Music is a kind of language and if you are not familiar with it, it is difficult to comprehend and/or appreciate. Most have no trouble accepting this type of music when it is presented with visuals, e.g. as in a film score. It is not necessary to study the theory behind it, but it helps when the listener has traveled to these worlds before and gotten used to the language. Listening to it for the first time cold, with no acclimatization, is not likely to be a rich experience.
Condivido completamente ciò che afferma e soprattutto l'esempio della settima arte in cui il sottofondo sonoro acquista senso solo con la sovrapposizione di immagini. Infatti dietro lo sguardo (le immagini) si nasconde il subconscio
@@simonlajcman4031 I understand where you're coming from---but if you're curious try it and see for yourself if it's true! There are plenty of fakes out there that do just that, and no one is fooled. Ligeti is the real deal
24:44 Does anybody know of a recording where the full, written in, uncut cadenza is played? Every recording/performance of this either cuts the written cadenza or substitutes it with some other person's cadenza(which to me always sounds very incongruent). I'd very much like to hear the original that Ligeti himself wrote
This is a great question that I was wondering myself! Perhaps the reason why is because people deem ligetis cadenza too short? I’m not sure. I’m going to try to look for more recordings and see what I can find.
In Ligeti's original score he writes that the cadenza "has no real end and is suddenly interrupted by the orchestra at figure R (as agreed between soloist and conductor)" - this is probably why there isn't a recording where the cadenza is played in full.
Have u seen the score to atmospheres or the requiem? they are insane lol. Btw idk if you knew this but there is a fucking piano reduction can u believe it?? I can send it to u if you are interested
I am genuinely curious: what is epic about it, I mean what do you like about it? I really fail to see(hear) the point, and it sure is my fault. Is there a secret trick to enjoy music? Do I need to study music theory and history to get it?
No it’s not your fault! It’s moreso the fault of the domination of tonal western music theory causing us to be biased towards it. My suggestion is to just keep listening to new music. Sure, studying the structure (which is actually pretty strict in this piece) and music theory is helpful, but what’s so great about this music to me is that it expresses excitement, beauty, and pain in new ways. I personally love the beautiful theme of the second movement, which ligeti develops throughout the entire piece! When you get to the finale too, it’s amazing to me how ligeti takes such a small ensemble (the orchestra is a chamber orchestra) which had a thin sound in the first movement into such a full sounding group!
@@zgart What a wonderful answer. So many would have been tempted to look down their nose at such a comment and snob off about modern music, but you nailed it.
@@Calinoma it helps when people are open minded like OP, I’m always willing to try to encourage those who want to try new things and are kind about it. It’s a lot harder when people just comments “this is shit and noise it isn’t music”
@@Calinoma also I came from the same place, so it’s relatable. And to be honest there isn’t any music in the world that everyone will like, so we can acknowledge that in a respectful manner like here :)
I think the top line is the E-flat clarinet, if you're referring to the bottom line then I think that part is just the ordinary B-flat clarinet part, although I'm not too familiar with clarinet tuning so it could be that the top line first note is too low?
