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SUMAR – SOMMAIRE – CONTENTS – INHALT
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THE RHETORIC OF BARTÓK’S MELODIC WORLD
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THE THEME OF THE ENDLESS COLUMN IN THE WORKS OF CONSTANTIN BRÂNCUSI AND TIBERIU OLÁH
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THE ROLE OF THE POPULAR TRADITION IN THE DEVELOPMENT OF MELODIES WITHIN THE SONGS OF TRANSYLVANIAN REFORMED COMMUNITIES
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THE BYZANTINE CHANT IN THE ROMANIAN PRINCIPALITIES DURING THE PHANARIOT PERIOD (1711 – 1821)
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THE MUSIC OF FULFILLED LOVES IN THE BAROQUE AND CLASSICAL ART
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THE INTERPRETATIVE ANALYSIS OF THE SPIRITUS DOMINI INTROIT
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ZEITLICHE UND REGIONALE UNTERSCHIEDE IN DER VERBREITUNG DES NEUEN STILS DER UNGARISCHEN VOLKSMUSIK IN SIEBENBÜRGEN
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CELEBRATING CHRISTMAS IN BOZIEŞ (MAGYARBORZÁS) AND VIŢA (VICE)
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IAC: AN INTERACTIVE MUSIC SYSTEM
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CINEMA MUSIC IN THE SILENT MOVIE ERA
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TEACHING SPIRITUAL MUSIC AND THE ROLE OF CHORAL ACTIVITY IN RELIGIOUS EDUCATION
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THE HERZLICH TUT MICH VERLANGEN CHORALE WITHIN DIFFERENT ORGAN ARRANGEMENTS IN BUXTEHUDE AND BACH’S WORKS
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SOME ASPECTS OF VERTICAL TYPOLOGIES IN THE LAST STRING QUARTET OF W. A. MOZART, KV 590, F MAJOR
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GIUSEPPE VERDI’S MACBETH – PART I
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CHARLES MARIE WIDOR’S GOTHIQUE AND ROMANE SYMPHONIES – THE SPIRITUAL STATEMENTS OF A GRAND COMPOSER
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GYÖRGY LIGETI’S SECOND STRING QUARTET: BIOGRAPHICAL INFLUENCES AND NEW TECHNIQUES
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| Translated Title: |
GYÖRGY LIGETI’S SECOND STRING QUARTET: BIOGRAPHICAL INFLUENCES AND NEW TECHNIQUES |
| Publication: |
Studia Universitatis Babes-Bolyai - Musica
(1/2009) |
| Author Name: |
Feraru, Tudor;
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| Language: |
English |
| Subject: |
Music |
| Issue: |
1/2009 |
| Page Range: |
219-230 |
| No. of Pages: |
12 |
| File size: |
164
KB |
| Download Fee: |
4.2 Euro (€) |
| Summary: |
Despite György Ligeti’s personal denial of the direct influences on
his music by the events from his young years, the listener can easily find
traces and echoes of traumatizing experiences in many of his compositions.
The study attempts to answer the following question: to what extent is Ligeti’s
music tributary to the composer’s unfortunate youth?
The study emphasizes a few critical biographical details, as well as
several related musical consequences. After having had quite a happy childhood
in his native town of Târnăveni (Transylvania), and relative stable and fruitful
teen years in Cluj, Ligeti faced a horrible personal and professional tragedy when
The Second World War broke out. Many of his dreams were shattered, and by
the end of the conflagration he would lose two members of his family. The
circumstances of these occurrences had been horrifying with Ligeti himself
surviving the ordeals by pure chance. Many years later, he would testify
that during the Nazi occupation “life and death became a matter of relative
indifference.” After the war, Ligeti had to endure yet another terrifying reality:
the early years of communism in Hungary, the soviet oppression, and the
humiliating cultural censorship. Memories of all these years would haunt the
composer throughout his entire musical career.
In attempting to solve the question, particular interest is taken in Ligeti’s
Second String Quartet. It is a mature composition, a synthesis (although Ligeti
disliked the word) of earlier Bartók-Kodály influences, features borrowed from
Stravinsky and Berg, micropolyphony from previous works, and the cooled
expressionism of late 1960s. |
| Keywords: |
Ligeti; quartet; strings; micropolyphony; biographical. |
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LINÉARITÉ ROMPUE DANS L’OPÉRA «SABLIER» DERNIERS JOURS, DERNIÈRES HEURES D’ANATOL VIERU
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PSALM BY THE RIVERS OF BABYLON AS PART OF SIGISMUND TODUŢĂ'S CHORAL OUTPUT
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EDE TERÉNYI – MONO-OPERA “LA DIVINA COMMEDIA” FORM AND CONTENTS (II. PART – “PURGATORIO”)
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EDUARD TERÉNYI’S STABAT MATER
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