An Eclectic Analysis of György Ligeti's "Chromatische Phantasie (1956)” for solo piano

An Eclectic Analysis of “György Ligeti – Chromatische Phantasie (1956)” for solo piano by Elliot Sneider The purpose of this paper is to analyze a particular piece of music, “Chromatische Phantasie” by György Ligeti, using an eclectic analysis technique which incorporates historical research, theoretical analysis, and open listening interpretation. There are ten steps taken to compile the analysis: 1)Historical Background, which incorporates research into the background of the composer and the piece; 2) Open Listening, which is an unbiased listening of the piece with reflection; 3)Syntax, which incorporates partial transcription, tonal analysis, and structural analysis of the music; 4)Sound in Time, which is an analysis of the time, in seconds, over which the piece is displayed; 5)Representation, which incorporates a historical analysis of the particular influences on the composer at the time of the composition; 6)Virtual Feeling, which is a stream of consciousness reflection on the emotional aspects of the piece; 7)Onto-Historical World, which is a creative interpretation of the musical meaning; 8)Open Listenings, which is a reflection on multiple open listenings; 9)Performance Guide, which delineates suggestions for performance; 10)Meta-Critique, which is a final reflection on the analysis. 1. Historical Background György Ligeti (1923) was born in Romania to Hungarian Jewish parents. His family returned to Hungary soon after György was born, to the city of Cluj, which is where he would for live the rest of his childhood. In his late teens Ligeti studied at the conservatory in Cluj, but his studies were interrupted by the onset of World War II. In 1943 he was sent into forced labor until the end of the war. His family was broken up; his brother was sent to the Mauthausen concentration camp, and his parents were sent to Auschwitz. György and his mother were the only survivors. Following the war, György returned to his studies in Budapest, and following 1

graduation went on to do field research on Romanian folk music. In 1950 he began to teach harmony and counterpoint at the Liszt Academy in Budapest. He would teach there until fleeing to Vienna after the Hungarian revolution in 1956. In Vienna, Ligeti developed his compositional style by incorporating the new styles of Western musical composition that were hidden from him under the government of Hungary. He became interested in the electronic music of Karlheinz Stockhausen and other avant-garde composers of the time. His electronic piece “Articulations” (1958) and the orchestral piece “Apparitions” (1959) attracted critical acclaim, and set him off on the path of international recognition. He would continue to explore these styles, while creating his own personal style that he had been fostering since the early 1940’s. His style was one of dense sound and unique timbre created through creative use of colors, chromatisism, counterpoint, and instrumentation. He would continue to explore these sounds throughout the 1960’s. His music reached a worldwide audience when Stanley Kubrick used selections from “Lux Aeterna” (1966), “Atmosphéres” (1961), and “Requiem” (1965) in his groundbreaking classic science-fiction film “2001: A Space Odyssey”.

In the 1970’s, Ligeti began to explore more melodic, transparent works, as well as

creating a few comedic works such as “0’ 00” ”, making fun of John Cage’s “4’33” ”, and the opera “Le Grande Macabre”. In the 1980’s Ligeti wrote many intricate piano pieces, such as Piano Concerto (1988) and Piano Etudés Books 1&2 (1985).1 Close interval clusters and aggressive rhythms, combined with complex contrapuntal movement define Ligeti’s music. Although early in his career he explored 12-tone composition, most of his work contains elements of tonalism often shadowed by bi-tonal clusters and soundscapes. This can be heard his choral piece “Éjszaka (Night)”, which begins with a chord built on all notes of a C-major chord, giving the impression of harmony and dissonance at once. Structure and development is very important in his works, but the sound always comes first in his music. It has been said about Ligeti: Ligeti doesn't ever try your patience. Few composers are so attuned to their audience's concentration threshold." (London), December 1996

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http://www.sonyclassical.com/artists/ligeti/bio.html

