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Word: ligeti (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Composers String Quartet. The Fromm Foundation sponsors quartets by Schuller (1957), Shifrin (1972), and Ligeti (1968). Free. Sunday, February...

Author: NO WRITER ATTRIBUTED | Title: Classical | 2/21/1974 | See Source »

...surprise of the program's first half was a pair of modern works. Gyorgy Ligeti's Etude I is a collection of tone clusters that build to a defeating climax only to subside to a single note as the zymbalstern stop tinkles in the background. The Ligeti is very much an organist's piece for it experiments continously with varieties of tone color in the different stops rather than relying on pitch differentiation. George Ken: performed well, demonstrating an impressive sensitivity to the possibilities of the big Fisk organ...

Author: By Kenneth Hoffman, | Title: Baroque Music | 11/19/1971 | See Source »

From Zacher's organ at the Folkwang Academy in Essen come some of the most adventurous and innovative sounds heard in a time beset by strange noises. Playing music by such avant-garde composers as Mauricio Kagel, Georgy Ligeti, Olivier Messiaen, Ernst Krenek and, naturally, John Cage, Zacher treats the organ as though it were a giant musical synthesizer, capable of taking sound back to its primeval sources and building music anew. That is exactly how Zacher feels about...

Author: /time Magazine | Title: Music: The Organ as Synthesizer | 6/8/1970 | See Source »

...Heliodor/Wergo label. At the climax of the work, as the supply of air begins to deplete, a cascade of falling pitches and fading sounds engulfs the listener in a musical-mystical doomsday. "It sounds," says Kagel, "as if the organ were exhaling her soul." For Ligeti's equally iconoclastic Etude No. 1, Zacher hooked a vacuum-cleaner motor to the organ pipes to achieve a tiny flow of air and precisely the "pale, unearthly and strange" tone color specified by the composer...

Author: /time Magazine | Title: Music: The Organ as Synthesizer | 6/8/1970 | See Source »

Much of the music played by Zacher these days is what is often called "wallpaper music," because it is largely concerned with surface textures and shapes. Ligeti's Volumina, for example, would go beautifully with white plastic furniture and the spare squares of Josef Albers. The work consists of dissonant clusters of notes produced by leaning on the keys with the butt of the hand and the forearm. Volumina radiates the same waves of contrived unreality as Ligeti's Atmospheres, which defined the mood of outer space conclusively on the sound track of the film...

Author: /time Magazine | Title: Music: The Organ as Synthesizer | 6/8/1970 | See Source »

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