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of the individual parts embodied in a harmonic-musical flow in which the harmonies do not change suddenly, but merge into one another; one clearly discernible interval combination is gradually blurred, and from this cloudiness it is possible to discern a new interval combination taking
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It is characteristic of nearly all Ligeti's mature works that the subdivisions of the basic beat keep changing, which contributes to their beatless, floating feeling. In this piece, each of the sixteen voices is given a characteristic subdivision of the quarter-note beat:
216:, which means "May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art merciful. Grant them eternal rest, O Lord, and may everlasting light shine upon them."
274:. Each part has the same sequence of notes, separated by small time intervals. The tenors enter about halfway through this section, singing in the same range as the women.
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minor), together with the altos in a low register. Sopranos and tenors enter in a high register. All parts gradually fade, and the piece ends with seven bars of silence.
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Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis
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270:: The sopranos and altos sing very similar parts in Ligeti's characteristic style of
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The piece can be seen as divided into three distinct parts, as designated by text:
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Ligeti's
Stylistic Crisis: Transformation in His Musical Style, 1974–1985
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The piece features many of Ligeti's characteristic styles, including:
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György
Ligetis "Lux Aeterna" – Chormusik auf Weltraumodyssee
178:is a piece for a 16-part mixed choir, written by
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46:but its sources remain unclear because it lacks
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280:: The basses enter, singing in very high
182:in 1966. It is most famous for its use in
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726:Three Fantasies after Friedrich Hölderlin
226:, which Ligeti describes as "The complex
77:Learn how and when to remove this message
284:, showing Ligeti's focus on timbre and
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278:Domine cum sanctis tuis in aeternum...
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306:: The basses again sing the text "
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16:1966 choral piece by György Ligeti
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304:Domine et lux perpetua luceat eis
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205:The text (in Latin) is from the
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578:Trio for Violin, Horn and Piano
199:2010: The Year We Make Contact
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845:Compositions by György Ligeti
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300:and gradually fade away.
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32:This article includes a
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192:, and its 1984 sequel,
61:more precise citations.
621:Chromatische Phantasie
268:Lux aeterna luceat eis
115:2002 sheet music cover
698:Mátraszentimrei dalok
189:2001: A Space Odyssey
554:Chamber/Instrumental
483:List of compositions
402:sixteenth notes (4)
388:sixteenth notes (4)
379:sixteenth notes (4)
365:sixteenth notes (4)
351:sixteenth notes (4)
855:Choral compositions
663:Pletykázó asszonyok
417:Michael D. Searby:
167:16-part mixed choir
768:Other compositions
34:list of references
850:1966 compositions
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803:Related articles
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758:Le Grand Macabre
705:Éjszaka – Reggel
627:Three Bagatelles
614:Musica ricercata
543:Hamburg Concerto
527:Chamber Concerto
490:Orchestral works
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186:'s 1968 film
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296:" in a high
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53:Please help
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719:Lux Aeterna
592:Piano music
515:Concertante
505:Atmosphères
434:Lux aeterna
240:A focus on
194:Peter Hyams
175:Lux Aeterna
135:Lux aeterna
93:Lux Aeterna
59:introducing
839:Categories
670:Lakodalmas
784:Continuum
607:Invention
328:Sopranos
228:polyphony
67:June 2017
826:Category
393:Voice 4
376:Voice 3
359:Voice 2
342:Voice 1
313:♯
298:register
282:falsetto
260:Analysis
149:Composed
141:Language
712:Requiem
691:Pápainé
656:Bujdosó
337:Basses
334:Tenors
286:texture
250:harmony
231:shape."
164:Scoring
154: (
121:English
55:improve
779:(tape)
649:Magány
632:Études
546:(horn)
331:Altos
308:Domine
254:rhythm
246:melody
242:timbre
750:Opera
252:, or
144:Latin
40:, or
439:1999
430:2014
156:1966
152:1966
131:Text
428:SWR
841::
248:,
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196:'
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
