Ligeti and His Requiem - PDF

8/17/2019 Ligeti and His Requiem - PDF

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Ligeti and the RequiemBy Babak Golestani

Different historical and compositional aspects of Ligeti’s Requiem will be discussed in this

essay with some brief look at his personal motivations and his musical ideas resulting the

creation of the Requiem being one of his most prominent works which Ligeti himself marked

as „the best work he composed to date“ in a letter to Ove Nordwall. The second and the third

movements which would be the most interesting between the four will be discussed with a

slightly more careful regard to details.

Ligeti was for some years willing to compose a Requiem for political reasons and the idea ofcreating such a work was actually born in his home country, Hungary. After several tries in

various styles, Ligeti began to compose his Requiem - the last try resulting the creation of the

large-scale Requiem with four movements, which we know today - after his immigration to

Austria.

After becoming a member of a group of militant Catholics, as a “not practicing”, “not

baptized Jew”,1 Ligeti decided to write a work, which was related to “Jews, Catholics”, and “

all people who vanished in Hungary”2. Ligeti’s Requiem is not “related to a person or event”

and is “a funeral mass for the whole the humanity”.3

Ligeti used the requiem mass as an already existing text. He composed the Introit, the Kyieand the Dies irae sequence from this text. The listener, however, cannot follow the text

because of the dense polyphonic nature of the work, which would not be absolutely necessary,as the listener already knows the emotional content of the text:

- The Introit (the first movement) represents the “pain of death”

- The Kyie (the second movement) represents the “cry for help”

- The Dies irae sequence (the third movement) represents the “Last Judgement”

-

The Lacrimosa (the last movement) is considered as a part of Dies irae. But it is a

separate movement in Ligeti’s Requiem. The Lacrimosa is a kind of epilogue and “its

dominant emotional content is lux perpetua”4 or eternal light: hope.

As Eric Drott5 expressed his opinion, Ligeti used simple versus complex, static versus

dynamic, audible versus inaudible, and individual versus mass as contrasts in the Requiem. I

would add comprehensible versus incomprehensible: Ligeti has treated individual words of

the liturgical text in such a way that they are understable.

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Ligeti adopted some styles of his preceding compositions in Requiem such as „experimental

vocal style of his aventures in which three vocalists try to convey their emotional state

without words by singing in an imaginary nonsense language.”6

Ligeti wrote the following in a letter to Ove Nordwall:

“You will see that the four movements of the Requiem are a kind of summary of my previousway of composing: the “Typus” of Volumina and Atmospheres is in the first and second

movement, and the “Typus” of Avenures on the other hand is in the third movement.”

It is noteworthy that the Atmospheres and the Aventures represent “two opposing

tendencies”7 in Ligeti’s works. Atmosphere is a static work and Aventures is very dynamic.

The Requiem could be considered as combination of these two tendencies with some new

features added.

The Requiem appears with the Introit, from the darkness of lower register and disappears withLacrimosa in the shining light of high register. The Introit, by the way, also begins in lowregister and ends in high register. The darker timbre of the start - consisting of four splitted

bass parts - brightens gradually. This could be considered as a short presentation of the form

process in the Requiem as a whole.

The dynamic development in the Introit. (London Voices, Berliner Philharmoniker - Jonathan Nott)

The Introit contains the traditional text of the first part of the funeral mass. But the musical

content of the Introit is not only a medium which merely demonstrates the text musically. It

also includes the “hundreds of years old associative material” which is “linked to famous

lines”8 of the Introit : ‘Requiem aeternam dona eis, Domine: et lux perpetua luceat ice. Te

V

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decet hymn, Deus in Sion, et tibi reddetur votum in Jerusalem: Exaudi orationem meam ad te

omnis caro veniet.’

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The long sounds of orchestra which accompany and support the vocals parts, the choral part

which is created by 4, 8 or 12 voice polyphonic textures, with slow gradual movements,which would be reminiscent of the vocal polyphony of the past: Palestrina, the

[comprehensible] words (M. 14-16 and 45-46) ‘Domine’ and ‘exaudi orationem meam’ (note

from Ligeti on the score: “Articulate the text as clearly as possible in this position”), and the 2

voice texture of soloists, soprano and mezzo-soprano, are marked by Salmenhaara10 as

essential musical elements by which the Introit is composed.

The dynamics in the Introit is very limited: pppp-p, imparting, both formally and emotionally,

a long lasting continuity, a strange kind of uniformity to the part with a starting somewhere in

distance, stillness, depth… From the darkness. Such atmosphere will be back in the last part,

the Lacrimosa, in which the “the thinnig of the texture is pushed further” 11.

Counterpoints occur in both micro-polyphonic and macro-polyphonic levels. The four voices,which move independently creating a cluster with a range of a diminished forth, can be

simultaneously combined with a polyphonic ‘whole’. And no rhythmic pulse can be heard

which helps the continuity and uniformity of the part.

