Style[edit]
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]
Style[edit]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]
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