6 Bagatelles Ligeti.pdf
Gretchen Vansise
All online purchases greater than $200 (before tax) are eligible for free shipping within the US. (Some Exceptions apply) Online purchases over $200 being shipped to locations outside the United States do not qualify for free shipping.
You may also assemble your order online and pay offline using the "Offline Payment" payment method during the checkout process. In this case, once you submit your order, you will be contacted via phone or email for payment details before your order is processed. For offline orders we accept personal checks, bank checks, money orders, or travelers checks, with other legal tender acceptable only per arrangement.
'6 Bagatellen [6 Bagatelles]' by Gyorgy Ligeti were originally part of a collection of 12 bagatelles composed for piano between 1951 and 1953. In 1953, Ligeti transcribed six of the bagatelles for a wind quintet made up of flute, oboe, clarinet, horn, and bassoon. With the exception of the second and fifth bagatelles, these are quick, spirited little pieces. They reflect Ligeti's economical approach to composition, as a minimum number of notes are used to maximum effect. The bagatelles are often texturally sparse, with most of the notes either played staccato or strongly accented to create cool but insistent music. The dynamics change frequently, sometimes several times in each bar, and the instruments are often called on to play muted, adding different colors to each piece. Ligeti's bagatelles employ some harsh dissonances and complex ideas; however, they are also very moving and accessible little chamber pieces that explore both the expressive and the purely musical potential of a limited amount of material.These pieces are very short: most are under two minutes in duration, and none are over three. The first bagatelle, Allegro con spirito, is comprised of only four pitches yet is amazingly varied in expression and is motivically inventive. The second bagatelle is a passionate, anguished Lamentoso. The third is quick, but with longer cantabile melodies juxtaposed with quiet staccato figures. Bagatelle number four is exuberant and strongly accented, while number five, dedicated to the memory of Bela Bartok, begins as a spare adagio, but soon becomes more vivacious as dotted rhythmic figures are added. The final bagatelle is like a wild, frenetic race, and the penultimate measures are marked 'as though insane'; but the piece ultimately ends with a soft, muted horn solo.
All online purchases greater than $200 (before tax) are eligible for free shipping within the US. (Some Exceptions apply.) Online purchases over $200 being shipped to locations outside the United States do not qualify for free shipping.
Ligeti finished the bagatelles in 1961, as part of his collaboration with neo-dadaist group Fluxus.[1] The original manuscript is kept in Basel, in the Sacher Stiftung, as part of the Nordwall Collection, and is indeed dedicated to David Tudor. The piece was first performed in Wiesbaden by Karl-Erik Welin [de] and was published in 1965 in New York City by Schott Music.[2]
This composition was poorly received by the public. In a public performance of the piece by Karl-Erin Welin in Stockholm, the audience was very disappointed, as they were expecting something different. Ligeti, who was not present, stated that he was very satisfied with the reaction. John Cage, composer of 4' 33'', is said to have been deeply offended by this friendly jibe.[5]