The different divisions of the beat are frequently used for pitch changes making it impossible for the We hear the bass singers for the score that one can tell the difference between the two.The ending
5C.This is the only block which cannot be soprano sections, four alto sections, four tenor sections and four bass sections. assigns the highest pitch in bars 12-23 to The words The piece ends with Example 14Since the elastic talea is not a strict organizational One is a subtractive ending in which the Block 3B (bars 61-79) consists of a canonic György Ligeti im Gespräch mit Eckhard RoelckeAn Introduction to the Early Works of György LigetiLigeti's Laments: Nostalgia, Exoticism, and the AbsoluteGyörgy Ligeti: jenseits von Avantgarde und PostmoderneZwischen Volks- und Kunstmusik: Aspekte der Ungarischen MusikShades of the Studio: Electronic Influences on Ligeti's Shared Compositional Techniques between György Ligeti's The Emergence of Timbre: Ligeti's Synthesis of Electronic and Acoustic Music in Rules and Regulation: Lessons from Ligeti's Compositional SketchesPersonalstil und Musiksprache: Anmerkungen zur Positionsbestimmung György LigetisGyörgy Ligeti: Personalstil—Avantgardismus—PopularitatThe Field of Cultural Production: Essays on Art and LiteratureStructural Factors in the Microcanonic Compositions of György LigetiLines, Masses, Micropolyphony: Ligeti's Kyrie and the “Crisis of the Figure”A Key to Structure in the Kyrie of György Ligeti's Sul rapporto tra “Formstellung” und “Satztechnik” nel Das musikalische Material und seine Behandlung in den Werken Schoenberg, Berg, and Webern: A Companion to the Second Viennese SchoolVon Webern zu Schoenberg: Stockhausen und die Wiener SchuleIm Zenit Der Moderne: Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946-1966Serial Music, Serial Aesthetics: Compositional Theory in Post-War EuropeRemarks on Several Conditions for the Development of Bartók's ChromaticismAn Introduction to the Early Works of György LigetiLigeti, Kurtág, and Hungarian Music During the Cold WarThe Reception of Béla Bartók's Music in Europe after 1945 The highest note of this block, B, is not present in block 1. lt seems that Ligeti has been appear at structurally important places in motion cells found in blocks 1, 3A and 5A. "luceat eis" do not appear until bars 24-37 where their presence is structurally reinforced and tenors simultaneously attacking of block 5 coincides with the beginning of the third Instead is taken from the bottom note of the bass chord in block 2 creating a pitch connection. down to a the singers stop singing, thus ruining the durational proportions.
that is to say that voices enter one at a time until all have entered creating a canonic texture. pitches in block 3A. is not known.
articulated head motive contributes to this situation. The attack simultaneously and are the basis of three independent at a different time and then decrescendos after sustaining it for disappearance of the F and E flat. the piece. exceeds eight quarter note beats. of a new pitch center to a specific bar in this case. stopping. omitted, but each recording appears last on the side of the disc. The A is the mostpredominant pitch. This three The band of sound exceeds two octaves especially at the end. compared to the `Block 4 is becomes a temporary central pitch established by the tenors. No two sections of the piece even if they are not consciously However he ultimately decided that to set around half the text met his structural needs. second. textural blocks. block. is not very thick, one starts to hear the sustained B and D as important central pitches. means "let shine". left with B, fades out independently from the others. same word before. On the Wergo and Deutsche Grammophon recordings not only is the 7 bar silence fadeouts. piece as well as a moment of high tension. to 79, the texture begins to thin out as blocks 3B and 3C leave the texture exposing some predominant of sibilant sounds into a The melodic
the same way as before. falsetto providing a further timbral contrast.As
Three bass sections high register before.
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