György Ligeti Edition 7: Chamber Music (Trio for Violin, Horn & Piano; Ten Pieces; Six Bagatelles for Wind Quintet; Sonata for Solo Viola) - Saschko Gawriloff / Marie-Luise Neunecker / Pierre-Laurent Aimard / London Winds / Tabea Zimmermann
Track Listings
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1. Trio: I. Andantino Con Tenerezza - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
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2. Trio: II. Vivacissimo Molto Ritmico - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
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3. Trio: III. Alla Marcia - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
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4. Trio: IV. Lamento, Adagio - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
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5. Ten Pieces: I. Molto Sostenuto E Calmo
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6. Ten Pieces: II. Prestissimo Minaccioso E burlesco
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7. Ten Pieces: III. Lento
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8. Ten Pieces: IV. Prestissimo Leggiero E Virtuoso
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9. Ten Pieces: V. Presto Staccatissimo E Leggiero
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10. Ten Pieces: VI. Presto Staccatissimo E Leggiero
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11. Ten Pieces: VII. Vivo, Energico
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12. Ten Pieces: VIII. Allegro Con Delicatezza
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13. Ten Pieces: IX. Sostenuto, Stridente
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14. Ten Pieces: X. Presto Bizzarro E Rubato, So Schnell Wie Moglich
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15. Six Bagatelles: I. Allegro Con Spirito
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16. Six Bagatelles: II. Rubato, Lamentoso
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17. Six Bagatelles: III. Allegro Grazioso
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18. Six Bagatelles: IV. Presto Ruvido
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19. Six Bagatelles: V. Adagio, Mesto
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20. Six Bagatelles: VI. Molto Vivace, Capriccioso
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See all 26 tracks on this disc
Editorial Reviews
Amazon.com
These chamber works bring Sony's adventurous, timely Ligeti series to a natural pinnacle. Long the challenger of stylistic stasis and customary demonstrations of excellence, Ligeti has outdone himself here (as he did with the fantastic Mechanical Music release). The Trio for Violin, Horn, and Piano (1982) challenges its players to stay in step with each other even while expanding virtuosity to the breaking point. Marie-Luise Neunecker plays such full horn parts that they roll flow over the tonal bounds, as does Saschko Gawriloff's violin and Pierre-Laurent Aimard's piano. The Ten Pieces for Wind Quintet (1968) and Six Bagatelles for Wind Quintet (1953) are each pivoted on a mixture of elongated and quickly abrupted figures. The wind quintets echo Neunecker's horn parts in their extensions of typical note ranges. Ligeti writes in the liner essay about looking to script extremities. The power of the writing comes across in the mottled mix of multiple instrumental pitches, making these fantastic. --Andrew Bartlett
György Ligeti Edition 7: Chamber Music (Trio for Violin, Horn & Piano; Ten Pieces; Six Bagatelles for Wind Quintet; Sonata for Solo Viola) - Saschko Gawriloff / Marie-Luise Neunecker / Pierre-Laurent Aimard / London Winds / Tabea Zimmermann, Music, György Ligeti (Composer), Saschko Gawriloff (Violin), Marie-Luise Neunecker (Horn)
Tracks:
- Trio: I. Andantino Con Tenerezza - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
- Trio: II. Vivacissimo Molto Ritmico - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
- Trio: III. Alla Marcia - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
- Trio: IV. Lamento, Adagio - Saschko Gawriloff/Marie-Luise Neunecker/Pierre-Laurent Aimard
- Ten Pieces: I. Molto Sostenuto E Calmo
- Ten Pieces: II. Prestissimo Minaccioso E burlesco
- Ten Pieces: III. Lento
- Ten Pieces: IV. Prestissimo Leggiero E Virtuoso
- Ten Pieces: V. Presto Staccatissimo E Leggiero
- Ten Pieces: VI. Presto Staccatissimo E Leggiero
- Ten Pieces: VII. Vivo, Energico
- Ten Pieces: VIII. Allegro Con Delicatezza
- Ten Pieces: IX. Sostenuto, Stridente
- Ten Pieces: X. Presto Bizzarro E Rubato, So Schnell Wie Moglich
- Six Bagatelles: I. Allegro Con Spirito
- Six Bagatelles: II. Rubato, Lamentoso
- Six Bagatelles: III. Allegro Grazioso
- Six Bagatelles: IV. Presto Ruvido
- Six Bagatelles: V. Adagio, Mesto
- Six Bagatelles: VI. Molto Vivace, Capriccioso
- Son: I. Hora Lunga - Tabea Zimmermann
- Son: II. Loop - Tabea Zimmermann
- Son: III. Facsar - Tabea Zimmermann
- Son: IV. Presto Con Sordino - Tabea Zimmermann
- Son: V. Lamento - Tabea Zimmermann
- Son: VI. Chaconne Chromatique - Tabea Zimmermann
Amazon.com
These chamber works bring Sony's adventurous, timely Ligeti series to a natural pinnacle. Long the challenger of stylistic stasis and customary demonstrations of excellence, Ligeti has outdone himself here (as he did with the fantastic Mechanical Music release). The Trio for Violin, Horn, and Piano (1982) challenges its players to stay in step with each other even while expanding virtuosity to the breaking point. Marie-Luise Neunecker plays such full horn parts that they roll flow over the tonal bounds, as does Saschko Gawriloff's violin and Pierre-Laurent Aimard's piano. The Ten Pieces for Wind Quintet (1968) and Six Bagatelles for Wind Quintet (1953) are each pivoted on a mixture of elongated and quickly abrupted figures. The wind quintets echo Neunecker's horn parts in their extensions of typical note ranges. Ligeti writes in the liner essay about looking to script extremities. The power of the writing comes across in the mottled mix of multiple instrumental pitches, making these fantastic. --Andrew Bartlett
Customer Reviews:
Four chamber works of immense diversity.......2006-08-04
This Sony disc, the seventh of the "Gyorgy Ligeti Edition" series of the composer's collected works in performances overseen by Ligeti himself, presents four pieces from four very different parts of his career. The performers are virtuosos, violinist Saschko Gawriloff, the composer's favourite pianist Pierre-Laurent Aimard, his preferred horn player Marie-Luise Neunecker, Tabea Zimmerman on viola, and the London Winds quintet.