@@andresilva_bjj if you don’t like this kind of music though, maybe you should try the spohr trio I uploaded, if you like mozart and Beethoven you’ll like that
@@andresilva_bjj I personally don't like this kinda classical music and share the same extreme negative feelings as you towards this piece but there's absolutely no need to go around disrespecting the types of music other people like listening to
There is always something interesting in his music...not as much to grab onto harmonically for my tastes. A lot of noodling that has no direction. Mercifully the 1st movement is short. 2nd movement has a melody. And has more interesting bits. Love 6:31 that somebody else gnashed their teeth at. It's a mixed bag for me. You would have to listen quite a bit to figure out if the whole things hangs together...with so much music and so little time you just have to choose according to your tastes. Some of what goes on in his music (obviously Cage, Varese, experimental Penderecki and others could be named mainly after 1950), even some of Ginastera's ask the question, does sound equal music? So much new technique, a lot of it percussion heavy and being about timbre more than pitch, that it feels often like a quest for novel sounds. Somebody mentioned that we accept this in movie scores where there is a visual...the music works on that level because its chief effect is atmospheric...That is what color is about...timbre...but after that striking impact does it hold up or invite repeated listening. Is it just mood music? Recently, rewatched Twin Peaks the Return and in several episodes Penderecki's Threnody for the Victims of Hiroshima was used. It's very effective as the bomb is referenced visually...but I certainly don't find anything in it particularly memorable...it can't really stay in your head, because the clusters and sounds are so dense and chaotic there isn't anything you could possibly hum. In the end it is just sound. The thing about traditional harmony is that this gravity it creates between different tonalities makes sonic structures possible. In more arbitrary systems of composing, structure functions as changes in texture and timbre...We'll do this texture for a while and then when it thins out that means we've transitioned to a new phase...it's kind of blocky and not particularly fluid...and motivic musical metomorphasis in the conditions of such dense and congested sounds is more an intellectual exercise and can be so obscure you could only really get it if you picked apart a score...almost anything can be said to be a variant of a two or three note motif..and really who has time except pro conductors and musicians to discover the complex "genius" of such works that don't make much of an emotional or aural impact. I suppose this music was part of the point...a response to or against musical expectations, cliches and especially happy endings. I like variety. There have been plenty of good composer who have not gotten the attention they deserve because they didn't embrace serialism, minimalism or microtonality, whatever is considered cutting edge. Remember that a lot of these styles and techniques have been with us for 80 to 100 years now. They may also becoming cliches...So much musical ground has been covered the most interesting possibilities arise when these forms of experiment are then recombined with tonality.
Emotional or aural impact? for me the two most emotional pieces are Ligeti’s requiem, and Bach’s chaconne from partita 2. Is the ligeti requiem singable? No. Is it memorable? Hell yes it is, no other pieces has given me the same impression. Also ginastera is one of my favorite composers particularly because how memorable and emotional his sound worlds are without following serialism strictly. And I think that there are plenty of 20th century composers who didn’t write “this kind” of music (i kinda know what you mean but I don’t think Ligeti is comparable to say Boulez, Stockhausen, etc they are all very distinct and shouldn’t be lumped together) and were very successful! Like ginastera’s tonal stuff, Qigang Chen, Jolivet, Arutiunian, etcetcetc there are so many.
And I completely agree with your last statement. Which in a way is explored in this piece (particularly the second movement). This is why qigang chen is one of my fav composers, have you hesrd his poeme lyrique? For me its the perfect combination of these techniques with tonality
@@zgart I never implied Ligeti's Requiem wasn't memorable...that surely is. I don't like parts of this concerto, but parts I do. I was speaking specifically about Threnody away from actually hearing it, when you walk away from it, the precise tonality of it can't be duplicated in your inner hearing...only an imprecise impression of the sound world. So it functions more like sound than music. If people can't take music with them, internalize it they walk away from it and I think that has happened a lot with classical music in the past 75 years. Even when it functions in an atmospheric way, as in a movie score, take it away from that context and it's much less functional in our lives. there is a point, even with the wonderful sounds of microtonality in Penderecki's vocal music and Legeti's too, that the imprecision in pitch if taken too far makes the equivalent of musical drip paintings, where everything blurs into everything else. So I think these experiments always seem most successful to me when they are recombined with tonality. It's why I like Alban Berg's Wozzeck so much the way he combines serialism with tonality. Thrilling stuff. The atonal polka in Act III!
@@johnpcomposer Ah yes Wozzeck is great (and lulu too of course)! I see what you’re saying about the penderecki, although in my opinion it’s not necessarily the music’s fault that people have trouble internalizing it. I WOULD agree that it is hard to internalize pieces like Boulez’s piano sonatas, however (even if it’s not the whole piece) the beginning of the penderecki I think is very easy to internalize and is extremely memorable. One interesting example I like to think of is Beijing Opera. When I first heard beijing opera it wasn’t memorable at all except for the odd timbre that really turned me off from it. Over time though, I think if one just listens more to it certain things become subconsciously more memorable etc. Obv not super comparable but just a thought I often have (the reactions of new people to traditional music that utilizes things western music typically does not vs. avant-garde western-rooted music)
Typical 20th century music. Its built on effect. Violin l and Violin ll strings have technical parts that go unheard in the work. Some physically ridiculous to play. Makes them unpleasurable to perform. This piece contains a bit of everything. Great excerpts for movie music 🎵🎶
It is music. For me, not very engaging or meaningful, but it is music. The question is not whether something is music but to what extent it communicates something rewarding to experience aurally. That is defined by the perception of the individual listener. This piece made me itch - that is compelling, I guess. The use of disjunct rhythms and atonal pitch patterns tends to create a random, confused, schizophrenic effect which perhaps reflects the complexity of life at the end of the 20th century. I prefer something I can hold onto - a theme(s) or subject(s), compelling rhythmic/melodic statements that interrelate and a sense of tonacized points of culmination or resolution. That is my hang up, not a rule that defines music. I know that many of us listen to a work like this and remark, "Interesting". But, do we care to ever hear it again?
