Trio for Violin, Horn and Piano (Ligeti)

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Trio for Violin, Horn and Piano
Hommage à Brahms
by György Ligeti
György Ligeti in 1984
FormHorn trio
Composed1982
DurationAbout 21 minutes
MovementsFour
Premiere
Date7 August 1982 (1982-08-07)
LocationBergedorf Castle, Hamburg
PerformersSaschko Gawriloff (violin)
Hermann Baumann (horn)
Eckart Besch (piano)[1]

The Trio for Violin, Horn and Piano by György Ligeti was completed in 1982. The piece was a turning point in Ligeti’s career. Ligeti had composed little since he completed his opera, Le Grand Macabre, in 1977, having only finished a few smaller pieces, like Hungarian Rock (chaconne) and Passacaglia ungherese for harpsichord.[2] Influenced by sources as diverse as sub-Saharan African drumming, the music of Conlon Nancarrow, and the piano music of Chopin and Schumann,[2] the Trio is considered to be the watershed moment that opened up his "third way," a style that Ligeti claimed to be neither modern nor postmodern.[3]

Ligeti wrote the Trio at the suggestion of pianist Eckart Besch as a companion to Johannes Brahms' Horn Trio, one of the few other examples in the genre, which is why the Ligeti Trio is marked Hommage à Brahms. Ligeti recalled his reaction to the suggestion: "[a]s soon as he pronounced the word 'horn' somewhere inside my head I heard the sound of a horn as if coming from a distant forest in a fairy tale, just as in a poem by Eichendorff."[1]

Analysis

The Trio is in four movements:

  1. Andantino con tenerezza
  2. Vivacissimo molto ritmico
  3. Alla marcia
  4. Lamento. Adagio

A performance of the piece lasts about 21 minutes.

The composition explores the use of

Beethoven's Piano Sonata No. 26, "Les Adieux".[6]

References

  1. ^
    OCLC 551723673
    .
  2. ^ a b "Trio for horn, violin & piano… | Details | AllMusic". AllMusic. Retrieved 2018-11-24.
  3. ^ Mike Searby, "Ligeti's 'Third Way': Non-Atonal Elements in the Horn Trio", Tempo new series, no. 216 (2001): 17–22.
  4. ^ Stephen Satory, "Colloquy: An Interview with György Ligeti in Hamburg", Canadian University Music Review//Revue de Musique des Universités Canadiennes 10 (1990): 101–17. Citation on 109.
  5. ^ Stephen Andrew Taylor, “The Lamento Motif: Metamorphosis in Ligeti’s Late Style”, D.M.A. diss., Part Two (Ithaca: Cornell University, 1994): 22–49.
  6. ISBN 1-55553-551-8
    .

Further reading

  • Bae, Jae-hyi (배재희). 2009. "리게티의 후기음악에서의 리듬구조 연구" [Rhythmic Structure in the Late Music of György Ligeti]. Ihwa eum'ag nonjib/Ewha Music Journal 13, no. 2:113–37.
  • Delaplace, Joseph. 2004. "Le jeu de la mémoire et de l'invention dans le Trio pour cor, violon et piano de György Ligeti". Musurgia: Analyse et pratique musicales 11, no. 3 (Musique et pouvoir): 73–99.
  • Dibelius, Ulrich. 1984. "Ligetis Horntrio". Melos 46, no. 1:44–61.
  • Diederichs-Lafite, Marion (ed.). 1993. "Tag des Musikgesprächs". Österreichische Musikzeitschrift 48, no. 12 (December): 621–39.
  • Josel, Seth F. 2006. "Vertikaler und horizontaler Raum: Tonhöhen- und Intervallbeziehungen im dritten Satz Alla marcia von György Ligetis Horntrio". MusikTexte: Zeitschrift für Neue Musik, no. 111:61–63.
  • Taylor, Stephen A. 2004. "Passacaglia and Lament in Ligeti's Recent Music". Tijdschrift voor muziektheorie 9, no. 1 (February): 1–11.
  • Thelander, Kristin. 1999. "György Ligeti's Trio". The Horn Call: Journal of the International Horn Society 30, no. 1 (November): 43–46.

External links

Listening
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