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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The band of sound exceeds two octaves and contains all twelve pitch classes.
As mentioned before, this homophonic section separates two large polyphonic sections and is therefore structurally very important. Block 4 is linked to block 3A by the pitch E, which is the last pitch of block 3A and the lowest of the three pitches which begin block 4. Whether we should think of the eternal light as coming from distant galaxies or from God, there is no doubt that Lux aeterna is a masterpiece, taking choral music—and the listener—into a new and eerie sound-world of the imagination.
As before, a three note chord with the same intervals is used. Retrieved from ” https: June Learn how and when to remove this template message. The entire text of the piece can be seen in Example 2. The pitches are presented in a slow additive canon in which the first pitch is never left.
The first is intervallically identical of the chord in block 2 but appears two octaves and a kigeti second lower. Articles lacking in-text citations from June All articles lacking in-text citations All stub articles. 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 ‘. The composer has negated his previously pitch-centered material in favor of a dense neutral texture with internal movement but no apparent pitch goal.
You can help Wikipedia by expanding it. However, the same A becomes the middle note of the bass chord thus giving a pivot llux or pitch connection to this block. All 16 sections are singing and by bar 64 the polyphony has arrived aetrrna a totally neutralized cluster in which no pitch center can be found. However, this D comes from the tenor line.
The syllable “Do” is sung on E preparing the word “Dom ine”, which includes an E in its pitch material.
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The density of pitch classes range from a minimum of one in bars andto a maximum eight in bars Domine cum sanctis tuis in aeternum 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 static harmony can be considered to portray God’s never changing presence while the lower dynamic level indicates the peacefulness associated with God. 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.
The high B is also transferred to the upper two voices of block 50 who sing the same pitch two octaves lower.
Lux Aeterna (Ligeti) – Wikiwand
Similarly there are two ways in which the polyphonic blocks can end. It is derived completely from the melodic line shown in Example 5. The piece may be sung by sixteen soloists or by a larger choir divided into sixteen sections. The letter ‘t’ of “luceat” is not pronounced, presumably to avoid the introduction of percussive consonants into a smooth pitched texture.
Ligeti: Lux Aeterna by Cappella Amsterdam, Daniel Reuss & Susanne Van Els on Apple Music
This combination of pitches sounds aegerna a B 7th chord in which the B replaces the preceding A as the predominant pitch. This ending represents a return to the original central pitch, F. Bass 1 joins block 5D and therefore leaves the pitch material of block Block 3B bars consists of a canonic representation by the sopranos of the line found in Example 6. The simultaneous entry of the basses, at bar 46, on a unison D is misleading since it sounds like the entry of a new textural block.
Here, 5B has the function of highlighting that particular word from block 5A. The A is the most predominant pitch.
The upper tone predominates while the lower two pitches add timbral richness whose pitch content is not as evident. The third chord is an intervallic expansion of the three note cell and therefore is aeterrna longer identical.
It turns out that neither is a central pitch but function as pitches which precede lus final F and G of the piece. It has the function of breaking up the text in the same manner as it separates blocks of polyphonic writing. Leaving Hungary inthe year of the Uprising, he settled in Vienna, establishing his reputation with a series of avant-garde lu beginning with Apparitions This makes the effective gap over an octave wide and provides contrast to the more closed tex tures heard before.
The words “luceat eis” do not appear until bars where aeterma pres ence is structurally reinforced melodically. The melodic line of block 1 consists of a gradual intervallic expansion from the starting pitch F, to a major 7th ligetti D flat to Cand an ending on the sus tained high A. A new line of words is being set: Note the strength and exact location of pitch centers varies from performance to pertormance since different singers project important pitches with varying degrees of loudness.
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.
Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. The tension of this high pitch is enhanced by the use of the “hole in the middle” effect.
The C pitch creates a quasi-dominant fifth above the lower F pitch in block 5A.