I understand your point but this piece certainly has memorable themes (especially the 2nd movements) and if not literal themes, very memorable and distinct sound worlds. Not that you have to enjoy them, but there seems to be a misconception that this piece is all nontonal chaos in general
Idk, I enjoy the sound scapes, especially in the first two movements. I've listened to about 4 times this year as a mix of inspiration but also it's interesting to delve into these sound scapes he makes. Im not sure why I like this concerto so much but I also like impressionism, contemporary art music, both Javanese and Balinese Gamelan music, and Japanese traditional and modern koto music so... Maybe that plays into it too. I will say I am surprised to hear you say disjointed rhythms, it's just polyrhythmic phrases that get treated a lot like a South Indian TI a lot of the time.
@@albertmoore4445 ahh that's understandable. I kind of just grew up with music like this and find it fun. And don't sorry so do I lol, my teacher asked me to create one and I looked at my tabla like a complete idiot before saying I couldn't think of anything lol
Ligeti is quite accesible, not too different from Shostakovich and this emotional composers from the XX. I see why people like him, unlike Stockhausen or Boulez.
intellectual onanism;still interesting to work on violin's technique.I recognize that i can have interest for the orchestral texture in some places;i m not judging the language;i understand that every artist aims for singularity and wants to renew traditional forms,but i don t feel connected to this piece and i don t understand why we should all acclaim it because it s been written by a highly respected ,by a self proclaimed intelligenstia,composer;we don t all have to like the whole corpus of Jean Luc Godart,because it s jl Godart;only idiots do;Berg concerto is much more interesting;
"Only played because of the name" LMFAO do you know how many orchestras are terrified of programming Ligeti because his name strikes so much fear into musicians and audiences. If anything, he's well underplayed! Try again
![Ligeti - Kammerkonzert (score) [HD]](http://i.ytimg.com/vi/deSU4r2POdY/mqdefault.jpg)
![The Best Paganini Cadenza - Philippe Hirschhorn [Live, 1967]](/img/1.gif)
So we write garbage now? Cacophony! That first part! It’s not music!
Define music
okay boomer
I love how people are just not ashamed to show-off their ignorance nowadays and their audacity to claim to "know" what is or is not music
@@franceskinskij HAHAHAH indeed! One of my favorite violin concertos
based
"Hey I've got a sight-reading gig for you it'll be easy!"
The Gig:
@@zgart its really incredible. I remember being blown away by this when i was 19. I am 29 now and its even more spectacular!
THIS ACTUALLY HAPPENS AND HOLY SHIT IS IT WEIRD BUT FUN LOL
Music is a kind of language and if you are not familiar with it, it is difficult to comprehend and/or appreciate. Most have no trouble accepting this type of music when it is presented with visuals, e.g. as in a film score. It is not necessary to study the theory behind it, but it helps when the listener has traveled to these worlds before and gotten used to the language. Listening to it for the first time cold, with no acclimatization, is not likely to be a rich experience.
Condivido completamente ciò che afferma e soprattutto l'esempio della settima arte in cui il sottofondo sonoro acquista senso solo con la sovrapposizione di immagini. Infatti dietro lo sguardo (le immagini) si nasconde il subconscio
Utterly brilliant
A real masterpiece
Cap
Simply wonderful, like all of Ligeti's music, which I immensely love .
Very difficult to follow on the score: I'm trying, but with great effort ....
