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The grotesque and the theatrical, as essential facets of Ligeti’s oeuvre, become more evident in his Violin Concerto than in most of his works from the 1980s. The analysis shows how these facets find expression on different levels of the composition — from the harmonic and rhythmic pre-settings over the compositional detail to the individual interpretation of the Violin Concerto as a genre and the formal dramaturgy.

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not between the primary theme and a (non-existing) closing theme but it ends the exposition. György Ligeti's description in his introductory text to the pocket score 6 correctly marks the three sections simply as “first

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music in Darmstadt and the personal influence of György Ligeti are considered in several studies of the volume. The academies for new music found a place in Darmstadt from 1946 – in the beginning yearly, and later, from 1970, in each second year –, and

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Studien in Freiburg (Brian Ferneyhough, Klaus Huber) und Hamburg (György Ligeti) sah sich Rojko in zwei „parallelen Welten“ verortet: Wer bin ich überhaupt? Als Mensch? Als Künstler? Beide Welten, die slowenische und die deutsche, sind so grundverschieden

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Recollecting his youth, which was shared with György Ligeti, in 1993 György Kurtág recounted his compulsory folk music studies at the Liszt Academy of Music, Budapest as follows: Hungarian folk music was [a] compulsory [subject] for all students at

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