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Atmosphères

Atmosphères is a piece for 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[edit]

Atmosphères was commissioned in 1961 by the Southwest German Radio (SWF) and had its world premiere on 22 October 1961 by Hans Rosbaud conducting the SWF Symphony Orchestra at the Donaueschingen Festival.[1] Ligeti dedicated the piece to the memory of Mátyás Seiber, a fellow Hungarian-born composer who had been killed in a car crash the previous year. 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 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[edit]

Instrumentation[edit]

Atmosphères is scored for an orchestra with the following instrumentation.[5]

In 2001: A Space Odyssey[edit]

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.[24] 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 Southwest German Radio Symphony Orchestra conducted by Ernest Bour.[25] 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, Ligeti was not pleased that his music occurred in a film soundtrack shared by composers Johann and Richard Strauss.[26] 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.[27]

Reworking[edit]

Belgian classical guitarist Tom Pauwels[32] wrote a reduced arrangement of Atmosphères for a small chamber orchestra of eight instruments, using a graphic score for clarinet, cello, accordion, guitar and laptop (sine tones) based on the Ligeti original.[33] It has been performed by Plus-minus ensemble, and posted by the ensemble as a video.[34]

Deutscher Musikrat

Wiener Philharmoniker

Hollywood Bowl Orchestra

Karl-Birger Blomdahl

City of Birmingham Symphony Orchestra

Finnish Radio Symphony Orchestra

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

Drott, Eric. 2000. "Stasis and Semblance in Gyorgy Ligeti's Atmosphères". Paper presented at the annual meeting of the Music Theory Society of New York State, Ithaca, New York.

. 1990. "'Wien Modern': Works by Nono, Ligeti, Boulez, Rihm". CD booklet notes for Wien Modern. Wiener Philharmoniker; Wiener Jeunesse-Chor (Günther Theuring, chorus master); Claudio Abbado, cond. Deutsche Grammophon 429 260-2. 1 CD sound disc, digital, stereo, 434 in. Hamburg: Deutsche Grammophon.

Griffiths, Paul

Iverson, Jennifer Joy. 2009. . Ph.D. thesis. Austin: University of Texas, Butler School of Music.

Historical Memory and György Ligeti's Sound-Mass Music 1958–1968

Ligeti, György. 1960. ""Wandlungen der musikalischen Form". 7 ("Form—Raum"): 5–17; English edition (1964), as "Metamorphoses of Musical Form", translated by Cornelius Cardew. Die Reihe 7 ("Form—Space"): 5–19.

Die Reihe

Wilson, Charles. 2004. "György Ligeti and the Rhetoric of Autonomy". Twentieth-Century Music 1, no. 1:5–28. :10.1017/S1478572204000040

doi

Sources

Bauer, Amy. 2001. " 'Composing the Sound Itself': Secondary Parameters and Structure in the Music of Ligeti". 22, no. 1 (Spring): 37–64.

Indiana Theory Review

Bauer, Amy. 2004. " 'Tone-color, Movement, Changing Harmonic Planes': Cognition, Constraints and Conceptual Blends in Modernist Music". In The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology, edited by Arved Ashby, 121–152. Rochester, New York: University of Rochester Press.  1-58046-143-3.

ISBN

Bayer, Francis. 1989. "Atmosphères de György Ligeti: Éléments pour une analyse". Analyse Musicale, no. 15 (April): 18–24.

Beurmann, A. E., and A. Schneider. 1991. "Struktur, Klang, Dynamik: Akustische Untersuchungen an Ligetis Atmosphères". Hamburger Jahrbuch für Musikwissenschaft 11:311–334.

Burde, Wolfgang. 1993. György Ligeti: Eine Monographie. Zürich: Atlantis-Musikbuch-Verlag.

Engel, Jens Markus. 2005. "". Masters thesis. University of Lüneburg.

Klangkomposition als postserielle Strategie: György Ligetis Mikropolyphonie und Helmut Lachenmanns musique concrète instrumentale

. 1996. György Ligeti. Jenseits von Avantgarde und Postmoderne. Österreichische Musikzeitedition 26. Vienna: Lafite.

Floros, Constantin

Floros, Constantin. 1997. "Der irisierende Klang: Anmerkungen zu Ligetis Atmosphères". In 'Lass singen, Gesell, lass rauschen...': Zur Ästhetik und Anästhetik in der Musik, edited by Otto Kolleritsch, 182–193. Studien zur Wertungsforschung, no. 32. Vienna: Universal Edition.  3-7024-0220-9.

ISBN

. 1997. György Ligeti, 2nd edition. The Contemporary Composers. London: Robson Books.

Griffiths, Paul

Griffiths, Paul. 2001. "Ligeti, György (Sándor)". , 2nd edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.

The New Grove Dictionary of Music and Musicians

Kaufmann, Harald. 1969. "Strukturen im Strukturlosen: Über György Ligetis Atmosphères". In Spurlinien: analytische Aufsätze über Sprache und Musik, 107–117. Vienna: E. Lafite.

Lobanova, Marina. 2002. György Ligeti: Style, Ideas, Poetics. Berlin: Kuhn.

Nordwall, Ove. 1971. György Ligeti: eine Monographie. Mainz: Schott.

Restagno, Enzo. 1985. . Musica contemporanea 1; Biblioteca di cultura musicale: Autori e opere. Turin: Edizioni di Torino/Musica. ISBN 88-7063-036-6.

Ligeti

. 2004. Religiöse Erfahrungen mit Musik: Johann Sebastian Bach: Christ lag in Todesbanden, Kantate zum Ostersonntag, György Ligeti: Atmosphères, Arvo Pärt: Fratres. Ein musikpädogogisches Projekt für den Musikunterricht, für den Religionsunterricht und für die kirchenmusikalische Arbeit. Altenmedingen: Junker. ISBN 3-937628-02-9.

Richter, Christoph

Salmenhaara, Erkki. 1969. Das musikalische Material und seine Behandlung in den Werken "Apparitions", "Atmosphères", "Aventures" und "Requiem" von György Ligeti. Forschungsbeiträge zur Musikwissenschaft 19. Regensburg: Bosse-Verlag.

Schneider, Albrecht, and Andreas E. Beurmann. 1991. "Struktur, Klang, Dynamik: Akustische Untersuchungen an Ligetis Atmosphères". Hamburger Jahrbuch für Musikwissenschaft 11:311–334.

Schneider, Sigrun. 1975. "Zwischen Statik und Dynamik: Zur formalen Analyse von Ligetis Atmosphères". Musik & Bildung: Praxis Musikerziehung 7, no. 10:506–510.

Steinitz, Richard. 2003. György Ligeti: Music of the Imagination. London: Faber and Faber  0-571-17631-3; Boston: Northeastern University Press. ISBN 1-55553-551-8 (cloth).

ISBN

Suplicki, Markus. 1995. "György Ligeti, Atmosphères: Eine unkausale Form?". Musiktheorie 10, no. 3:235–247.

. 1999. György Ligeti. London: Phaidon Press. ISBN 0-7148-3795-4.

Toop, Richard

Vogt, Hans. 1982. Neue Musik seit 1945. Stuttgart: Reclam.

Wienke, Gerhard. 1990. "György Ligeti: Atmosphères". In 111 Schlüsselwerke der Musik: von der Mehrstimmigkeit zum emanzipierten Geräusch, 182–183. Bonn: Bouvier-Verlag.

Hufner, Martin. 1999. "". kritische musik.de (Accessed 21 February 2010)

György Ligeti: Atmosphères für großes Orchester: Sensationen in der Luft

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Video including portions of Atmosphères played backwards