Yes some parts were quite difficult to follow in the making of this video 😢
with enough concentration anything is possible
1:43 biggest drop in the club since Igor Stravinsky
and you know what? NOBODY CARES
I care
@@benjamonpookoo2741 we dont care about you
i care too
I care
I was in that recording!!! I was the principal viola, playing the scordatura!!
oh nice!!!
@wjifhenndo I lied
How was working with Roth and Tetzlaff on such a modern work?
@@itamarbar9580 i am sorry... i lied... i wasn't actually in the orchestra
What an ending! Spectacular piece❤
Masterpiece. Beyond understanding how he thought of any of this and managed to get those thoughts onto paper. Stunning! And great performance, wow!
Nothing less to expect from Tetzlaff. 👍🏼
Easy. U just scratch some random notes on paper and done
@@simonlajcman4031 I understand where you're coming from---but if you're curious try it and see for yourself if it's true! There are plenty of fakes out there that do just that, and no one is fooled. Ligeti is the real deal
@@trumpeterchrisOk. If its that, i compose somethink atonal and put it on my channel. And you tell me if its good
@@simonlajcman4031 i’d love to hear it!
20世紀後半に作られたヴァイオリン協奏曲の傑作
クラシック音楽の聴衆が理解できるまで30年から50年かかる
This is so epic
It is
When?
Yes
Yes
thanks for uploading this gem
why did it took so long until i realized the theme from the 2nd movement was actually recycled from his musica ricercata no.7
Not just that, this kind of folk theme is used in the viola sonata, concerto Romanesc, and a few other pieces I believe
@@zgart so he milked this melody a lot but it seems that it was TOTALLY worth it. I LIKE IT
It’s also the theme that the soloist has to sing in the first movement, isn’t it?
@@sla7889 are you talking about the kopatchinskaja cadenza in the last movement?
the fact that he chose to write the last movement in 3/4 bruh
It's actually 12/8
@@slateflash i meant second movement
The first one is like.. I don’t even know.. it’s something you’d see in a math exam lmao
Thank you for reuploading!
Diese Musik schickt mich auf eine Reise in visionäre Gefilde auf unbekannten Pfaden
Splendid!
I hear some John Adams in that first movement
Thats a great cadenza
I couldnt hear it bc of the rest of the concerto
24:44 Does anybody know of a recording where the full, written in, uncut cadenza is played? Every recording/performance of this either cuts the written cadenza or substitutes it with some other person's cadenza(which to me always sounds very incongruent). I'd very much like to hear the original that Ligeti himself wrote
This is a great question that I was wondering myself! Perhaps the reason why is because people deem ligetis cadenza too short? I’m not sure. I’m going to try to look for more recordings and see what I can find.
In Ligeti's original score he writes that the cadenza "has no real end and is suddenly interrupted by the orchestra at figure R (as agreed between soloist and conductor)" - this is probably why there isn't a recording where the cadenza is played in full.
@@silentthrenody I'm referring to the part earlier in the cadenza, where the harmonics of the first movement return. No recording has done that
@@slateflash I found one! ruclips.net/video/uMudpBjwDx0/видео.html
@@zgart Wow thanks! She only improvised a few harmonics
I just don't see any moment in my day that I would like to listen to it more than 5 seconds. But of course, everyone is different, and free to do so.
i have a score of this, it's so satisfying to just look at, ahhhhhhh
Have u seen the score to atmospheres or the requiem? they are insane lol. Btw idk if you knew this but there is a fucking piano reduction can u believe it?? I can send it to u if you are interested
@@zgart tf, yes i would be very interested to see it
@@sneddypie cdn.fbsbx.com/v/t59.2708-21/130114747_307924983797629_6725314609501816147_n.pdf/Ligeti-Violin-Concerto-piano-reduction.pdf?_nc_cat=105&ccb=2&_nc_sid=0cab14&_nc_ohc=KqG3ND_3A0IAX-sm921&_nc_ht=cdn.fbsbx.com&oh=39f3ceafede3a0741b9885d87a821f61&oe=5FEA518F&dl=1
@@sneddypie have fun
@@zgart link doesnt work
Ya know... I like the sound scapes actually
13:09, 23:51
Haven't heard it in a while but the 2nd moment reminds me of a part of the Hamburg Concerto, are they related works?
