Issuu

Lukas Ligeti

Oblique Narratives for two pianos

Image of Two Ears (ASCAP)

Lukas Ligeti

Oblique Narratives (1989/90) for two pianos

World premiere of “Goodness of Fit” Bernhard Eltschka & Andreas Wykydal, pianos 1990, Vienna, Austria World premiere of the complete work Tuyen Tonnu & Jacob Rhodebeck, pianos November 9, 2006, Staller Center, Stony Brook University, Stony Brook, NY

I. Goodness of Fit (4 minutes) II. Sides of a Point (9 minutes) III. Wind of Forward Motion (5 minutes) The pieces can be performed separately.

Total duration: 18 minutes

LUKAS LIGETI: OBLIQUE NARRATIVES NOTES FOR PERFORMANCE – ENGLISH TRANSLATION I. GOODNESS OF FIT 1. 2.

3. 4.

Accidentals are valid for one note only. Natural signs are therefore unnecessary and are only used occasionally for increased clarity. Phrasing of melodies: This can usually be recognized based on the beams connecting the 8th-notes. However: avoid extremes of legato or non legato. An interruption of a beam means only a very slight break in phrasing, and even when the beam is not interrupted, each note must be perceived individually. In the opening melody, there are also quarter-notes, making a reliable indication of phasing through beams impossible. Here, phrasing is indicated using slurs; thereafter, the phrasing should be obvious. The same applies to the melody type starting in measure 46. A diagonal line between two notes indicates a glissando. Play it in an effortless, matter-of-course way. The small vertical lines indicate 8th-note values elapsing during the glissando. Pedal: use very sparingly. Clarity is of greatest importance. In rooms with very live acoustics, it is recommended not to use the pedal at all.

II. SIDES OF A POINT 1.

4. 5.

Bar numbering: mmm(/nnn) indicates the bar number. Some measures are repeated later on; nnn is the bar number when it is repeated. mmm… means that the measure can be repeated multiple times during the fade-out (thus, nnn of measure 137 in the fade-out would be 140, 143, 146, etc.). Use of pedal: (I) Depress pedal at the beginning and keep it depressed throughout. Only take a new pedal at the 2nd quarter-note of (II). From here on, take new pedal in piano 1 for every chord, and in piano 2 according to phrase markings, then from measure 40 on - slightly - per triplet8th. In (III), follow phrase markings or take a new pedal for each chord. In (IV), new pedal in piano 1 per quarter-note, in piano 2 per half-note. (V) is identical to (III); in (VI), piano 1 is secco while piano 2 depresses the pedal and keeps it depressed until (VII). Here, piano 1 still secco, while piano 2 slowly reduces pedal, so poco a poco più secco; from measure 86 on, completely secco. At (VIII), piano 1 secco; piano 2 depresses pedal and keeps it depressed. For use of una corda pedal, see #3. Fade-out: These 3 measures (137-139) are repeated cyclically many times (the exact number of repetitions is open). Initially, piano 1 mf and piano 2 p; from approximately the 2nd repetition on diminuendo; at the 3rd repeat, both pianists start to use the una corda pedal, continuing the diminuendo until they are no longer audible. The ending of the piece does not have to coincide with the end of measure 139/…; both pianos should stop playing at almost, but not necessarily at exactly, the same time. Section (VIII) should not exceed 50 seconds in total length. Accidentals are valid per measure, octave, and system. Total duration is about 8 minutes.

III. WIND OF FORWARD MOTION 1. 2. 3. 4. 5.

Phrasing: Initially it is indicated; thereafter, continue simile; it can also be deduced from the beams connecting the 8th-notes. In measures 100-122: 8th-notes portato, longer notes tenuto. Pedal: Sparingly, according to the phrasing. Better too little than too much. Accidentals are valid per measure, octave, and system. The tempo of the quarter-note remains the same in the entire piece. Total duration: 5-5:30 minutes.