The Independent

2. Open Listening As a result of several open-listenings of Chromatische Phantasie, the following thoughts and ideas came about: The work is melodic and rhythmically complex, obviously atonal, and possibly 12-tone based. There is an extremely strong pulse present at times, and at other times there is no pulse at all. Each hand is starkly separate from the other, whether rhythmically, spatially, or both. There are many pauses and silences, and the piece is constantly shifting in tempo and speed of notes. The piece starts with a melodic opening, which is interrupted by clusters. A conversational section follows where the high and the low pitches in clusters alternate as if speaking to one another, which is then interrupted by a rhythmic middle voice. This erupts into a loud, strong low note, played on one key in a slow pounding rhythm. The high pitches and this low pitch eventually converge in the middle register in a huge roaring percussive climax. This is followed by a silence. Out of the silence, a quiet chromatic melody begins in the 5 th register, descending. The rhythmic idea tries to return, but it is unclear, and distant. The clusters return in the high register, and the piece ends. 3. Syntax The Chromatische Phantasie was written in 1956, and is one of the last pieces Ligeti finished before fleeing Hungary after the revolution. Many other pieces were started during this final year, but not completed, including a requiem, and an orchestral work. This is the only piece Ligeti ever composed that adhered strictly to the technique of dodecaphonic writing. He never again wrote in this style adhering to all of the rules of 12-tone writing. The piece is unpublished.2 The tempo is slow, about Quarter=60, and the beginning is very sparse. The music begins with a strong strike on C1, which is followed by the aggregation of the row. The notes are presented all over the keyboard. The following is the aggregate of the row, transcribed from the recording “György Ligeti: The Complete Piano Music, Volume 1, Fredrik Ullén-Piano”:

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Notes from György Ligeti: The Complete Piano Music, Volume 1, Fredrik Ullén-Piano, Bis#783 3

Figure 1

After analyzing this, the row that is used for this piece is C, B, Bb, A, Ab, G, Gb, F, E, Eb, D, Db: Figure 2

This descending chromatic row is used throughout the piece and creates either an ascending motion (retrograde or inversion) or a descending motion (retrograde inversion). The first minute and a half develops the row from sparse demonstrations to flurries and clusters at fortissimo volume, climaxing with a fff staccato strike on A0, the bottom note of the piano keyboard. This begins section “B”. This A0 is stuck 7 times, once every measure. The tempo is still about quarter note = 50. Three A0s are struck alone, followed by the entrance of the right hand with a descending pitter-patter of chromatic pitches, jumping back in forth between the 4 th and 5th octave on each note. The bass then moves to C#1, and the right hand plays the same pattern down in the 2nd and 3rd octave. It then jumps up to the higher octaves again, and the bass jumps as well, up to cluster E1 & F1. The rhythm is speeding up with each jump. The bass then jumps to what sounds like C#2 , B2 and C3 cluster chord. The right hand now plays a rhythmic

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figure cluster against this cluster in the bass. Its tempo speeds up and the volume increases until silence. The left hand then takes up another steady pulse on C2 and B1 in eighth notes. This is called section “C”. The right hand contrasts after the first 10 strikes with four strikes of A3 and Bb4: Figure 3

The left hand continues the unaffected staccato chord as the right hand switches between the aggressive clusters and the skipping octave pattern. The left hand rhythm ends as the right hand starts to play some triplet rhythms. The piece then collapses into heavily sustained, loud, quickly repeating clusters covering the entire range of the piano, creating a thick texture focused around Octave 3 and climaxing at full volume and speed before a sudden stop and silence for 8 seconds as the pedal has been lifted but the remnants of the sound fade away. Section “D” begins with the beginning of the chromatic row starting on D5. This is tender and melodic, but is interrupted by the repeated pattern again in the bass: Figure 4

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The interruption loses steam, and the piece ends with clustered aggregates of the chromatic row, finishing in octave 6 clustered E, Eb, D: Figure 5

This chart shows the time and characteristics of the five sections. Notice the symmetry of the rhythmic analysis (bottom row): Figure 6 A

B

C

D

E

0:00-1:30

1:30-2:10

2:10-3:06

3:06-4:28

4:28-5:35

Aggregate, building in volume and density

A0 strike, pitter over rising strikes in left hand Slow rhythm

Soft melodic aggregate, interrupted by left hand cluster, slowing down Slowing rhythm

Ending aggregate, clusters, spread over low B1

Sparse, building in speed and density

Rhythmic left hand cluster, exfoliation in right hand of clusters, leaping octave lines Very rhythmic

Sparse

4. Sound-in-Time (This will reference the sections as delineated in the partial transcription at the end of this paper.)

Section ‘A’ is very sparse, with the notes spread out as much in time as they are in space. The most relevant and revealing temporal unit to discuss would be the aggregate. The aggregate takes 24 seconds to be displayed the first time. This can be seen in figure one. It is immediately repeated in 7 seconds and then repeated again, this time taking almost 20 seconds. The next measures use repetition of notes to extend the aggregate for another 20 seconds although the pitches are happening in smaller note values. The next time it take 7 seconds again, and then 3 seconds, and then 2 seconds, and then it seems to happen two or three times in one second before crashing down to the A0 to begin section ‘B’.

