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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It turns out that neither is a central pitch but function as pitches which precede the final F and G of the piece. Music Lists are as unique as the musician! It is this cell which creates the “hole in the middle” effect over block 5A. The static harmony can be considered to portray God’s never changing presence while the lower dynamic level indicates the peacefulness associated with God.
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 1 is written entirely at the ‘ pp’ dynamic level, yet one perceives dynamic changes. Since the elastic talea is not a strict organizational method, there are exceptions to the general tendencies of durational values. The words “lux aeterna luceat eis” mean “may eternal light shine on them.
Sheet music: Gyorgy Ligeti: Lux Aeterna
They can also enter 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 attack. 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. It is the longest single block, lasting 50 bars of the piece’s bar length. Choose where you want to share: The final word of the text, “luceat”, is left incomplete in two of the four alto sections.
If you have any suggestions or comments on the guidelines, please email us. Voice sheet music A Cappella sheet music Ensemble: The second and third chords have their middle pitches in common.
Lux Aeterna by Gyorgy Ligeti is a single movement composition of about nine minutes duration for unaccompanied sixteen part mixed choir. Tell a friend or remind yourself about this product. These are due to the gradual addition of voices, expansion of pitch range and especially the addition of the high A to the otherwise midrange texture.
The last occurrence of the three note cell is in block 5A see Example Here the pitches of block 2 are used with an upper octave doubling. There is a pitch gap between the B, A and F of block 5B and kux underlying block 5A, whose pitches do not rise above middle C. There are four soprano sections, four alto sections, four tenor sections and four bass sections. Review Guidelines Explain exactly why you liked or disliked the product.
Block 3A is a ligfti pitch and word cannon in which all four aetrrna voices start simultaneously and then are staggered creating imitative polyphony. So this really is an approximation of that great work. After the basses have joined the texture, the harmony becomes very ulx i.
However, this D comes from the tenor line. The B of block 5B is the highest pitch in the piece as well as a moment of high tension. We cannot post your review if it violates these guidelines. Was going to go mad.
However, the strong B, A and A pitch centers found in the other vertical cells do not fit conveniently into a traditional tonal plan. One does not aurally identify it with the homophonic blocks 2 and 4. The pitches are presented in a slow additive canon in which the first pitch is never left.
He also assigns the highest pitch in bars to “lux”, a C. A repeating three note cell, C-G-B flat, is used to set a ten syllable line of text see Example 7a.
The third chord is an intervallic expansion of the three note cell and therefore is no longer identical. This effect is further enhanced by the fact that the sopranos predominate over the tenors who are not individually perceived.
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. It is taken from the text of block 5A. 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. Block 5D bars consists only of middle C held continuously over five bars. Block 3C bars appears simultaneously with block 3B, using the same text, but is different in pitch content and canonic structure.
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. Bass 2, which is the only section left with B, fades out independently from the others. The piece ends with scofe bars of silence which Ligeti says “depend on proportions of the durations of the parts of the piece. Blocks 3B and 30 enter here, causing the bass sections to sound as if they are also entering with new material.
The rate rate of change from syllable to syllable is relatively fast scorr the beginning of block 5A and gradually slows down to a static interval luz bars 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 You can help Wikipedia by expanding it. The notes are sung in falsetto providing a further timbral contrast.
The aetedna in the basses catches up with itself at bar 61 on a simultane ously attacked G. For example, in the fourth syllable, “ae”, Alto 2’s duration is only an eighth note whereas Alto 4’s duration exceeds eight quarter note beats. If you believe that any review contained on our site infringes upon your copyright, please email us. This is the first setting of the new word “Domine” which means “0, Lord”.