Theme in second part from his musica ricercata, 7 part
13:33 This part almost makes sense
Ligeti is a freakin' genius!
What are those numbers at 1:47?
3/16 2+ 3/16 2, etc.
Additive time signatures, it’s just showing how the beats are divided
@@zgart Oh, okay.
based Ligeti
The second mvmt. is fine......... until..............6:31 😖😖😖😖
I am genuinely curious: what is epic about it, I mean what do you like about it? I really fail to see(hear) the point, and it sure is my fault. Is there a secret trick to enjoy music? Do I need to study music theory and history to get it?
No it’s not your fault! It’s moreso the fault of the domination of tonal western music theory causing us to be biased towards it. My suggestion is to just keep listening to new music. Sure, studying the structure (which is actually pretty strict in this piece) and music theory is helpful, but what’s so great about this music to me is that it expresses excitement, beauty, and pain in new ways. I personally love the beautiful theme of the second movement, which ligeti develops throughout the entire piece! When you get to the finale too, it’s amazing to me how ligeti takes such a small ensemble (the orchestra is a chamber orchestra) which had a thin sound in the first movement into such a full sounding group!
@@zgart Thank you, that is insightful :) I will continue to be open to it and listen carefully, maybe it comes naturally after a while
@@zgart What a wonderful answer. So many would have been tempted to look down their nose at such a comment and snob off about modern music, but you nailed it.
@@Calinoma it helps when people are open minded like OP, I’m always willing to try to encourage those who want to try new things and are kind about it. It’s a lot harder when people just comments “this is shit and noise it isn’t music”
@@Calinoma also I came from the same place, so it’s relatable. And to be honest there isn’t any music in the world that everyone will like, so we can acknowledge that in a respectful manner like here :)
Normal Violin Concerto In Ohio :
Skibidi Ohio Concerto in Sigma Major by Fanum Rizz :
The first part it’s like a fnugg tuba
13:55 that's very low for an E-flat clarinet
I think the top line is the E-flat clarinet, if you're referring to the bottom line then I think that part is just the ordinary B-flat clarinet part, although I'm not too familiar with clarinet tuning so it could be that the top line first note is too low?
@@joshuagearing937 No, it's written that way, which is amazing. Ligeti scores are always in sounding pitch
@@slateflash Ligeti uses that register for timbre, like Debussy uses the low register of the piccolo in Images for orchestra, is a colour issue.
At 23:03 I suddenly found the whole thing more tolerable
23:15 is basically a Star Trek original series soundtrack
hahahah what a crap, at 12:50 almost broke my headset...
Yeah those textures are really quite amazing
@@zgart "art"
@@andresilva_bjj if you don’t like this kind of music though, maybe you should try the spohr trio I uploaded, if you like mozart and Beethoven you’ll like that
I think it is a great piece of music, as zg said, textures are fascinating.
@@andresilva_bjj I personally don't like this kinda classical music and share the same extreme negative feelings as you towards this piece but there's absolutely no need to go around disrespecting the types of music other people like listening to
23:14
There is always something interesting in his music...not as much to grab onto harmonically for my tastes. A lot of noodling that has no direction. Mercifully the 1st movement is short. 2nd movement has a melody. And has more interesting bits. Love 6:31 that somebody else gnashed their teeth at. It's a mixed bag for me. You would have to listen quite a bit to figure out if the whole things hangs together...with so much music and so little time you just have to choose according to your tastes.
