Atmosphères

Atmosphères is a piece for full orchestra, composed by György Ligeti in 1961. It is noted for eschewing conventional melody and metre in favor of dense sound textures. After Apparitions, it was the second piece Ligeti wrote to exploit what he called a "micropolyphonic" texture. It gained further exposure after being used in Stanley Kubrick's film 2001: A Space Odyssey.

History

Atmosphères was commissioned in 1961 by the Southwest German Radio and had its world premiere on 22 October 1961 by Hans Rosbaud conducting the SWF Symphony Orchestra at the Donaueschingen Festival.[1] The SWF recorded this performance for broadcast, and this recording has been released commercially on CD several times. Paul Griffiths writes that this performance made Ligeti a "talking point".[2] Ligeti says that after this and his earlier piece Apparitions, he "became famous".[3]

Leonard Bernstein conducted the New York premiere in 1964, though the American premiere had occurred earlier at a San Fernando Valley State College concert organized by Cuban composer Aurelio de la Vega.[2] Bernstein later conducted it with the New York Philharmonic and recorded it with them at the Manhattan Center in New York on 6 January 1964 for Columbia Masterworks, reissued in 1968 on Columbia Records, and in 1999 on a Sony Classical CD.[4]

Music

Instrumentation

Atmosphères is scored for 4 flutes (all double piccolo), 4 oboes, 4 clarinets (4th also E♭ clarinet), 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, piano (played by 2 percussionists), and strings (14 first violins, 14 second violins, 10 violas, 10 cellos, 8 double basses).[5]

Style

Atmosphères eschews conventional melody, harmony, and rhythm, in favor of "sound masses" with sliding and merging orchestral clusters that suggest timbre is the central focus of the piece.[6] It exemplifies Ligeti's notion of "static, self-contained music without either development or traditional rhythmic configurations."[7] Harold Kaufman has written that Ligeti's music collapses foreground and background elements of musical structure into a "magma of evolving sound".[8]

The piece heavily utilizes tone clusters of notes (meaning several consecutive notes on a scale are played) in which generally no two instruments ever play the same note. The popular music edition All Music Guide describes the piece as having clusters of notes from which sections fall out, leaving "masses of natural notes". The piece features "shimmering rapid vibrato, multiple high glissandi, waves of string harmonics in different meters, [and] notes moving along the same path but at different speeds".[9]

Program notes provided by Ensemble Sospeso describe Atmosphères as the "first major alternative to European serialism: static masses of orchestral sound that give the simultaneous sense of immobility and motion."[10] On the other hand, a close investigation of Ligeti's relationship to the Darmstadt avant-garde concludes that Atmosphères should "be seen as part of an evolution within the serial tradition and a response to problems articulated within it, rather than as a break from that tradition altogether".[11] The sound masses in Atmosphères are seen particularly to conform to the serial precepts of Karlheinz Stockhausen’s "statistical form", as exemplified in Gesang der Jünglinge (1955–56) and Gruppen (1955–57).[12]

Sense of timelessness

The piece evokes a sense of timelessness in which the listener is lost in a web of texture and tonality. Harald Kaufmann has described it as "acoustically standing still", a stationary sound which has movement within it that is similar to breathing.[13][14] The classical music edition of All Music Guide says the music "scarcely hints at forward movement. Rather the listener hears an all but motionless series of sound evolutions unfolding at various moments".[15] According to Peter Laki:

One of the central ideas in Atmosphères, the realization of complete stasis through extensive inner motion, germinated during Ligeti’s Hungarian years. The composer later noted that he had been preceded in the writing of “static” music by Wagner (Prelude to Das Rheingold and the Prelude to Act I of Lohengrin), Bartók (opening of The Wooden Prince), and Schoenberg (“Farben,” the third in Five Pieces for Orchestra, Op. 16). But neither Bartók nor Wagner or Schoenberg ever achieved stasis through its exact opposite, as Ligeti did in Atmosphères. Large portions of the piece consist of extremely dense counterpoint, with up to 56 voices (each string instrument has his or her own individual part to play). But the imitative entrances are so close to one another that it is impossible to perceive them separately, with apparent immobility as the result.[16]

Larry Sitsky has written that in Ligeti's music "the density of the successive structures is such that the conventional parameters through which musical form (melody, rhythm, harmony) is traditionally perceived appear to have been evacuated. Consequently, these evolving sound structures seem stationary, as if detached from the passage of time. To paraphrase the composer himself, the micropolyphonic textures tend to hang like a mighty oriental tapestry, suspended outside time."[17] Likewise, Thomas May states that in his breakthrough orchestral pieces Apparitions and Atmosphères Ligeti's "new musical point of view... looked beyond the traditional basic elements of melody, harmony, and rhythm, immobilizing these in favor of the mass and texture of sound itself. Gigantic clusters of chords hover in a stasis that negates familiar signposts of harmony and pulse. This dense sound-fog became known as the signature Ligeti style".[18]