First up chronologically are the "Six Bagatelles" for wind quintet (1953). Those who know Ligeti's eleven-piece "Musica Ricercata" for solo piano will find these quite familiar. The piano work was written when Ligeti decided to totally revise his compositional technique and embrace total chromaticism. However, he couldn't expect all of it to be played publically in Stalinist Hungary, so he arranged six of the more innocuous parts for wind quintet. (Only five appeared at the premiere, as the sixth had too many minor seconds.) These are delightful arrangements, retaining the strong dramatic potential of the piano work but expanding its timbres through Klangefarbemelodien.
The "Ten Pieces" for wind quintet (1968) come from Ligeti's middle period, marked by "micropolyphony", orchestral texture so thick that individual voices disappear in an intricate web of sound. The soundworld here reminds me very much of the String Quartet No. 2 and of "Lontano" for orchestra, both composed around the same time. The material here, however, is much sparser, perhaps too thin. Ligeti writes in the liner notes that these pieces are meant to explore interference tones, but that the effect of this disappears on CD, which is to be regretted.
The "Trio for violin, horn and piano" (1982) came after a five-year silence when Ligeti, like many other composers, was looking for new directions after Darmstadt modernism was perceived as superceded. What resulted was a shock to all who followed Ligeti's work up to that point. The ghostliness of micropolyphony is gone entirely, replaced instead by sort of wistfullness, and an interest in individual instrumental lines. The piano here requires an abandonment of microtones, and in terms of style the part often channels Bill Evans. A quotation from Beethoven (the "Les adieux" sonata) provided a seed for the work, and the form is traditional. There's also the birth of a fascinating with rhythm, that was to become a major part of the Etudes pour piano and the Piano Concerto. Indeed, the second movement of the Trio went on to become the fourth Etudes, "Fanfares".
A major feature of Ligeti's final period was not prefigured in the Horn Trio, however. Another, however, was unison of all his modern language with the simple music of his village childhood, creating a postmodern fusion much like that of Berio (though the Italian heritage of Berio was quite different than Ligeti's Transylvanian upbringing). The "Sonata for Solo Viola" (1991-94), written for Tabea Zimmerman, exhibits this simultaneously old and new style. Essentially six different pieces collected together, the sonata features both melodies organized from overtones, from Ligeti's knowledge of music from Maramures in Romania, and chromaticism. Even in the parts that sound simple and folksy still tax even virtuosi, and the way in which Ligeti exploits some of the peculiar properties of the viola is fascinating.
If I give this less than five stars, it is only because I favour Ligeti's orchestral efforts. Still, the "Horn Trio" makes this an essential recording for understanding Ligeti's evolution as a composer, and all in all, I recommend all volumes of the "Gyorgy Ligeti Edition".
three excellent chamber works and one good work........2005-01-12
The seventh Sony Ligeti Edition disc compiles four works covering very different periods and compositional paradigms. Three of these pieces are amazing, marvelous avant-garde works deserving high acclaim among the upper ranks of Ligeti's works. The other piece, _Six Bagatelles for Wind Quintet_ was written in Communist Hungary and it largely obliges the requirements of "Soviet realism" at the time. The sixth bagatelle was not originally performed because of excessive dissonance, but on the whole, while conventional, they are interesting in the way they fuse different folk idioms.
For the same ensemble are _Ten Pieces for Wind Quintet_ from 1968. Like Ligeti's second string quartet, it explores Ligeti's micropolyphony style for small chamber group. The pieces range from half a minute to two and a half minutes, and the array of expression is equally great as the previously mentioned quartet. Five of the pieces are mini-concerto pieces for each performer, and these are balanced by five organic ensemble pieces.
Then comes _Trio for Violin, Horn, and Piano_, from 1982. Labyrinthine meshes of disparate ideas mesh together here for one of Ligeti's most captivating and emotionally resonant chamber works. From the eerily ironic, liquidy opening movement to overlapping rhythms of the second and third movements, the final, whispering adagio, this piece alone justifies purchasing this disc.
Sonata for Solo Viola is a beautiful piece where Ligeti uses non-tonal harmony and mutant tunings. One of Ligeti's greatest strengths seems to be writing for solo instruments. Even the early cello sonata is a great piece. Anyway, the sonata is deeply unusual, original, and emotionally evocative. Another masterful work.
The Ligeti Edition series is now out of print, so I suggest you try and find them posthaste.
this is brilliant ligeti.......2003-10-10
Out of the 8 cds of this Sony package this is my favorite.Just one listen to the Trio and you are hooked. So do some seaching and buy it.
Ligeti offers an emotional approach to modernism.......1998-12-28
Gyorgy Ligeti's recent CD volume offers a perfect cross section of his long musical career while giving us a glimpse of the emotional power that music can have in the 21st Century.The viola sonata and horn trio look back at Bartok but with one foot placed in the post-modernist future. The wind quintets sizzle with experimental and sometimes humorous sounds
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