Some of what goes on in his music (obviously Cage, Varese, experimental Penderecki and others could be named mainly after 1950), even some of Ginastera's ask the question, does sound equal music? So much new technique, a lot of it percussion heavy and being about timbre more than pitch, that it feels often like a quest for novel sounds. Somebody mentioned that we accept this in movie scores where there is a visual...the music works on that level because its chief effect is atmospheric...That is what color is about...timbre...but after that striking impact does it hold up or invite repeated listening. Is it just mood music? Recently, rewatched Twin Peaks the Return and in several episodes Penderecki's Threnody for the Victims of Hiroshima was used. It's very effective as the bomb is referenced visually...but I certainly don't find anything in it particularly memorable...it can't really stay in your head, because the clusters and sounds are so dense and chaotic there isn't anything you could possibly hum. In the end it is just sound. The thing about traditional harmony is that this gravity it creates between different tonalities makes sonic structures possible. In more arbitrary systems of composing, structure functions as changes in texture and timbre...We'll do this texture for a while and then when it thins out that means we've transitioned to a new phase...it's kind of blocky and not particularly fluid...and motivic musical metomorphasis in the conditions of such dense and congested sounds is more an intellectual exercise and can be so obscure you could only really get it if you picked apart a score...almost anything can be said to be a variant of a two or three note motif..and really who has time except pro conductors and musicians to discover the complex "genius" of such works that don't make much of an emotional or aural impact. I suppose this music was part of the point...a response to or against musical expectations, cliches and especially happy endings. I like variety. There have been plenty of good composer who have not gotten the attention they deserve because they didn't embrace serialism, minimalism or microtonality, whatever is considered cutting edge. Remember that a lot of these styles and techniques have been with us for 80 to 100 years now. They may also becoming cliches...So much musical ground has been covered the most interesting possibilities arise when these forms of experiment are then recombined with tonality.
Emotional or aural impact? for me the two most emotional pieces are Ligeti’s requiem, and Bach’s chaconne from partita 2. Is the ligeti requiem singable? No. Is it memorable? Hell yes it is, no other pieces has given me the same impression. Also ginastera is one of my favorite composers particularly because how memorable and emotional his sound worlds are without following serialism strictly. And I think that there are plenty of 20th century composers who didn’t write “this kind” of music (i kinda know what you mean but I don’t think Ligeti is comparable to say Boulez, Stockhausen, etc they are all very distinct and shouldn’t be lumped together) and were very successful! Like ginastera’s tonal stuff, Qigang Chen, Jolivet, Arutiunian, etcetcetc there are so many.
And I completely agree with your last statement. Which in a way is explored in this piece (particularly the second movement). This is why qigang chen is one of my fav composers, have you hesrd his poeme lyrique? For me its the perfect combination of these techniques with tonality
@@zgart Have not heard Poeme Lyrique. Will have to give it a try.
@@zgart I never implied Ligeti's Requiem wasn't memorable...that surely is. I don't like parts of this concerto, but parts I do. I was speaking specifically about Threnody away from actually hearing it, when you walk away from it, the precise tonality of it can't be duplicated in your inner hearing...only an imprecise impression of the sound world. So it functions more like sound than music. If people can't take music with them, internalize it they walk away from it and I think that has happened a lot with classical music in the past 75 years. Even when it functions in an atmospheric way, as in a movie score, take it away from that context and it's much less functional in our lives. there is a point, even with the wonderful sounds of microtonality in Penderecki's vocal music and Legeti's too, that the imprecision in pitch if taken too far makes the equivalent of musical drip paintings, where everything blurs into everything else. So I think these experiments always seem most successful to me when they are recombined with tonality. It's why I like Alban Berg's Wozzeck so much the way he combines serialism with tonality. Thrilling stuff. The atonal polka in Act III!
@@johnpcomposer Ah yes Wozzeck is great (and lulu too of course)! I see what you’re saying about the penderecki, although in my opinion it’s not necessarily the music’s fault that people have trouble internalizing it. I WOULD agree that it is hard to internalize pieces like Boulez’s piano sonatas, however (even if it’s not the whole piece) the beginning of the penderecki I think is very easy to internalize and is extremely memorable. One interesting example I like to think of is Beijing Opera. When I first heard beijing opera it wasn’t memorable at all except for the odd timbre that really turned me off from it. Over time though, I think if one just listens more to it certain things become subconsciously more memorable etc. Obv not super comparable but just a thought I often have (the reactions of new people to traditional music that utilizes things western music typically does not vs. avant-garde western-rooted music)
Typical 20th century music. Its built on effect. Violin l and Violin ll strings have technical parts that go unheard in the work. Some physically ridiculous to play. Makes them unpleasurable to perform. This piece contains a bit of everything. Great excerpts for movie music 🎵🎶
What's the instrumentation at 6:31?
