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Beware... this is not the printed copy and original. Just a replication of the French edition of the book itself. Pierre Herme' and other professional will never be available as an e-book or Kindle edition with a high tag. Just getting from you.
Currently working my method through Ligeti's work and up to volume three. If you've listened to any of GL's melody and have gotten this far, it probably appeals to you. I'm enjoying the cd--the performance sounds brilliant and the quality of the recording is top shelf. It may take ma a while to feel that I know it enough to go on to the disc 4.
Ligeti is a brilliant, original, and influential composer. His etudes are seminal piano studies intended for concert performance. As such they create a welcome addition to the concert etudes of past masters (Chopin, Liszt, Schumann, Scriabin, Rachmaninoff.) These works are not really tonal, but I think they are still accessible to the average listener because of their passion, rhythmical genius, and Aimard's performances of these works are splendid. These pieces require a formidable technique and solid musicality , for they are ferociously difficult technically and rhythmically. Mr. Aimard plays with requisite virtuosity, while never seeming to struggle over the difficulties. His renderings display command of musical structure and are e Musica Ricercata are early piano works of Ligeti. I think of this piece as a compositional study, much like the counterpoint and fugue exercises written by Mozart, Beethoven, and a lot of other composers. I think that Mr. Ligeti was learning and refining his craft at this point in his career, and had not yet found his individual voice. Musica Ricercata is, for this reviewer, of far less interest than the Etudes. Mr. Aimard gives them a admirable rendering.Overall, this album is an perfect addition to the collection of a listener who is musically adventurous. I would also recommend the choral piece Lux Eterna, which was featured in Stanley Kubrick's "2001: A Zone Odyssey." You can hear an excerpt of the Lux Eterna during the stage in which the astronauts search the monolith on the is pianist hopes to one day tackle one of these etudes. But I am not ready for the challenge.
I so much liked an earlier album I'd bought by pianist Pierre-Laurent Aimard (Homage to Messiaen) that I ordered another. This time it was Gyorgi Ligetti: Works for Piano: Etudes, Musica ricercata (GL Edition, vol., 3).Boy, did I luck out! It is phenomenal piano music! I knew NOTHING about the composer before now. Ligeti was born in 1923, composed the melody on this recording between 1951 and 1995. He died in 2006. (Wikipedia records that -en route-- he composed the melody for three major Stanley Kubrick films, 2001: A Zone Odyssey, The Shining, and Eyes Wide Shut.)Ligeti is resolutely modernist. To my untutored ears, he's an original --not that he is without influence or peers but that his musical palette is his own and it is startling to listen to. The only modern composer I've heard who resembles him at all is the brilliant Anglo-Punjabi, Khaikoshru Sorabji [d. 1988].) Well, that's not quite true. The Musica ricercata does bring to mind Bartok, whom Ligeti acknowledges as an influenceThe melody on this exceptional album of piano studies is often not only NOT melodical, it is ANTI-melodical, emphasizing rhythm and dynamics over music or lyric flow, and building on and taking advantage of the peculiar note structuring of the piano keyboard. I've never heard another composer use the keyboard's high notes as effectively as Ligeti does. He is a singularly percussive composer, which is amazing for piano, because behind its harmonic capabilities, the piano is still an instrument that the player pounds on. (Lizst certainly understood this, and so did Rachmaninoff.) Ligeti's use of fortissimo and pianissimo, the extremes of dynamics, is impressive. No, expressive is a better word for what it evokes in the listener's emotions and mind!Musica ricercata (1951-53) is a suite for eleven short pieces. It was influenced by Bartok's related suite for piano, Mikrokosmos (1926-1939). (Not the end of similarities! Both men were born in Romania. Bartok is considered one of Hungary's greatest composers; Ligeti completed his formal training in Hungary, studying with Zoltan Kodaly among others.)Let me attempt to describe what is so unique about one piece. The first piece in the Musica ricercata starts with two chorded piano tremolos, played full strength. Then a single note is played -once, sharply and fully. All melody stops while the note dies away, gradually, into oblivion. There's silence, a long pause, nothing played at all, and then two keys are hit over and over again, in succession, subtly building to a crescendo, not music but rhythmic pulse. Subtle variations are played over a ground pattern. A series of pounding chords enters, followed by a single sharp note and the note falling away. The piece is e pieces are short, running from 50 seconds to 5 mins and 16 seconds. They often end abruptly, just when the listener has been seduced into listening to them. This is very amazing music. Taking risks in buying melody does off. Sometimes.
