The Ligeti Project III: Cello Concerto / Clocks & Clouds / Violin Concerto / Síppal, Dobbal, Nádihegedüvel
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Orchestra: Siegfried PalmEdition: Music CD
Published: 2003
CD Release Date: 2003-01-28
Music Label: Teldec
Soundtracks:
- Cello Concerto: 1st movement
- Cello Concerto: 2nd movement
- Clocks and Clouds, for female voices & orchestra
- Violin Concerto: I. Vivacissimo luminoso
- Violin Concerto: II. Aria, Hoquetus, Choral. Andante con moto
- Violin Concerto: III. Intermezzo. Presto fluido
- Violin Concerto: IV. Passacaglia. Lento intenso
- Violin Concerto: V. Appassionato. Agitato molto
- Sippal, dobbal, nádihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: I. Fabula
- Sippal, dobbal, nádihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: II. Táncdal
- Sippal, dobbal, nádihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: III. KÃnai templom
- Sippal, dobbal, nádihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: IV. Kuli
- Sippal, dobbal, nádihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: V. Alma álma
- Sippal, dobbal, n�¡dihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: VI. Keser�©des
- Sippal, dobbal, n�¡dihegeduvel (With Pipes, Drums, Fiddles), for mezzo-soprano & percussion esemble: VII. Szajk�³
Music reviews of The Ligeti Project III: Cello Concerto / Clocks & Clouds / Violin Concerto / Síppal, Dobbal, Nádihegedüvel
Music Review: Deep contrasts and consistencies among four masterful pieces
Rating: 5 Stars
This is the third disc in Teldec's "Ligeti Project", which continues the collection started by Sony's "Gyorgy Ligeti Edition" of the composer's works in performances supervised by the composer himself. It contains four works, including two world premiers, and represents works from the 1960's and the 1990's. As with most of the material in the "Ligeti Project" series, the orchestras are the Asko and Schoenberg Ensembles conducted by Reinbert de Leeuw.
The "Cello Concerto" was premiered in Berlin with Siegfriend Palm on cello in 1967, and Palm, one of the most famous interpreters of the avant garde cello over the last forty years, returns on this performance. In spite of its name, however, the work is not a traditional concerto, for the soloist does not dominate to the expected degree and only his visual presence marks his role. The piece begins with a long-held E, marked "pppppppp", the softest dynamic in Ligeti's entire oeuvre, which continues for a minute and a half before it meets F. This gradual evolution continues for the five-plus minutes of the first movement, opening up the harmonic cluster in both directions like an elegant vista. The second movement is in a way Ligeti's embrace of pre-serialist norms, for he uses open octaves and tritones, but its series of gestural mannerisms and wild gesticulations keeps it firmly in the modern tradition. This is not one of his most famous works of the 60's, but still deserving of attention.
"Clocks and Clouds", inspired by a lecture by Karl Popper on the distinction between mechanical regularity and fuzzy nebulosity, is a piece for 12 female voices and orchestra written in 1973 but never before recorded. It uses a remarkable selection of instruments containing seventeen woodwinds, but only two trumpets and no other brass, no violins among the strings, and glockenspiel, vibraphone, celestra, and two harps in important roles. The sung text is merely phonetic symols meant to blend with the instrumental sonorities. This is an ethereal, lush, and dreamlike piece that is among Ligeti's most easily listenable, and stylistically it shows inspiration from the school of minimalism which Ligeti became acquainted with during a term teaching in San Francisco.
The "Violin Concerto" (1989-1992) was written between 1989 and 1993 by comission of the violinist Saschko Gawriloff. Here the soloist is Frank-Peter Zimmermann. The work is a carnival of microtones. The orchestra consists of ten wind players, percussion, and eleven solo strings, and tuning varies wildly. Brass players often play natural harmonics that clash with equal temperment, two string players retune their instruments to follow the seemingly out-of-tune sounds of the double-bass, and several players turn to imprecise ocarinas and slide whistles. Like many works of the late Ligeti, this is in a postmodern vein, where the composer not only showcases his own new ideas but quotes his own past works ("Musica Ricercata") and borrows from Balkan folk music concepts. I concur with those who would call this music "wacky", it's certainly exhuberant and hops from style to style in a very fun way.
"Sippal, Dobbal, Nadihegeduvel" is a circle of seven songs based on poems by Sandor Weores, among the greatest of 20th century Hungarian poets whose works Ligeti and fellow Hungarian composer Peter Eotvos have extensively set. The work uses only mezzo-soprano and percussion, and was written for the Amadinda Percussion Group who also perform it here. It is in some ways a return to the faux folk music Ligeti wrote in communist Hungary, using only convential tunings but it nevertheless has a very exotic and non-traditional sound through its uses of metallophone percussion. I enjoy these songs because I am a great fan of Weores' poetry, but they are quite different than most of Ligeti's adult works and may meet many listeners with bafflement. What one must understand before hearing these seven pieces is that Ligeti has a sense of humour just like all people and is not some deadly serious ivory tower academic composer like, say, Boulez.
While perhaps not the best introduction to Ligeti (try "Gyorgy Ligeti Edition 3: Piano Works" or "The Ligeti Project IV") This is one of the strongest discs in his collected works and passionately recommended.
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