Lego My Ligeti
I’m finding more and more, day by day, I have much in common with the stylistic integrity of György Ligeti. His whimsical juxtopositioning of bare dissonance within both mechanical and organic imagery is evidence of his ability to remain at the periphery of the major schools of twentieth century classical music without buying stock. He respectively drew influence from some sweet shards of modernism and a Euro-driven sense of sonic landscaping. But pieces like Clocks and Clouds and his micro piano pieces that reverberate with sub-Saharan African motifs are evidence that, instead of diving into academic movements, he fed on their most sinuous flesh in his own way. He seemlessly transitions between slowly cascading tones of subconscious discomfort into tonal merriment, only to sweep the rug out from under you without you knowing it, once again. Being a member of an academic clique and making a voice for yourself is difficult enough when it comes to the complex and deeply fractured development of twentieth century music. But taking part in movements without appropriating fully their ideological vocabulary for one’s own expressive desire, and still defining and developing a voice for yourself, seems retrospectively impossible.
Particularly recommended:
Sonatina for Piano, 4 Hands - Irina Katäva and Pierre-Laurent Aimard
Volumina for Organ - Zsigmond Szathmary
