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THE . Is.
Dynamics of disorder
RICHARDSTEINITZ explores Ligeti'spiano etudes, book 1
This concept of many-layeredpolyphony is influ- and purposeful, volcanic and expansive, testament RichardSteinitz is
enced by my preoccupationwith geometry,especial- to an astonishingly wide-ranging imagination, re- a Professorof Music
at the Universityof
ly fractalgeometryand the science of dynamicalsys- quiring almost superhuman feats of mental and Huddersfield.
tems and deterministic chaos.1 physical dexterity. For pianists able to encompass In additionto being
their technical demands, and convey the inner sub- ArtisticDirector
I N AN EARLIERarticle (MT, March 1996) I at- tlety and expressive riches of the music as if such of the annual
tempted to explain the relevance of current re- problems scarcely existed, the completed etudes Huddersfield
search in the physical sciences to the recent mu- constitute some of the most rewarding and impres- Festivalof
sic of Ligeti and to ally the composer with a new sive recital repertoire of our time. Contemporary
spirit of rapprochement emerging between humanist Music,he is
Initially, the etudes seem to have been conceived
and scientific cultures. The study of dynamical sys- as creative partners, alternative solutions as it were, currently writing a
book on Ligetifor
tems has helped to restore a poetic and aesthetic di- to technical concerns which Ligeti was simultane- Faber& Faber.
mension to our perception of the sciences. But is ously exploring in the Piano Concerto and had ear-
chaos theory a passing fad, or should we heed Sir lier addressed in the Trio for violin, horn and piano.
Karl Popper, who, in the lecture, 'Of clocks and Although, at first glance, his occasional adoption of 1. FromLigeti's
clouds', from which Ligeti borrowed the title of his apparently simple, even tonal material looks like a programmenote for
1972/73 composition, warns us to be wary of 'fash- the premiereof the
reversion to the tradition of Bartok and Debussy, this
firstversion of the
ions in science' and of scientists who 'climb on the is no weakening of his art. Harmonic, melodic and Violin Concertoin
band wagon almost as readily as do some painters rhythmic building blocks may seem familiar, and September 1990.
and musicians'?2 As it happens, the new mathemati- there are precedents, too, for the overall structures.
cal explanations of complex phenomena seem to Yet the composer's simultaneous working-out of dif- 2. KarlPopper:
have become fundamental to many branches of sci- ferent mechanisms quickly carries innocent and un- Objectiveknowledge:
ence. And, whilst Ligeti's interest in them may be an evolutionary
suspecting material into hazardous labyrinths. His approach (rev. ed.,
fashionable, this is certainly not a matter of 'band- pursuit of extremes, his technical ingenuity, his plu- London, 1979).
wagons attracting the weak'. There could scarcely be rality of method and musical vision, make the etudes
a composer of bolder independence and originality. constantly fresh and surprising. The results are daz- 3. 'Whiteon white',
Rather, it indicates Ligeti's alertness to a genuinely zling, and utterly characteristic of their composer. premiered by Pierre-
contemporary interaction between creativity and As in Ligeti's earlier music, the etudes evoke a va- LaurentAimardat
contextual experience. the Kninklijk
riety of extra-musical analogies, not least, of course, Conservatoriumin
In focusing my previous discussion on the musi- those suggested by his titles. These make a colour- The Hagueon
cal 'spirals' created by Ligeti in three of the later pi- ful list: 'Disorder', 'Open strings', 'Blocked keys', 26 January 1996.
ano etudes, I suggested various analogies between his 'Fanfares', 'Rainbow', 'Autumn in Warsaw', 'Galamb
musical thinking and contemporary ideas in physics, borong' (an artificial name for an imaginary gamelan 4. (English ed.,
particularly between his deformation of musical ma- music), 'Metal', 'Vertigo', 'The apprentice magician', Cambridge 1991).