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In Section ‘B’ the time slows down because of the bass note, but the right hand come in with 16th notes playing the aggregate. There are two distinct tempos going on, and the bass speeds up slowly to match the right hand tempo, which also keeps speeding up. This continues until section “C”, where the bass sets the tempo and the right hand plays in tempo with it. The aggregate is slowly displayed at first, speeding up until the climax at the end of the section of a flurry of notes and clusters, leading to silence. Section “D” begins with the first four notes of the aggregate displayed immediately, but eventually takes an entire minute to display the entire aggregate. This is followed by section “E” which takes 30 seconds for the next aggregate and 25 seconds for the final aggregate. The last chord does not make up the final aggregate. It is unfinished. There is an overall ebb and flow to the rhythm. It starts slow, speeds up, slows back down, and continues like this, until the climax at the end of section “C”. It seems as if the left hand is constantly trying to slow things down as the right hand is trying to break free from the rhythm. 5. Representation The piece is called Chromatische Phantasie because of the chromatic nature of the 12tone row. There is no obvious representation dictated by the title although it is wise to take into account the non-musical definition of the word Phantasie (fantasy) in context of Ligeti’s being in the Hungarian communist state. One would imagine that the ability to fantasize would be crucial for someone who found himself repressed by the policies of the government and was preparing to escape the regime. 1956, the year this piece was written, and the year that Ligeti fled Hungary for Vienna, was also the year of revolution in Hungary. After the death of Stalin in 1953 and the rise of Khrushchev in Russia, Hungary’s government went through many changes in leadership and many conflicts with its citizens. Russia installed a new leader in Hungary in 1953, Imre Nagi. He was forced from power in 1955, and a weak economic system and government instability led to chaos, culminating in strikes and an organized protest where the security forces fired upon Budapest students. Russia stepped in, making Nagy prime minister, and making Janos Kadar party first secretary. The Hungarian leader Nagy dissolved the state security system, abolished 7

the one party system, promised free elections, and negotiated to separate Hungary from the Warsaw Pact and Russian rule. He called to the West for help as he withdrew from the Warsaw pact. Western support failed to come, and Russia came back in with force. Kadar defected to Russia. Nagy was captured and Kadar returned with the support of the Russian government to form a new government. He executed or imprisoned thousands of citizens. 3 Nagy and many of his associates were secretly tried and hung, others transported to the Soviet Union. Before Kadar returned however, over 200,000 refugees escaped to the West. Many of those who escaped were of Hungary’s educated classes, including Ligeti.4 This was one of the final pieces Ligeti completed before he fled. 6. Virtual Feeling The opening of section “A” is introspective, calm, but also full of trepidation and fear. As it continues, there is a rising tension, anger, and emotional conflict. The appearance of ever tighter clusters give the feeling of trying to hold in the emotions, while the leaping released right hand motives are like the emotions that escape the bind. This leads to more and more frustration and release as the clusters try to control the motives, but eventually gives way to abandon. When section “B” begins, with the pounding 'A's, there is an instantaneous appearance of anger, authority, and fear (silence). The right hand breaks out of that fear slowly, as the left hand gets more jagged and tense. It rises to try to control the right hand, which leads to a violent, dramatic pounding on the keys. Again udder abandon is abruptly cut off. This leads to section “C”, where the steady pulse give the feeling of movement like we have not had yet in the piece. There is a sense of hope and anticipation, albeit dark and ominous, which is dashed by the eruption of clusters and leaps, which climax at the end of “C” in anger, frustration, resentment, and selfloathing. The silence is a breath, leading back to introspection. The attempt to start again is squashed by the return of the bass rhythmic motive, which interrupts any beauty or flow that occurs. The end is a resignation. It is unclear, distant, and retracting. The final three cluster 3 4