It’s been hard for me to warm to Ligeti's Piano Etudes, which generally strike me as a dilution of his more astonishing middle period works, or in some cases a pale imitation of the melody of other musicians. His first Etude (Désordre), for example, competes with Ruth Crawford's Study in Mixed Accents, which was written half a century earlier. Several other etudes owe an unabashed debt to Nancarrow but lack the latter's eccentric sincerity (player pianos, boogie-woogie rhythms and all that). More than a few others resemble a Cecil Taylor solo but with an added dose of pretense. And all compare unfavorably to Ligeti's own Three Pieces for Two Piano, written in the 1970s while he was still finding ways to extend his musical language in the dimensions of rhythm and 's also disappointing that the composer of so much timbrally-extended melody would give us an hour's worth of short piano pieces without any exploration of extended playing techniques or fresh pianistic sounds. Everything is played on the keys in the conventional way, ignoring the possibilities opened up by Cage, Crumb, Cowell, Stockhausen and others. Nor is there any exploration of alternative intonation as with his Hungarian Passacaglia for harpsichord in meantone temperament. And finally there's the fundamental issue of listening to an hour's worth of short pieces that don't particularly combine to form architectonic structures beyond the length of a single though most composers that I know share my ambivalence toward the Etudes, most pianists do not. And since they require only a single performer (albeit a highly capable one) and are written in a more familiar style than Ligeti's amazing middle period works, they do obtain programmed far more often than, say, the Requiem (LP4). Some of them reflect Ligeti’s late interest in non-Western music. For example, Fém, from Book Two, is modelled after the polyphonic melody of the Banda people from Central Africa.If you consider the Etudes to be the finest thing this side of Atmosphères (or for that matter, Stockhausen's Klavierstücke, Crumb's Makrokosmos and Copland's Piano Fantasy), then you certainly won't be disappointed in these performances by Pierre-Laurent Aimard, one of the leading pianists specializing in fresh music. The accuracy is there, the touch is immaculate, and he avoids burying the wash of notes with the sustain pedal. You'll also wish to have these Etudes if you're assembling a CD collection of Ligeti's music. The is definitely te, though, that only one of the Etudes from Book 3 was completed at the time of this recording. And neither this CD, nor LE6 gives us the Three Bagatelles for David Tudor (from 1961, consisting of a single note), and a work of juvenilia called Chromatic Fantasy that Ligeti withdrew but is still worth a listen. Unfortunately these aren't show in Teldec's Ligeti Project either, so to assemble a complete Ligeti collection you'll need to supplement the Sony and Teldec series with something like Fredrik Ullén's album of Ligeti's complete piano unding out this CD is Ligeti's early Musica Ricercata collection in its original ver for solo piano. Some of its movements are banal juvenilia, but others are interesting and present flashes of the insight into musical process that would burst out fully after Ligeti left Hungary. If you acquire all eight Ligeti Edition albums on Sony, and the five CDs of Teldec's Ligeti Project, then you will obtain a amazing dose of Musica Ricercata through arrangements of its movements for pipe organ (LE6, quite effective actually), barrel organ (LE5), bayan (LP5) and wind quintet (LE7).
I like the inventiveness of G. Ligeti. The Musica Ricercata Suite is a amazing and early example of his continuous find for fresh musical structures.I'm just a melody listener, with no qualification to comment the interpretation of Mr. Aimard.I'm satisfied.
I got Idil Biret's ver on Naxos first. Her ver of these Etudes is much slower and she does not obtain Ligeti like Aimard, but I find, surprisingly, that the Naxos piano sound is better than this one on Sony. To my ear there is no upper frequency harmonics on the piano. The piano sound is severely mard gets Ligeti better than Biret with unique phrasing here and there. Biret sounds more mechanical, but at the same time more demonic and articulate. Coupled with the weird piano sound of this CD Aimard sounds like a audio "blur." Because the sound lacks focus his interpretation coupled with the sound it is harder to create out what is event with these pieces and makes it more frustrating to listen to.I don't know if we are suppose to mention or not, but the Sony is a dollar cheaper than the Naxos at least on Amazon. So the Sony is relative bargain, but for what? Underwater piano sound?I have to chime in at three stars then. I do give Biret which was my first Ligeti Etudes CD at outrageous five star review. I feel in love with the Biret and play it over and over when I first heard it. I guess what they say about classical melody and first impressions is true. If so then I am guilty, but I cannot endorse the Aimard anymore than three stars or stand away from the Biret with any less than five. I listen to melody for pleasure and I am not a musicologist. Sorry.