Ligeti's musical theory

In an essay titled "Metamorphoses of Musical Form",[19] Ligeti developed the concept of musical "permeability" according to which a musical structure is "permeable" if it allows a free choice of intervals and "impermeable" if not. Ligeti here considers Palestrina’s music as having "perhaps the lowest degree of permeability" because its handling of consonance and dissonance was the most sensitively defined of all historical styles.[20] Ligeti saw permeability and impermeability of groups, structures, and textures in serial music as substitutes for the form-shaping function of melodic lines, motifs, and harmonies in older styles. Some textures could be layered and juxtaposed; some musical structures will mix with others seamlessly, while other structures will stand out.[21]

Atmospheres exemplifies much of Ligeti's theory suspending harmony in favor of sustained sounds. The piece opens with a "fully chromatic cluster covering more than five octaves, held by strings and soft woodwinds", out of which various groups of instruments drop out successively, followed by various "strands of sonic fabric" reenter the composition, first white notes then black notes along with shifts in timbre and duration of notes which drive the piece forward.[22] Consequently, Griffiths writes, "the whole piece is a study in what Ligeti's essay had called the 'permeability' of musical structures, how some will mix with a great many others, some stand always apart; it is also a demonstration of what can be achieved when all the usual regulators, being so finely tuned at the time by other composers, are left open."[23]

Ligeti noted that Atmosphères had a polyphonic structure, but one organized by his own rules. The polyphonic structure, he stated, cannot be heard by the listener, but remains "underwater", hidden from the listener.[24] Ligeti coined the term "micropolyphony" to describe this texture.

In 2001: A Space Odyssey

Stanley Kubrick chose this piece and others by Ligeti for the scenes in deep space and those with the monolith in his 1968 film 2001: A Space Odyssey because its quality of mystery was a good sonic realization of his vision.[25] This resulted in the exposure of Ligeti's music to a much wider audience. The recording of Atmosphères used in the soundtrack to the film 2001: A Space Odyssey was with the South West German Radio Orchestra conducted by Ernest Bour.[26] Kubrick would go on to employ other Ligeti compositions in his films The Shining and Eyes Wide Shut.

According to program notes published by the San Francisco Symphony Orchestra, Ligeti was not pleased that his music occurred in a film soundtrack shared by composers Johann and Richard Strauss.[27] Nevertheless, the piece has been performed in concert several times with other works featured in the film 2001: A Space Odyssey, such as a 2010 performance by the Nashville Symphony which performed it along with the full-length version of Richard Strauss' Thus Spake Zarathustra.[28]

Notable recent performances

A 2006 performance of Atmosphères by the London Philharmonic was noted for its direct transition without interruption into Stravinsky's Rite of Spring, which Sunday Times music critic Hugh Canning described as a "stroke of programming genius", continuing:

Jurowski preceded Stravinsky's Rite with Ligeti's static cloudscape, Atmosphères. Instead of presenting these seminal modernist works as separate items, Jurowski segued seamlessly from the nothingness of the Ligeti's close into the opening bassoon solo of the Stravinsky. The contrast between these two pieces—the Ligeti a study in motionlessness, the Stravinsky a convulsive eruption of movement—was only enhanced by Jurowski's device, making one listen with refreshed ears.[29]

Edward Seckerson of UK's The Independent also described this segue as a "startling coup"[30] while Richard Morrison of the daily edition of The Times noted that "Jurowski even kept a beat going, to fool us ... so that Stravinsky’s bassoon emerged out of Ligeti’s wispy, endlessly drifting clouds of clusters."[31]

Another recently acclaimed performance was that by Austria's Gustav Mahler Jugendorchester (Gustav Mahler Youth Orchestra) performing in England, a performance described as "a focused reading" in which the conductor "Nott duly coerced a delicacy from each section of the orchestra—particularly the centrifugal strings—that gave a wonderful smoothness to the performance".[32]

Reworking

Belgium born classical guitarist Tom Pauwels[33] wrote a reduced arrangement of Atmosphères for a small chamber orchestra of eight instruments, using a graphic score for clarinet, cello, accordion, guitar and lap top (sine tones) based on the Ligeti original.[34] It has been performed by Plus-minus ensemble, and posted by the ensemble as a video.[35]

Discography

In chronological order of recording, many of which have been released in different couplings.