4 ocarinas, 2 horns, solo violin, viola, cello, and bass
It is music. For me, not very engaging or meaningful, but it is music. The question is not whether something is music but to what extent it communicates something rewarding to experience aurally. That is defined by the perception of the individual listener. This piece made me itch - that is compelling, I guess. The use of disjunct rhythms and atonal pitch patterns tends to create a random, confused, schizophrenic effect which perhaps reflects the complexity of life at the end of the 20th century.
I prefer something I can hold onto - a theme(s) or subject(s), compelling rhythmic/melodic statements that interrelate and a sense of tonacized points of culmination or resolution. That is my hang up, not a rule that defines music. I know that many of us listen to a work like this and remark, "Interesting". But, do we care to ever hear it again?
I understand your point but this piece certainly has memorable themes (especially the 2nd movements) and if not literal themes, very memorable and distinct sound worlds. Not that you have to enjoy them, but there seems to be a misconception that this piece is all nontonal chaos in general
Idk, I enjoy the sound scapes, especially in the first two movements. I've listened to about 4 times this year as a mix of inspiration but also it's interesting to delve into these sound scapes he makes. Im not sure why I like this concerto so much but I also like impressionism, contemporary art music, both Javanese and Balinese Gamelan music, and Japanese traditional and modern koto music so... Maybe that plays into it too.
I will say I am surprised to hear you say disjointed rhythms, it's just polyrhythmic phrases that get treated a lot like a South Indian TI a lot of the time.
@@seabassa.m.665 I need to brush up on my South Indian Tis!
@@zgart It is an aural perception more than a misconception.
@@albertmoore4445 ahh that's understandable. I kind of just grew up with music like this and find it fun. And don't sorry so do I lol, my teacher asked me to create one and I looked at my tabla like a complete idiot before saying I couldn't think of anything lol
This is the most terrifying rancid piece ever im going to grab a sewing needle and pierce my eardrums rn
Jeez, these comments made me lose hope in humanity
4:05
バルトークみたいな民謡の旋律
My bet is that this Ligeti guy will eventually be regarded as one the usual suspects Bach, Haydn, Mozart, Beethoven ecc...
I very much doubt so. Most people don’t like atonal music so there wouldn’t even be a chance
Ligeti is quite accesible, not too different from Shostakovich and this emotional composers from the XX. I see why people like him, unlike Stockhausen or Boulez.
@@joekbaron1205 How do you know that people won't 'catch up' with and enjoy atonal music in future?
@@ReubsRowlands they might, but I doubt he will be regarded as great as Beethoven, Bach and Mozart etc.
@@joekbaron1205 And yet a lot of people have already heard and liked Ligeti from Atmospheres being in 2001.
This music represents atonal music but more on natural disasters. It is like the END OF THE WORLD!!! or worse... summoning the demons!
I know right! It's beautiful!
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ひどいオカリナが現代音楽
intellectual onanism;still interesting to work on violin's technique.I recognize that i can have interest for the orchestral texture in some places;i m not judging the language;i understand that every artist aims for singularity and wants to renew traditional forms,but i don t feel connected to this piece and i don t understand why we should all acclaim it because it s been written by a highly respected ,by a self proclaimed intelligenstia,composer;we don t all have to like the whole corpus of Jean Luc Godart,because it s jl Godart;only idiots do;Berg concerto is much more interesting;
nothing intellectual about enjoying this piece
So people enjoy this unironically?
Yessir mr troll :D
It be like that sometimes lol
you have a youtube playlist of Karajan conducting every single Beethoven Symphony
yes
Yes
Quelle horreur
sorry I tried but I still think this is piece of garbage😂
I didn't enjoy this.
Call me ignorant but it's not for me
Totally understandable, thanks for being respectful
This sounds terrible to me? Like music is very subjective of course so you guys do you but I can’t imagine liking this 💔
Silly scrap music Only played because of the name
The name? What?
no
And that was a silly angsty comment only made because it makes you feel superior to others probably to make up for some deeply founded insecurity.
"Only played because of the name" LMFAO do you know how many orchestras are terrified of programming Ligeti because his name strikes so much fear into musicians and audiences. If anything, he's well underplayed! Try again
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