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http://www.nationbynation.com/Hungary/History1.html "Hungary." Encyclopedia Britannica . 2003. Encyclopedia Britannica Online. 06 May, 2003

strikes are defiant, fading to relinquished hope. It is an incomplete aggregate, as if unable to finish the final gasp. 7. Onto-Historical World The opening of the piece is tentative and introspective. Time is halted as the chromatic aggregate is slowly unraveled. The frustration builds as the clusters of the left hand sternly call. The left hand takes the role of the communist party, the right of the soul trying to free itself (Ligeti). A violent struggle ensues. Part two is the gavel of the law, strong but so far and separate from the real world of the people, which is represented by the aggregates in the right hand: high, fluttery, strong and uncatchable. As the party tries to catch it, they meet and the discussion begins, but the party can only speak one thought. While the people try to get the thought to work with them, the march of the party is not contained or affected (section “C”). This erupts into chaos, and at the end of it is silence. The motive tries to tentatively start again, but the left hand lets it know that it is still around. The desire fades, and with one last gasp, gives up. 8. Open Listenings The beginning is peering, unfolding, rising and falling, emotions trying to escape, anger darkening and taking over, the pitches descending then ascending. When section “B” starts, the clanging bass note strikes 3 times before the right hand entrance. It then leaps up and strikes three times again before the entrance, and then again leaps and strikes three times. “C” is so controlled rhythmically; the tension comes from the exploring right hand and the entirely static left, culminating in the wash of clusters at unbelievable, tension-filled speed and volume. The reemergence after the silence is clearly sad, but does not seem tentative. It has not given up its hope for melody, but is trying a different approach. The static left hand reappears, ready to control any sense of movement that the right hand tries. The end is very muddy and unclear; also quiet. It is the only time other than the chaos at the end of section “C” that the aggregate is presented in such clustered form without any single pitches. The piece finishes with rhythm, cluster, and the “three strikes” taking over the right hand melody, and we hear the three cluster strikes in the 5th octave.

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9. Performance Guide It is important to bring out the contrast between the different elements: melodic attempts, clusters, and rhythmic static moments. This is not a unified piece. It is on the contrary a piece of contrasts and tension created by the struggle between these elements. There is no resolution except for the melody getting eaten by the clusters and the rhythm. The idea of ‘three’ seems to be important, both in section “B” and the ending. Take notice of clusters of three notes and bring out threes in the chaos at the end of section “C”. The picking up of speed should be apparent until the silence after “C”, and this is also the moment of starkest volume contrast. The contrast between stern control and reckless abandon should be apparent. Let the silences breath and fade, do not cut them off. 10. Meta-Critique The onto-historical discussion is a liberal interpretation based on the historical and theoretical analysis of this piece, and was most likely not on Ligeti's mind when composing the piece. In fact, Ligeti did not take this piece very seriously, even saying that it is “very naïve and primitive” in its use of 12-tone technique 5. However, it is interesting to look at Ligeti’s output of works and to notice both the lack of clear emotional attachment of any work and the change that occurs after leaving Hungary. Often his pieces do not use traditional techniques for conveying emotion, and so the meaning is either provided by a title, or a lyric, and must be surmised by the listener if at all. The fact that he never again wrote a 12-tone piece after leaving Hungary might be interpreted to mean that the constriction of 12-tone writing was something he associated with the repressive life under communism, and he was determined to not impose those rules on himself once he fled to the West. Also, this being one of his final pieces written in Hungary, it is safe to assume that he had been thinking about the possibility of escape while he was writing it. Maybe his idea of “naïve” is the idea that emotion in music can cause any change in the world. By escaping Hungary, he obviously gave up hope that his music could bring change to his country, which had been filled with Nazis and Communism for his entire life. Possibly he chose the “primitive” chromatic scale as the aggregate, a strict, unmelodic row, in order to mimic the 5

Notes from György Ligeti: The Complete Piano Music, Volume 1, Fredrik Ullén-Piano, Bis#783 10

atmosphere around him. He could then use the exploration in composing the piece to explore how his emotions would play out if fully realized in his life. The piece is full of the “primitive” emotion of anger, which Ligeti may believe does not have any place in solving the problems of the world, but which he was able to fully explore in the piece. It is specifically this raw emotion which is conveyed in this piece which makes it so compelling as a reaction to the oppressive atmosphere of Hungary in 1955. While it is my analysis that the piece relays no sense of hope at the end, it is possibly through the composing of this piece (or demonstrated through the piece) that Ligeti realized the futile task of staying to fight the regime, and realized that in order to live to his full potential he needed to venture out to find a society where he could be free to express himself without fear.

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