Yung-jen Chen. The purpose of this study is to explore these two etudes, by providing analytical aspects that focus on Ligeti's application of polyrhythm in two hands of pianists. In these two etudes, he combines complex polyrhythm with other components, including triadic harmonies, jazz and the lament motive. Ligeti states that the three sets of etudes are studies for both performer and composer.
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His touch is cool, yet rounded and smooth, and, even at its steeliest, his tone is never rough or harsh. The Ligeti pieces are often built around polyrhythms — the interweaving of conflicting rhythms. This is, it goes without saying, difficult to suss out, as either player or listener.
Kigawa kept this intricacy from snowballing into chaos: In 'Entrelacs,' the rhythmic juxtapositions end up a complex thicket, yet his textures were lucid.
He handled the fragments of 'Fem' with geometric brightness, a Mondrian painting in sound, but his turn to its more reflective, nocturnal conclusion was entirely persuasive. Even his whites were distinct: the powdery starkness into which his high register dissolved in 'Vertige,' and the milkier hue in the deliberate, steady lullaby of 'White on White.
Once or twice, this or that audience member could not help but offer a seemingly involuntary clap, especially after the brilliantly complex prestissimo of the whirlwind of notes in Etude No.
A few minutes later, Kagawa's traversal of Etude 13, L'escalier du diable The Devil's Staircase , proved so mesmerizing and exhilarating that the whole crowd burst into applause. He earned every bit of it, and even more so, the long, final ovation, which he received with bow after cool, gracious bow. Confronted with the Ligeti Etudes, his playing was focused and transparent, never overwrought or unnecessarily dramatic, as appropriate for the nature of this music. Yet at times Kigawa would suddenly catch fire, crashing chords overwhelming the small listening space of the Center and leaving the audience quaking in their wake.
Kigawa blazed through the 18 pieces in less than 90 minutes, taking only a short pause between each book, possibly to give the audience a breather more so than himself. The leanness of the presentation, the quality of the music, and the laser-like focus of the program combined for an awe-inspiring performance, one for which Kigawa, Permutations, and the Center deserve unfettered praise—all the more for making an average Tuesday into a memorable night for contemporary music.
The second in the set, played here with aplomb by Mr. Kigawa, explores the interval of a fifth, beginning lyrically and becoming agitated and dissonant. Kigawa's authority was unquestionable. Pianist Taka Kigawa played down the virtuosic challenges of these five pieces, going heavy on the soft-pedal and searching out instead their musicality of phrasing. Downey, Washington Classical Review. Kigawa brings out these elements more forcefully than others whom we have heard tackle these challenging pieces.
Cohen, New Music Connoisseur. His playing matches sensuality with percussive dynamism, shimmer with hammer, and glow with pizzicato precision. Each individual etude is its own brief examination of a subject; the etudes are often speculations, unconcluded examinations of particular questions. As Kigawa assembled these six etudes, several subjects emerged. Taka Kigawa tackled book 1 and here are my impressions. Almost like a latin Montuno piano rhythm with 20th century harmonies.
One can create a beautiful etude. Movement 4 " Fanfares ": Again, complex rhythms, as if the 2 hands are playing separate pieces, very effective.
Movement 5 " Arc-en-ciel ": A pretty melody gets progressively more complex, yet keeping a charm throughout. Taka played all these movements with great skill and precision and it was most impressive. There's no denying he's something special. Back to List. Cohen, New Music Connoisseur " Kigawa exacts of the piano its every possibility.
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Ligeti – Etude No 4, Fanfares – Wang, Piano
Skip to main content. Quinnett, L. Quinnett, Lawrence , author Gainsford, Read , professor directing treatise Jones, Evan Allan , university representative Kalhous, David , committee member Williams, Heidi , committee member College of Music , degree granting department Florida State University , degree granting institution. All six etudes undergo chordal and intervallic analysis, revealing Ligeti's preference for tertian consonance and patterns of traditionally tonal vertical structures placed within a tonally non-functional syntax.
Among the first fruits of this reassessment was Book I of the piano Etudes, comprising six pieces and completed in A second book of eight pieces was composed between and , while a third book was started in Numerous influences are at work on these Etudes. Yet there is no sense of eclecticism in the music itself: to quote the composer again, " These are They proceed from a very simple core idea, and lead from simplicity to great complexity: they behave like growing organisms". The Etudes can be played complete, in Books, as a selection, or individually.