In the notes that accompany this CD, Ligeti explains that his piano compositions are the method he created up for his inadequacies as a player. It's hard to argue that he didn't reach his goal. These superbly-performed pieces provide a clear view of a lot of aspects of Ligeti's work--his humor, his lyricism, his ear, and sometimes his small e most obvious technical requirement of this melody is touch. In some of the etudes, complex voicings are needed at very low dynamic levels. In others, the ability to bring out multiple voices is paramount. Aimard is perfect. His technique is so assured that we can easily obtain to the melody and not be sidetracked by ose who know Ligeti's melody know how protean he could be. Like a amazing athlete, he was willing to take on enormous risks. Sometimes the effect felt intellectualized and tiresome. But more often than not, the melody soared. This is certainly real of the Etudes on this disk. They are studies in the truest sense of the word--one may focus on a particular set of intervals, another on a texture, yet another on a rhythm. Each one is fascinating and the collection holds together nicely. There are even tips of Nancarrow!Ligeti himself felt ambiguously about the "Musica Ricercata", and it isn't hard to see why. The first piece is based on only two pitches (with octaves); the second on three and so on. It sort of proves a point, but what point? By the time you obtain to the fourth piece, it starts to obtain good, but the listener has to regain some flagging energy. The third piece is actually the basis of the opening of "6 Bagatelles for Wind Quintet".So while I have small quibbles, I still recommend this disk strongly. It's amazing music, beautifully played.
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I don't like how the parrot it repeats words and it take words from another sentence and then place it the words in another sentence for you need to say the word over and over again until on Tom Reed pizza at the normal method or he actually says it right but I also so fun because you can place a blender make the parrot oh so obtain dishes out of the sink and it's so fun too but I don't like how the parrot Talks by us taking a word from another sentence and then playing in a fresh sentence
I purchased 2 of these books, one for my granddaughter in Oklahoma and a co-workers daughters. Since I live just across the Golden Gate from the Academy of Sciences, I thought it would be a neat bonus for all the girls. The story is one of amazing ingenuity and determination. The writing is simple to comprehend and the illustrations are absolutely beautiful. Such sweet story to be told. My co-workers daughters already convinced their grandmother to take them to see Pierre in person! More books like this are required for the generations to come.
Pierre Koenig was one of the finest architects of the mid-20th Century. His 1960 Stahl House (well illustrated here) has been seen by millions of people in movies, tv and especially, tv ads. It's the glass enclosed living room/pavilion with a swimming pool in the foreground and all of Los Angeles as a background. This little Taschen book, part of a rather huge series, talks about his career and buildings and is well worth the of $9.99. If your're a fan of the Arts and Architecture Case Study houses, as I am, you will love this small book.
History re-written to conform to political correctness. White man bad. Indian good. Indians lived in peace & harmony with nature, all had housing and lots of meal to eat. The elders smoked their attractive clay pipes. Their "conversations" from 400 years ago rendered verbatim. Then the evil white man came.
This reprint of the 1923 English translation from the French original is a unbelievable story. It reads easily and incorporates quotes, photos, memories from mates and family. It shows the evolution of a deep thinker and scientist from a kid who would not have been welcome in a typical school setting either then or now. In addition to telling the story of Pierre Curie, it becomes evident that the story also contains much about Madame Marie Curie, despite her every effort to exclude herself from the story and to avoid having her story told. Well worth tracking down a copy!
Review of Pierre Curie‒with autobiographical notes by Marie CurieCITATION: Curie, M. (2012). Pierre Curie‒with autobiographical notes. Fresh York: Dover Publications (First edition 1923).Reviewer: Dr W. P. ither fate nor history have been kind to Pierre Curie. This biography was written by Pierre’s more popular wife, Marie Curie, about whom there have been a lot of biographies, the most popular of which was by her daughter Eve Curie. This is a short book of just 118 pages and includes a few black and white photographs. The book’s structure is somewhat curious, containing a preface and translator’s note, the main biography of just 63 pages and Marie Curie’s autobiographical notes (42 pages). Although Pierre’s biography is written by Marie, his early life is a compilation from Pierre’s father and his brother. It also includes several pages of tributes from his mates and influential scientists. In addition, some of the material from Pierre’s biography is repeated in Marie’s autobiographical notes. Because of this uneven structure, this book does not flow easily as a biography e reason for this soon becomes clear, as Marie expounds the philosophy, that she and Pierre jointly held. The work and science is supremely necessary to them both, as is their love for each other. But the info of their lives does not appear necessary to her. The most noticeable quality is the earnestness and sincerity of the writing. Pierre and Marie believed that scientists should not create any from their discoveries or inventions and that they should not accept honours for their work. Marie emphasises the physical hard labour in which they were both involved in separating a few milligrams of polonium and radium from dozens of raw materials, at the same time as preparing lectures and supervising student research. Marie was also involved with housekeeping and looking after their children. Their constant struggle versus the odds caused Pierre and Marie considerable health problems. As they achieved fame and distinction and appeared to have overcome the most difficult of the obstacle, Pierre was run over and killed by a horse–drawn her autobiographical notes she explained her work in providing a radiology unit for French servicemen in the 1914-1918 war. She also described her visit to America after the battle to accept one gram of radium which was provided by the Women of America to the Radium Institute that she had e book does provide a fitting tribute to the ability of a amazing scientist, Pierre Curie and is well-worth LL PALMER