Sheet Music – £ – Gyorgy Ligeti’s Lux Aeterna, for Voice mixed chorus acappella. Duration: 9 minutes. Published by Edition Peters. Lux Aeterna sheet music – SATB choir (a cappella voice mixed chorus) sheet music by Gyorgy Ligeti: Edition Peters. Shop the World’s Largest Sheet Music. Lux Aeterna () by Gyorgy Ligeti is a single movement composition of about .. It is only by seeing the capital D in the score that one can tell the difference.
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Similarly there are two ways in which the polyphonic blocks can end. Four sections of the piece employ a vertical three note intervallic cell shown in Examples 13A, B, Cand D in addition to the horizontal three note neighbor motion cells found in blocks 1, 3A and 5A. This line moves in very slow canonic fashion lead ing to a texture containing B, A and Fwhich sounds like a B 7th chord see Example The different divisions of the beat are frequently used for pitch changes making it impossible for the listener to pick a steady beat from the music.
The letter ‘t’ of “luceat” is not pronounced, presumably to avoid the introduction of percussive consonants into a smooth pitched texture. They can also scorw simultaneously on the same pitch and then continue with the rest of the melodic line in staggered fashion, thus creating a canonic internal texture following a simultaneous aetefna.
The word being sung is “luceat” which means “let shine”.
One can see and hear that the harmonic mass is moving away from F. Block 5B ends with a simultaneous fadeout which overlaps with block 5C. In Example 14, the first 14 syllables of the piece are lined up in vertical columns so that the rhythmic values assigned to each syllable can be compared from voice to voice. Requiem aeternam dona eis, Domine; et lux perpetua luceat eiswhich means “May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art merciful.
Block 4 is linked to block 3A by the pitch E, which is the last pitch of block 3A and the lowest of the three pitches which begin block 4. Since the elastic talea is not a strict organizational method, there are exceptions to the general tendencies of durational values.
The entry of the low D is a noticeable event since this is a new pitch appearing in the unused low register of the basses. Note that the neighbor motion cells found in block 1 are also present in this line. Scofe examining the textural blocks individually, note that the piece never exceeds the ‘ p ‘ dynamic level and that the only dynamic levels specified are ppppp and p. It has lieti simultaneous entry of four soprano voices and one bass voice, which leaves block 5C.
This means that the first singer to arrive at the last note will sustain that note until all the other voices have also reached that point. It has the function of breaking up the text in the same manner as it separates blocks of asterna writing. Close X Saved to Music List. OK, I agree No, give me more info. It is con structed using strict pitch imitation as well as word imitation.
Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn’t. Another contrast with other polyphonic sections of this piece is that this block begins simultaneously with the same syllable sung with three pitches instead of one.
Are you a beginner who started playing last month? The male voices, which contrast with the predominantly female texture before, indicate God, who is male as Christ. The three pitches of the first chord of block 4 sound like an A 7th chord. The three bass sections can be considered a representation of the Holy Trinity. The density of pitch classes range from a minimum of one in bars andto a maximum eight in bars This time the chord appears in the lowest bass register, which is a contrast to the falsetto setting of the same word before.
Bass 2, which is the only section left with B, fades out independently from the others.
Gyorgy Ligeti – Lux Aeterna for part unaccompanied chorus (Latin)
This is the only block which cannot be individually perceived. It is taken from the text of block 5A. The entire text of the piece can be seen in Example 2. The A pitch first appears in bar 13 in a dense cluster at which point it is in its lower octave and not individually perceptible.
The initial F of the piece is not present, confirming the motion away from the original central pitch of the piece. This article includes a liget of referencesrelated reading or external linksbut its sources remain unclear because it lacks inline citations.
There is a pitch gap between the B, A ligetl F of block 5B and the underlying block 5A, whose pitches do not rise above middle C. The melodic line of block 1 consists of a gradual intervallic expansion from the starting pitch F, to a major 7th range D flat to Cand an ending on the sus tained high A.
These gentle entries help create a smooth texture. It then becomes canonic because the duration of the first syllable, “Re”, is different in each voice causing them to shift out of phase with each other. Since the strict pitch and word canons are rhythmically set using flexible talea structures, it is hard to hear any canonic structure. Block 5D Example 12 can be considered as the last stage of the decreas ing rate of pitch change that has taken place in blocks 5A, 5B and ,ux.
[PDF] Ligeti – Lux Aeterna (Full Score) – Free Download PDF
Block 1 bars is an additive canonic texture built entirely from tem porally delayed superimpositions of the line found in Example 3. In this paper, I will discuss how the piece has been composed from the point of view of horizontal pitch lines and the resultant vertical textures.
They can start additively, that is to say that voices enter one at a time until all have entered creating a canonic scre. I know what you mean – apologies for the score I really couldn’t face the 19 pages of those triplets etc for 16 voices.
The pitches B, A and F cause it to sound like a B 7th chord with no third to indicate whether it is major or minor. The syllable “Do” is sung lus E preparing the word “Dom ine”, which includes an E in its pitch material. liveti
Ligeti – Lux Aeterna (Full Score)
Example 15 Since the strict pitch and word canons are rhythmically set using flexible talea structures, it is hard to hear any canonic structure. To send to more than one person, separate addresses with a comma. Since the total texture at this point is not very thick, one starts to hear the sustained B and D as important central scire.
As before, a three note chord with the same intervals is used. Views Read Edit View history.