The Kyrie, which is a five-part double fugue - each part is consisted of 4 rhythmically

independent voices which build a cluster (Ligeti called it “bundles of voice”12 treated

polyphonically; “each bundle a group of four parts subdividing the soprano, mezzo-soprano,

alto, tenor and bass sections of the choir 13

) – with “two subjects”: “one accompanying the

words Kyrie eleison the other the words Christe eleison”14

. The four alto voices, however,“bring all the same tones in exactly the same order”. 15

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The text, in the Kyrie, remains generally incomprehensible by “rush speaking… excessive

elongation of individual words and syllables… simultaneous presentation of different voices

and splitting words and distributing them to different voices.”16

György Ligeti, Requiem (1963–65), no. 2, Kyrie, p. 8 (study score, no. 4841, Frankfurt am Main etc.: Litolff/Peters 1966) - 1/2

"V [A'4F$'F/' g.A+A4 ? 8CD+-C E/-*F/?


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György Ligeti, Requiem (1963–65), no. 2, Kyrie, p. 8 (study score, no. 4841, Frankfurt am Main etc.: Litolff/Peters 1966) - 2/2

The Kyrie is a contrast to the Introit: It is dynamic and active – a factor that “distinguish the

Kyrie from Ligeti’s later forays in micropolyphonic writing”17

- with a polyphonic texture

developed simultaneously in two levels: micro and macro polyphony.

There is a basic similarity between Kyrie and Christe material: “each entry consists of voice

bundles”: “the five divisi parts of the soprano, mezzo-soprano, alto, tenor, or bass section of

the choir entering in unison and then fanning out into a stretto canon, merging back into a

unison as the canon concludes and the entry ends.”

18

Ligeti testified that the contrapuntal form model of this part, with a basic idea of “continuous

polyphonic stream”19, was Bach’s motet ‘Singet dem Herrn ein neues Lied’.

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The dynamic development in the Kyrie. (London Voices, Berliner Philharmoniker - Jonathan Nott)

Kyrie is a big double fugue without themes in the traditional sense, containing the two

melodically contrasting ‘Kyrie eleison’ and ‘Christe eleison’, which are structurally created

themes, each of which has its own differing construction principle. The two Canon’s interval

development is different. One, the Kyrie Canon, consists second intervals, while the Christe

settings constructed more variously, consists of narrow and widening interval combinations:

wider than a major second.

The tone B! which appears twice in the Kyrie row, at the first and the last pitch, is

particularly important. The composer mentioned in this regards the „use of central pitch in

Webern’s Piano Variations Op. 27“20. The Kyrie part begins with this pitch in unisono and the

climax of the second big Crescendo ist also the high B!.

The wedge-like design of the Christe melodies “lends them their general tendency to run

through all 12 of the pitch classes in fairly short order”21

. The Kyrie melody does not sharethis feature.

By the way, beginning the Kyrie theme in pianissmo espressivo, and the Christe theme, in

constrast, in pppp non espressivo “arises spatial effects”22.

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The soprano melodies at bars 40 and 102 – which is a “retrograde inversion of the entry at m.

40”25 - could be considered as series, as “they consist of exactly 12 pitches”26.

As Eric Drott27 mentioned, the large number of voices in the Kyrie has been seen as

following:

- “Instead of ordered community moving with mutual respect along the lines of a canon, we

are presented with a mob.”28

- “…This kind of musical life is very much a metaphor of certain aspects or urban society.

The person-as-atom can enter the urban society anonymously and therefore easily, but can

just as easily be replaced. This knowledge tends to generate an atmosphere of mutual

indifference, accompanied by a certain amount of tension”.29

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- “…By refusing to celebrate the independent quality of inner and outer voices, Mr. Ligeti’s

polyphony acts like a socialist state in which the individual effort anonymously serves the

whole.”30

- The “immeasurable tide of imploring humanity”31

The process of absorption of a voice, as form of individual, into a dense polyphony, which

disallows the individual – here the voice – to be heard, can logically be likened to“deindividuation”32.

Ligeti expressed his opinion about Dies irae in a letter to Ove Nordwall in the following way:

“I think – but of course I may be wrong – that the Requiem and especially the Dies irae is my

best composition to date. That might not seem at the first hearing. Rather, it may be that many people are disappointed and may say, I was not “avant-garde” anymore, because Dies iraemay appear more conservative than my other pieces, because of the type of dramatics and

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The Dies irae, which also has an incomprehensible text, in contrast to the Kyrie which is

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The dynamic development in the Lacrimosa. (London Voices, Berliner Philharmoniker - Jonathan Nott)

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Documents

Ligeti and His Requiem - PDF