#iorestoacasa e #suonoperte I 10 vincitori Samuele Telari fisarmonica: vince un concerto nell’ambito di Rondò 2021, stagione milanese di...
By Marta Ceron
Data / Ora
Date(s) - 06/05/2018
6:00 pm - 8:00 pm
Milano, GAM Galleria d'Arte Modena
The concert will be held at
GAM Gallera Arte Moderna di Milano
Fünf Stücke for piano four-hands (1942-1951)
Musica Ricercata (1951-1953)
Études pour piano first book (1985)
Études pour piano second book (1988-1994)
Études pour piano third book (1995-2001)
Due Capricci (1948)
Selected pianists from the Call for Young Performers
After encountering the piano production of Karlheinz Stockhausen (in 2015) and of György Kurtág (in 2017), Maria Grazia Bellocchio dedicated this year’s masterclass to the piano production by György Ligeti. The three books of Études pour piano perfectly encapsulate the essence of Ligeti’s final compositions; like other composers in the past (for example, the final periods of Beethoven and of Liszt), the piano became the instrument at the forefront; the instrument to which the final years of life was dedicated: a sort of mini-laboratory always at your fingertips, at which one can experiment with new musical solutions.
In the Études pour piano, different musical suggestions flow from various sources: the polimetrics of the tribes in Central Africa, Claude Debussy, Bill Evans, Conlon Nancarrow, the fractal geometrics of Benoît Mandelbrot, Thelonious Monk, and the optical illusions of Maurits Cornelis Escher. These elements along with others intertwine, creating new images and transforming very personal craftsmanship from the composer into multidimensional and surprising objects.
Regarding his approach to writing for piano, György Ligeti says, “I put my ten fingers on the keyboard and imagine the music. My fingers copy the mental images as I press the keys, but the reproduction is in no way exact: a feedback is born between the idea and the tactile execution and repeats itself in circular motion, becoming more enriched with each revolution; the wheel of a mill runs between my ear, my fingers, and what I write down on the paper. The result sounds completely different that I had previously imagined. Moreover, every detail of the music must correspond as they progress, in order for the gears to shift perfectly. These criteria are only partly determined by my imagination; in some ways, they are determined by the nature of the piano, and I have to feel that with my hands.”