Sheet Music – £ – Ligeti, György – San Francisco Polyphony – orchestra ( study score). The arrow-driven harmonic certainties of Jonathan Nott and the Berlin Philharmonic (in Teldec’s Ligeti Project, 8/02 – nla) get straight to the heart of the matter. View credits, reviews, tracks and shop for the Vinyl release of Doppelkonzert / San Francisco Polyphony / 2 Etüden Für Orgel / Glissandi on Discogs.

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Drinking Hanging Out In Love. A shockingly loud bass drum shot occurs as the strings continue to hold. A slowly unfolding horn melody appears within these patterns, the melody being transferred to various winds and brass.

A polyphoy mysterious timbre is left with very high strings, very low strings, and a high brittle piano trill. Requiem; Apparitions; San Francisco Polyphony.

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LIGETI Violin Concerto. San Francisco Polyphony

The piece opens with a dense texture made up of many individual melodic lines. Written liteti a normal symphony orchestra complement with an expanded triple woodwind section including piccolos, alto flute, oboe d’amore, English horn, E flat clarinet, bass clarinet, and double-bassoonthis work was commissioned by San Francisco Symphony Orchestra.


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AllMusic relies heavily on JavaScript. Romantic Evening Sex All Themes. Out of that sustained mass, melodies again begin francixco emerge, slowly at first and then in an onrushing cacophony of strings here the winds hold a sustained tone. At the beginning, certain melodies stand out from a group becuase they are played by several instruments in unison.

All the players then begin different fixed cycling patterns. Introspection Late Night Partying. AllMusic Featured Composition Noteworthy.

Ligeti San Francisco Polyphony, Schott – Hal Leonard Online

A second percussive shock comes from a gong which increases ljgeti intensity of the massed winds. The rushing tempo is gradually slowed down to a cycling pattern, which is taken up by the winds as the strings return to a sustained chord. The number of voices is very gradually szn, producing an unusual ascending-pitch illusion which leaves only the higher woodwinds playing. Once again the number of instruments playing is very gradually reduced, this time creating an illusion of depth change. This whirlwind continues unabated as if all the melodies in the world have become one giant wave patternchanging its orchestration, ebbing slightly at points, and then after approximately three minutes franciisco toward a loud and sudden conclusion.


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The winds continue to float, cycling in the air until interrupted by a wide-ranging, very quiet dissonant string chord. The percussion blast initates a high woodwind cluster reminding one of Ligeti ‘s early orchestral work, Atmospheres. Underscored by low string francisoc, the winds begin trills like the calls of extraterrestial birds.

Heroic and passionate melodic gestures arise first in the unison horns and then in the strings, as the other instruments re-create the dense atmospheric bed heard at the beginning. In contrast to the polhphony early pieces, which used the shimmering moving clusters of what Ligeti calls “micropolyphony,” this composition uses much wider ppolyphony and aims for “drier, sharper, and more graphic These trills are gradually modified into quickly running patterns for a solo violin, which are spread to the piano and xylophone, then to winds and back to the string section — a wonderful instance of the very subtle shifting of timbres which characterizes much of this work.