terial, through the presence of hidden variables, and 'In suspense', 'Interlacing', 'The devil's staircase', 'In-
what scientists call 'sensitivity to initial conditions'. finite column' and, with the new 15th etude, 'White
It's time to examine these and other issues in the first on white'. The titles, however, suggest metaphorical
book of etudes. I propose to concentrate on four of ideas rather than technical character, and give no in-
them in this article - but first, some thoughts about dication of two other significant stimuli. One was
Ligeti's piano studies as a whole. Ligeti's first contact in 1980 with the music of the
When the first six etudes were published in 1986, American composer, Conlon Nancarrow, whose own
their subheading of premiere livre clearly indicated extremely intricate polyrhythmic studies composed
that the composer planned more to follow. But I for player piano (thereby circumventing the limita-
doubt if Ligeti at that time foresaw the ency- tions of human performance) became for Ligeti a
clopaedic breadth of the twenty or more etudes he major inspiration. Another was the music of the
now seems intent on producing. The first two books Central African Republic, also rich in polyrhythmic
of 14 studies (lasting in performance some forty-five features, which Ligeti discovered in 1982 through
minutes) together amount to an extraordinary series recordings made by the ethnomusicologist, Simha
of intricate technical and compositional achieve- Arom. In a foreword contributed to Arom's exhaus-
ments. Now, with the appearance of a 15th etude3, tive treatise on African polyphony and polyrhythm,4
Ligeti has embarked on a troisieme livre. What more, Ligeti marvels at the way the simple individual parts
one wonders, can he possibly invent?! We already of sub-Saharan music acquire complex rhythmic re-
have music of Lisztian dimensions, at once rigorous lationships within an ensemble, noting the 'strong
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Ex.2: 'Desordre',diagrammaticrepresentation
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Ex.6: the 'lament'theme of 'Automnea Varsovie',with its durationalscheme
8va
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durations 5 10
A durations 55 5 5 10 5 5 5 5 10
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(but less so towards the end). At speed, the summa- scending chromatic scales, stock-in-trade of 19th- 7. See 'Ascending
tion of all these ingredients including their over- century melodrama, yet produce a study so person- and descending',
tones creates an illusion not only of some indefin- al, distinctive and profound. Certainly, the eighty-or- in MC Escher:
able supratonality but of exotic temperaments. As so chromatic phrases treading their weary descent The graphic work
(Berlin, 1990).
Ligeti worked on the etudes, new, imaginary tuning through this study - like tired labourers returning
systems began to occur to him, strange, uncharted home, united in resignation and only distinguish-
sonic terrains which he was consciously to explore able by the speed of their gait - impart an enduring
in etude no.7 and, later, in the Violin Concerto. bleakness to the music. So many phrases, always de-
If pantonal synthesis characterises the harmony, scending yet never seeming to get lower, call to mind
the real thrust of this study is once again rhythmic. not only the Shepard-Risset glissando (see my first
At its heart is shifting accentuation, basically the article), but also the infinite melancholy of Maurice
metrical expansion and contraction inherent in the Escher's faceless figures, toiling for the umpteenth
3+2+3 division of an 8/8 metre. The variety of cross- time around an endless staircase that gets neither
metrical relationships which Ligeti manages to in- higher nor lower.7 Ligeti has repeatedly stressed the
vent is legion. Ex.5 shows left-hand groups of effec- affinity between his music and Escher's enigmatic
tively 9/8, then 6/8, then 6/4, then a chain of dotted drawings; but this study also embodies anxieties
crotchet units, all against 8/8 in the right hand. Then stemming from the political unrest in Poland during
there is the notated deceleration of the chordal fan- the early 1980s (hence the dedication 'to my Polish
fare motif towards the end of the piece, a process friends' and the Chopinesque character of its arpeg-
similar to the prolongation which ends 'Desordre'. giated figurations), concerns which are also at the
Thus, although 'Fanfares' uses quite ordinary mate- heart of Nono's Diario polacco 2 of 1982.
