Études (Ligeti)


The Hungarian composer György Ligeti composed a cycle of 18 études for solo piano between 1985 and 2001. They are considered one of the major creative achievements of his last decades, and one of the most significant sets of piano studies of the 20th century, combining virtuoso technical problems with expressive content, following in the line of the études of Frédéric Chopin, Franz Liszt, Claude Debussy, and Alexander Scriabin but addressing new technical ideas as a compendium of the concepts Ligeti had worked out in his other works since the 1950s. Pianist Jeremy Denk wrote that they "are a crowning achievement of his career and of the piano literature; though still new, they are already classics."

Scope of the work

There are 18 études arranged in three books or Livres: six Études in Book 1, eight in Book 2, four in Book 3. Ligeti's original intention had been to compose only twelve Études, in two books of six each, on the model of the Debussy Études, but the scope of the work grew because he enjoyed writing the pieces so much. Though the four Études of Book 3 form a satisfying conclusion to the cycle, Book 3 is in fact unfinished, in that Ligeti certainly intended to add more, but was unable to do so in his last years, when his productivity was much reduced owing to illness. The Études of Book 3 are generally calmer, simpler and more refined in technique than those of Books 1 and 2.

Titles

The titles of the various études are a mixture of technical terms and poetic descriptions. Ligeti made lists of possible titles and the titles of the individual numbers were often changed between inception and publication. Often Ligeti did not assign any title until after the work was completed.

The 18 études

Book 1

  1. Désordre. Molto vivace, vigoroso, molto ritmico, = 63
  3. Cordes à vide. Andantino rubato, molto tenero, = 96
  5. Touches bloquées. Vivacissimo, sempre molto ritmico – Feroce, impetuoso, molto meno vivace – Feroce, estrepitoso – Tempo I
  7. Fanfares. Vivacissimo, molto ritmico, = 63, con alegria e slancio
  9. Arc-en-ciel. Andante con eleganza, with swing, ca. 84
  11. Automne à Varsovie. Presto cantabile, molto ritmico e flessibile, = 132

    Book 2

  13. Galamb Borong. Vivacissimo luminoso, legato possible, = 40 or faster – semplice, da lontano
  15. Fém. Vivace risoluto, con vigore, = 30
  17. Vertige. Prestissimo sempre molto legato, = 48
  19. Der Zauberlehrling. Prestissimo, staccatissimo, leggierissimo
  21. En Suspens. Andante con moto, = 98
  23. . Vivacissimo molto ritmico, = 100
  25. L'escalier du diable. Presto legato, ma leggiero, = 30
  27. Coloana infinită. Presto possible, tempestoso con fuoco, = 105

    Book 3

  29. White on White. Andante con tenerezza, = 52
  31. Pour Irina. Andante con espressione, rubato, molto legato, = 72 – Allegro con moto, sempre legato, = 152 – Allegro vivace – Molto vivace
  33. À bout de souffle. Presto con bravura
  35. Canon. Vivace poco rubato – Prestissimo

    Related works

Étude No. 14A: Coloana fara sfârşit was the first version of Etude 14 but was judged too physically demanding for a human player, so Ligeti recomposed it, changing the harmonic structure as he reduced the number of pitches in each hand. Subsequently the original form was arranged as a separate étude for player-piano by Jürgen Hocker, but some pianists have in fact played it.
The single piano piece L'arrache-coeur was apparently originally intended to be Étude No. 11 but did not become part of the cycle.