References

  1. ↑ Donaueschinger Musiktage: Program for 1961 (Accessed 17 November 2010); Classical Composers Database: Ligeti (Accessed 17 November 2010).
  2. 1 2 Paul Griffiths. Modern Music and After. (New York: Oxford University Press, 1995). p. 257. ISBN 978-0-19-816511-8.
  3. ↑ Istvan Szigeti (July 29, 1983). "A Budapest Interview with Gyorgy Ligeti". First published in New Hungarian Quarterly. Retrieved 18 November 2010.
  4. ↑ See Discography; Theodore Libbey. The NPR Listener's Encyclopedia of Classical Music. New York: Workman Publishing, 2006). p. 423. ISBN 978-0-7611-3642-2. Recording Catalog number is SMK 61845
  5. ↑ The score is published by Universal Edition. Ligeti's homepage also gives the instrumentation.
  6. ↑ Iverson 2009, vii; Drott 2000, Abstract. Ithaca.edu. Retrieved on 2010-11-16.
  7. ↑ Richard Steinitz, "Ligeti: Atmosphères", Philarmonia Orchestra website (Accessed 16 November 2010).
  8. ↑ Larry Sitsky. Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook. (Westport, CT: Greenwood Publishing Group, 2002. p. 256. ISBN 978-0-313-29689-5.
  9. ↑ Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine (2001). All Music Guide: The Definitive Guide to Popular Music (4th ed.). (San Francisco: Backbeat Books/All Media Guide). p. 1104. ISBN 978-0-87930-627-4.
  10. ↑ Joshua Cody, "The Ensemble Sospeso – Gyorgy Ligeti". Sospeso.com (1923-05-28). Retrieved on 2010-11-16.
  11. ↑ Wilson 2004, 11.
  12. ↑ Iverson 2009, 59–62.
  13. ↑ "Atmospheres". Junge Philharmonie Ostwürttemberg:. Retrieved 2014-03-02.
  14. ↑ Liner notes to Deutsche Grammophon's 1988 CD recording György Ligeti: Kammerkonzert; Ramifications; Lux aeterna; Atmosphères Performers: Ensemble Die Reihe, Stuttgart Schola Cantorum Orchestras: SWR Baden-Baden and Freiburg Symphony Orchestra, Middle German Radio Orchestra, Saarbrucken Radio Symphony Orchestra; conductors: Friedrich Cerha, Ernest Bour, Antonio Janigro, Clytus Gottwald
  15. ↑ Chris Woodstra; Gerald Brennan; Allen Schrott. All Music Guide to Classical Music: The Definitive Guide to Classical Music. (San Francisco: Backbeat Books; Berkeley: Publishers Group West, 2005). p. 746. ISBN 978-0-87930-865-0.
  16. ↑ Peter Laki "György Ligeti (1923–2006): Atmosphères", The Cleveland Orchestra – Program Notes. Carnegiehall.org (2009-02-04). Retrieved on 2010-11-16.
  17. ↑ Larry Sitsky. Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook. (Westport, CT: Greenwood Publishing Group, 2002). p. 256. ISBN 978-0-313-29689-5.
  18. ↑ "San Francisco Symphony – Program Notes & Articles". Sfsymphony.org. Retrieved 2014-03-02.
  19. ↑ Ligeti 1960.
  20. ↑ Ligeti 1960, 8.
  21. ↑ Ligeti 1960, 14.
  22. ↑ Charles Lockwood, "Musical Pluralism in the 1960s: Luciano Berio and György Ligeti" New York University in Prague website (posted 29 April 2003; Accessed 17 November 2010). Similar observations may be found in the liner notes to the CD album Wien Modern, Deutsche Grammophon 429 260–2. 1 CD sound disc, digital, stereo, 43⁄4 in. Hamburg: Deutsche Grammophon. 1990.
  23. ↑ Griffiths 1990.
  24. ↑ Quoted in Byron Almén and Edward Pearsall. Approaches to Meaning in Music. (Bloomington: Indiana University Press, 2006). p. 54. ISBN 978-0-253-34792-3.
  25. ↑ Mark Schulze Steinen, (2010-03-05) Berliner Philharmoniker: Between the Concert Hall, the Opera Stage and the Movie Screen. Berliner-philharmoniker.de. Retrieved on 2010-11-16.
  26. ↑ "2001: A Space Odyssey—Original Soundtrack. Rhino Records 72562 (Compact Disc, 1996).". ArkivMusic. Retrieved 2010-03-28.
  27. ↑ James M. Keller. "Program Notes- Ligeti: Lontano for Large Orchestra". San Francisco Symphony. Retrieved 18 November 2010.
  28. ↑ "Nashville Symphony Summer 2010 Broadcasts". Nashville Public Radio. 6 September 2009. Retrieved 18 November 2010.
  29. ↑ Hugh Canning, "La Calisto – the Sunday Times review", The Sunday Times (5 October 2008).
  30. ↑ Edward Seckerson, "LPO / Jurowski, Royal Festival Hall, London", The Independent (Tuesday, 30 September 2008; Accessed 18 November 2010).
  31. ↑ Richard Morrison (September 26, 2008). "LPO/Jurowski at Festival Hall". The Times (UK). Retrieved November 18, 2010.
  32. ↑ Stephen Graham (6 September 2009). "The Mahler Jugendorchester and The Nash Ensemble at the Proms 2009". MusicalCriticism.com. Retrieved 18 November 2010.
  33. ↑ "Tom Pauwels, Guitar and Electric guitar". Internationales Misikinstitut Darmstadt. Retrieved December 20, 2010.
  34. ↑ "plus-minus » Watch". Plusminusensemble.com. Retrieved 2014-03-02.
  35. ↑ "Ligeti – (after) Atmospheres". YouTube. 2009-08-12. Retrieved 2014-03-02.

Further reading

External links

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