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.

Author: Fetaur Kazratilar
Country: Colombia
Language: English (Spanish)
Genre: Software
Published (Last): 22 July 2004
Pages: 283
PDF File Size: 14.53 Mb
ePub File Size: 17.16 Mb
ISBN: 469-1-42543-159-1
Downloads: 90056
Price: Free* [*Free Regsitration Required]
Uploader: Mazuhn

To give the reader an overview of the piece and to serve as a point of departure, the blocks of texture are presented in a graphic form in Example 1.

In this piece, each of the sixteen voices is given a characteristic subdivision of the quarter-note beat:. The high and bright sounding B may be a word-painting of the word “luceat”.

They are marked in ligti examples with horizontal brackets. From Wikipedia, the free encyclopedia. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. It tends to blend partially with the other blocks present and to act as a soft drone.

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. The melodic line, from which block 5A is built, can be seen in Example 9. Requiem aeternam dona eis, Domine; et lux perpetua luceat lxwhich means “May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art aeterha.

The static harmony can be considered to portray God’s never changing presence while the lower dynamic level indicates the peacefulness associated with God. 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 upper tone predominates liggeti the lower two pitches add timbral richness whose pitch content is not as evident. Human perception is such that one accepts large gaps in the lower register with little experience of tension. Block 3B is linked to 3A and 3C by the common G. 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.

  AUO G065VN01 PDF

It is taken from the text of block 5A. The composer has negated his previously pitch-centered material in favor of a dense neutral texture with internal movement but no apparent pitch goal. As Ligeti says “a kind of talea structure, not a rigid one as in the isorhythmic motets, but a kind of lhx talea” 2 is used to order durational values.

Lux Aeterna (Ligeti) – Wikiwand

These are due to the gradual addition of voices, expansion of pitch range and especially the addition of the high A to the otherwise midrange texture. Canonic representation lud the words generally causes them to be unintelligible, while eaterna word sung in the homophonic sections aetrrna clearly intelli gible.

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. This time it is accompanied by a G above, possibly because the composer considers a sim ple return to the F to be too simple, predictable or reminiscent of tonal music.

However, this D comes from the tenor liget. This line moves in very slow canonic fashion lead ing to a texture containing B, A and Fwhich sounds like a B 7th chord see Example There is an alto If’ marking in the low register that the com poser says should sound as loud as a tenor or soprano ‘ p ‘. There are only two short instances of homophony which appear at structurally important places in the piece.

The polyphonic result is a single tonic note, F, which expands into a dense harmony without lgieti pitches, for example bar 13, and then gradually moves to the new central pitch, A, starting at bar Tenors begin this texture and are joined by the basses once the texture is well established.

The first is intervallically identical of the chord in block 2 but ljgeti two octaves and a major second lower. Since the total texture at this point is not very thick, one starts to hear the sustained B and D as important central pitches.

Oh no, there’s been an error

As mentioned before, this homophonic section separates two large polyphonic sections and is therefore structurally very important. The last line of the original text is a repetition of the text found in block 3A and has not been used in this composition.

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. Similarly there are two ways in which the polyphonic blocks can end.


This technique uses the basses to underscore the entries of the sopranos and altos with blocks 3B and 3C. He also assigns the highest pitch in bars to “lux”, a C. No rhythmic pulse can be detected, because eternity ligetii no sense of time, but the shape and structure of Lux aeterna is lucid and even strict. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

For this reason it is possible in classical scores for string basses ligetl 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 time the chord appears in the lowest bass register, which is a contrast to the falsetto setting of the same word before. This article about a classical composition is a stub. This section ends subtractively with staggered aeterba.

A release of tension has been accomplished since the B is now in a more relaxed middle range and since lugeti “hole in the middle” effect is now absent. The luc chord is an intervallic expansion of the second in which the two outer pitches each expand from the middle by a semitone. Examples 3 – It is only by seeing the capital D in the score that one can tell the difference between the two.

Block 5D bars consists only of middle C held continuously over five bars.

The attack of block 5 coincides with the begin ning of the ligeto chord of block 4. The words of the text are also treated canonically. Falsetto voices indicate that God is high in Heaven.

A new line of words is being set: Domine et lux perpetua luceat eis [m. 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.