Download scientific diagram | Score extract from Gyorgy Ligeti’s Devil’s Staircase, representing the TSU Endless trajectory. Reprinted with kind permission of. A really interesting point that I absolutely love about this piece is the fact that there is almost always an upwards movement, trying to escape. So this week I decided to study “The Devil’s Staircase”, by Hungarian composer, Gyorgy Ligeti. The piece is heavily technically difficult as well.
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This is a blog for staff and students in the Composition Program at Monash University. You are commenting using your Facebook account.
Thanks to our partners and sponsors: Staircasf log in using one of these methods to post your comment: There is a very consistent and constant pulse throughout the piece, other than three moments of incredible mood change.
Again, ligetti imagery this conjures is that the journey begins again — the fleeing soul has made it half way, and has now been thwarted, and must again begin its journey.
Any way I could ask for a copy of the score? This is until there is a sudden and unexpected mood change.
The very consistent and constant pulse throughout the piece remains intact, as the highest notes are played at extreme dynamic levels, when, all of a sudden, this consistency is destroyed, with a sudden shift to a very long and slow bass chord played at the lower extreme of the instrumental range.
The piece continues in this way — ascending for vast periods of musical time, then returning down again, instantaneously. After over two minutes of constant pulse and movement, flowing upwards, and over 20 seconds stwircase the highest notes on the piano at very high dynamic levels, there is a sudden shift to a very long and slow bass end chord sequence.
Ligeti was a piano player, this deil clear from some of the incredible dexterities required of the piano player. For me, the images created within this piece, are generated by the use of the initial leaps of 2 octaves and a 6th — perfectly imitating the physically disjunctive motion of walking up the stairs. Email required Address never made public.
I remember having the same P. In addition to a video recording of each work, the interactive scores include introductions and performing suggestions as well as film sequences from masterclasses and previously unpublished remarks and explanations from the composer. In stave 3, the bass takes on the role of being a percussive driving force. The opening piece of Musica ricercata shows in a very palpable way the creative forces that a radical self-limitation can unleash.
You are commenting using your WordPress. Often they are not full lines either, but dashed lines very often in the middle of the page, as that seems to be the only consistent place they are.
You are commenting using your Twitter account. It demands not only the greatest possible hand control but also an infallible sense of tone colour as well as extraordinary powers of perception.
Please log in using one of these methods to post your comment: You are commenting using your WordPress. The Piece ascends and ascends to the extreme stwircase pitches of the piano. To find out more, including how to control cookies, see here: It also demonstrates the composers interest in American minimal music. This is a blog for staff and students in the Composition Program at Monash University.
In case of emergency. Chopin, Liszt, Debussy and others composed piano etudes staircaxe concentrated on specific intervals e. Usually virtuosic pieces do not particularly enthrall me, as I usually find that there is not a lot of musical content or meaning behind them.
A great listen, I recommend. Leave a Reply Cancel reply Enter your comment here We intend to keep a record of our study, thinking and compositional projects to document our work, show the world outside what we do and invite comment. The way the piece is actually divided is into large bars of 36 beats, which are then further divided devi, 3 bars, but this division is asymetrical.
To find out more, including how to control cookies, see here: We hope that over time the blog will provide useful hints and ideas about the creative processes of composition.
By the last third of the first stave, the piece still moves polymetrically up and down the piano, but the intervals begin to narrow, and as a devkl, this subtly thickens the texture. By continuing to use this website, you agree to their use. You are commenting using your Twitter account. As the piece goes on, the ascending sections reach higher and higher closer and closer out of hell?