Ligeti

This volume of Sony's György Ligeti Edition contains all of Ligeti's music either written for mechanical reproduction or arranged for mechanical instruments. Dating from his brief flirtation with the Fluxus movement, "Poéme Symphonique," scored for 100 metronomes, produced one of the great scandals of Ligeti's career. As the metronomes wind down, what sounds like a waning rain storm evolves into overlaying rhythmic patterns and finally a single metronome coming to a halt. From the other end of his career come the etudes arranged for player piano.

Cathy Krier - Rameau & Ligeti (2014) {Deutschlandradio / Avi Service for music, Cologne}
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© 2014 Deutschlandradio / Avi Service for music, Cologne | 8553308
Classical / Baroque / Contemporary Classical / Piano

In 2014 we celebrate Jean-Philippe Rameau s 250th anniversary. To highlight his wonderful compositions, this disc also presents works by 20th-century musical pioneer Ligeti. Rameau and Ligeti have a similar approach to generating music, and their short pieces are of similar drama and effect. Krier steers her own path between sentimental and spiky, with a bright, forthright tone. “Does it make sense to combine the music of a French Baroque master with avant-garde works written in the 1950‘s? Can one place these two composers – Jean-Philippe Rameau (1683-1764) and György Ligeti (1923-2006) – side by side? Do they have anything in common, and, if so, how can such traits be viewed from the vantage points of two entirely different centuries?

Hi fellows. Günther Wand, a famous conductor for his great performances on Bruckner symphonies, was recognized late in life, when the most important orchestras ask him to conduct them. But in his past, he was one of the top leading conductors on 20th century and contemporary music, as we can see in the Günther Wand Edition on Profil. Enjoy!

Wand insisted on something like eight rehearsals for every performance, so nothing sounds slapdash or hurriedly considered. The amount of detail impresses as well as the amount of forethought with each score. The music sounds as if it has become part of these players, a spontaneous expression that paradoxically comes only after a great amount of work.

Ligeti’s works on this disc provide an excellent cross-section of the metamorphosis in his compositional technique over a period of 30 years. The Violin Concerto incorporates influences from Medieval and Renaissance music, from late Romantic music and various contemporary styles.

For its first recording for BIS Records, the Marmen Quartet tackles three major works from the twentieth-century string quartet literature. The two quartets by György Ligeti belong to two different periods in the composer’s output. Written before Ligeti left Hungary and emigrated to the West, the First, subtitled ‘Métamorphoses nocturnes’, represents the peak of his ‘Hungarian’ period. Regarded as a virtuoso exercise, the work reveals the influences of Béla Bartók, particularly from his Third and Fourth Quartets.

The great viola player Kim Kashkashian has long been one of the most outstanding protagonists of modern composition and this bold and subtle account of solo music by the great Hungarian composers György Kurtág and György Ligeti is a landmark recording. Kurtág’s Signs, Games and Messages (1989- in progress) in its 19 aphoristic sections is as demanding as Ligeti’s Sonata for viola (1991-94), but Kashkashian surmounts the very different challenges of the works, and points towards the qualities that unite these composers. As ever, she gets to the heart of the music, and unravels its secrets.

This is a fine collection of moving, muscular performances by this seminal postwar composer. Surely the best known of the works on this disc is the Second String Quartet, one of the masterpieces of 20th-century music–although you might not know it's a masterpiece until the heartbreaking last movement. But the First String Quartet, written before Ligeti emigrated from Hungary to the West, is fascinating: it shows Ligeti working through the influence of Bartók, particularly Bartók's Third and Fourth Quartets–music Ligeti knew only silently, from the score, since performances of Bartók's music were banned by the Hungarian communist regime.