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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June Learn how and when to lix this template message. For this reason it is possible in classical scores for string basses to frequently double the cello lines at the lower octave, while an upper octave doubling of the first violin line is an unusual special effect rather than a normal mode of orchestration.

This block begins with a unison G attack, which is a clearly audible entry, and then changes into polyphony as the voices canonically leave the initial pitch one by one. The temporal organization of the piece is as methodical as the strict pitch and word canons but much more flexible. Domine cum sanctis tuis in aeternum Lu is the only block which cannot be individually perceived. Block 3C ends at bar 79 with a simultaneous fadeout on the syllable “i s “.

Note the strength and exact location of pitch centers varies. This makes the effective gap over an octave wide and provides contrast to the more closed tex tures heard before. Each ulx appears with a particular pitch of the canonic melody, except in block 3C which uses an exceptionally short canon to represent a large number of syllables. One does not aurally identify it with the homophonic blocks 2 and 4. This section ends subtractively with staggered fadeouts.

Example 15 Since the strict pitch and word canons are rhythmically set using flexible talea structures, it is hard to hear any aeteerna structure. The final F of the piece is an octave below the first F of the piece representing a loss of energy and a greater sense of relaxation. At the same time, block 3B is fading out using the same syllable but the sub tractive logeti of ending. ligwti


The block ends subtractively as each voice reaches the final syllable “i s ” at a different time and then decrescendos after sustaining it for several beats. In bars the area of maximum vertical density of the whole piece is found. This effect has been used in orchestration by liigeti composers as a tension building device. This page was last edited on 21 Augustat Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Lux Aeterna (Ligeti) – Wikipedia

You can help Wikipedia by expanding it. They fade with out simultaneously. This means that the first singer to arrive at the last note will sustain that note until all the other voices have also reached that point.

The other is a simultaneous ending which ligdti after all the singers in that block have reached the last note of their melodic line. Views Read Edit View history.

Unlike block 2, this appearance of the cell is difficult to perceive as a unity since two other blocks of texture are sounding simultaneously.

‎Ligeti: Lux Aeterna by Cappella Amsterdam, Daniel Reuss & Susanne Van Els on Apple Music

The basses then proceed to canonically imi tate the tenor line starting with the word “in” on D natural see Example 5. This block begins with a simultaneous attack on A by the four alto sections, which then kigeti the melodic line in canonic fashion.

However, the same A becomes the middle note of the bass chord thus giving a pivot lus or pitch connection to this block. Yet it is an individual block whose pitch content and point of entry do not coincide with any of the others. It then becomes canonic because the duration of the first syllable, “Re”, is different in each voice causing them to shift out of phase with each other. For example, in the fourth syllable, “ae”, Alto 2’s duration is only an eighth note whereas Alto 4’s duration exceeds eight quarter note beats.

This time the chord appears in the lowest bass aeteran, which is a contrast to the falsetto setting of the same word before.


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Articles lacking in-text citations from June All articles lacking in-text citations All stub articles. In this piece, each of the sixteen voices is given a characteristic subdivision of the quarter-note beat:. These three important structural blocks are separated from each other by the two occurrences weterna homophony which make up blocks 2 and 4.

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This ending represents a return to the original central pitch, F. Grant them eternal rest, O Lord, and may everlasting light shine upon them. Lux Aeterna by Gyorgy Ligeti is a single movement composition of about nine minutes duration for unaccompanied sixteen part mixed choir. The melodic line of block 1 consists of a gradual intervallic expansion from the starting pitch F, to a major 7th range D flat to Cand an ending on the sus tained high A.

The different divisions of the beat are frequently used for pitch changes making it impossible for the listener to pick a steady beat from the music.

The initial F of the aeternaa is not present, confirming the motion away from the original central pitch of the piece.

This technique uses the basses to underscore the entries of the sopranos and altos with blocks 3B and 3C. The second chord is an inversion of the first in which the outer two the same. The ending of this textural block is a simultaneous cut-off with no “morendo” indication. The rest of the texture is strict imitative polyphony at the unison, which can be called canonic although one must aban don all ideas of tonal or modal resultant harmonies that are associated with traditional canons.

For this reason, I cannot pinpoint the emergence of a new pitch center to a specific bar in this case.

The A gains great prominence in bars by appearing an octave higher while being supported by the original A pitch.