discovery of the monolith on the moon. The music is not conceived stereophonically but, like a clever piece of audible op art, achieves that effect from its dense-textured 16-part counterpoint, which seems to shimmer around its source in concentric waves. As an exercise in the deceptive qualities of pure sound, it is an awesome tour de force...
...hundred metronomes went ticktack, ticktack during the 15-minute performance of Györgi Ligeti's composition, Poème Symphonique. A toy gun popped, a yellow umbrella flipped open, while Soloist David Tudor banged directly on the piano strings with a hammer, executing John Cage's Concert for Piano and Orchestra. The movie collage Breathdeath offered a drawn foot coming out of Richard Nixon's mouth. In French Playwright Eugene lonesco's one-acter, Bedlam Galore, for Two or More, "She" and "He" quarreled, and quarreled some more, while a civil war went on outside...
...listening to music as thoroughly organized as, may, Le Marteau sans Maitre, one does not hear the grammar. Commenting in Die Reihe on another work of Boulez, Gyorgy Ligeti observes: "Seen at close quarters, it is the factor of determinism, regularity, that stands out; but seen from a distance, the structure, being the result of many separate regularities, is seen to be something variable and chancy, comparable to the way the network of neon lights flashes on and off in main street; the individual lamps are indeed exactly controlled by a mechanism, but as the separate lights flash...
...performer could no longer fulfill them, and had to decide for himself how to interpret the work. Thus, if the composer is not to step from total control to no control, he must make the performer a partner in the creation of the sounds. At the same time, Ligeti has suggested, the breakdown of the tonality which required playing in one direction (forward) only, has created forms that can be passed through in several directions in time. As a result, Ligeti says, in the Third Piano Sonata, performed by Leonard Stein, Boulez makes "the interpreter the chauffeur, who can drive...