rial, the result is never commonplace. One feels that The technical fascination of the music lies in the
some earlier 20th-century composers might have relationship between the continuous semiquavers
written this piece. Yet none did. It needed the men- and the polymetric canonic entries of the melody,
tality of a Ligeti - with his East European folk-roots, whose phrases glide through every register, above
his obsession with polymetrics and Dadaistic delight and below as well as weaving their way across or in-
in improbable logic - to treat the ever-shifting rela- side the semiquaver patterns themselves. Most often
tionship between immutable ostinato and melodic the semiquaver background is grouped in fours, but
variables to such a dazzling acrobatic display. other groups (of two, three, five, six, seven and eight)
are used to explore new polymetric situations. In
T _ HE LAST in the first book of etudes, 'Au- three places the whole texture is drawn into acceler-
tomne a Varsovie' is also the longest and, ating crescendos. In the second and third crescendos,
perhaps, the most far-reaching and haunt- groups of three are reduced to two and then to scalic
ing. Like others, it explores many different semiquaver runs. By contrast, the first crescendo ex-
manifestations of a single concept, that of superim- pands, fives growing into sixes, sevens, then eights
posing one or more melodies at different speeds and so on, until suddenly arrested by the unexpected
against a background of continuous pulses, here no- frozen stillness of the central section from which all
tated as semiquavers. Its asymmetrical layers are semiquavers have been numbingly expunged.
ever-fluid, the combination of shorter or longer sub- Whilst the metrical character of the continuum
groups of semiquavers with slower and faster fluctuates, the melodies heard in relief against this
melodies being handled with tremendous skill and semiquaver background are more formally struc-
sensitivity. It seems extraordinary that Ligeti can get tured, choosing their tempos also from durational
away with basing the music so predominantly on de- units of three, four, five or seven semiquavers. Each
-~
^- u- r*
------------ -------------------------------------------I
8. FromKeats's'Ode is of three distinct phrases, the third always longer From bar 18, melodies begin to be superimposed
to a nightingale', than the others, that is until their separate identities at different tempos. First an alto part hurries by in
a poem to which become subsumed in a flowering of mensural dotted quavers, overtaking the slower pace of the
Ligetisaid he canons. Each melody sticks rigidly to its chosen du- right hand which remains here in units of five and
returnedmany rational unit - which may be all dotted quavers for ten. Soon three, or even four melodies (some of
times duringthe
instance - except that prominent notes, generally them doubled at the perfect fifth) are heard together
compositionof the last of each phrase, are of exactly double dura- at different speeds as in the polymetric counterpoint
Lontano.
tion. Thus, for example, the first right-hand melody at the top of page 35, where four descending chro-
contains three phrases measured in five-semiquaver matic lines in durational units of three, four, five and
units which are laid out as follows: seven are heard against a semiquaver background
grouped in threes (see ex.7).
Phrase 1 5 5 5 10 But how to halt, how silence these doleful per-
(h durationunits) sonnages endlessly trudging up and down? Ligeti's
Phrase 2 5 5 5 5 10 solution is to compound their confusion by means of
Phrase 3 10 5 5 5 5 5 5 5 10 5 10 an increasing anarchy of pitch and rhythm, until ev-
erything collapses in a thunderous descent into the
Their subsiding drift adds to the la?chrymoseef- bottom octave. The strangest moment, however, is
fect of this 'lament'. The first two phrases share start- not the end but that chilling emptiness in the mid-
ing pitches but the second, being one unit longer, dle, where the semiquavers unexpectedly stop and
ends a note lower. The third starts higher but twists we are left with the melody alone, each of its three
as it falls chromatically to end lower still (ex.6). As phrases doubled at the tritone but at the extremities
melodies are increasingly overlaid, the sense of as- of the keyboard five-and-a-half octaves apart. It is
piring higher yet falling lower - as if unable ulti- another of Ligeti's mysterious voids, like the gaping
mately to gain either height or depth - becomes hole in Lontano where the whole orchestra falls
more and more paradoxical and disturbing. Further- silent leaving only the disembodied whistle of a high
more, clearly identifiable variants of these melan- violin harmonic above the tuba's lowest note.
choly lines (still typified by their three-phrase struc-
ture) occur in other works by Ligeti. They belong to Adieu! adieu! thy plaintiveanthemfades
an archetypical concept of passacaglia, founded Past the nearmeadows,over the still stream,
Musicalexamples upon the great laments of Monteverdi and Purcell, Up the hill-side;and now 'tisburieddeep
are ? Schott & Co. whose reemergence in virtually all Ligeti's music of In the next valley-glades:
Ltd and reproduced the last two decades I propose to investigate in my fi- Was it a vision, or a wakingdream?
by kind permission. nal essay. Fled is that music:- Do I wake or sleep?8