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 (1985), eight in Book 2 (1988–1994), four in Book 3 (1995–2001). 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
Désordre. Molto vivace, vigoroso, molto ritmico, = 63
A study in fast polyrhythms moving up and down the keyboard. The right hand plays only white keys while the left hand is restricted to the black keys. This separates the hands into two pitch-class fields; the right hand music is diatonic, the left hand music is pentatonic. This étude is dedicated to Pierre Boulez.
Cordes à vide. Andantino rubato, molto tenero, = 96
Simple, almost Satie-esque chords become increasingly complex. These chords are built primarily from fifths, reminiscent of open strings, hence the title. This étude is also dedicated to Pierre Boulez.
Touches bloquées. Vivacissimo, sempre molto ritmico – Feroce, impetuoso, molto meno vivace – Feroce, estrepitoso – Tempo I
Two different rhythmic patterns interlock. One hand plays rapid, even melodic patterns while the other hand 'blocks' some of the keys by silently depressing them. This is the last étude Ligeti dedicated to Boulez.
Fanfares. Vivacissimo, molto ritmico, = 63, con alegria e slancio
Melody and accompaniment frequently exchange roles in this polyrhythmic study which features aksak-influenced rhythms and an ostinato in time, dividing the bar of 8 eighth notes into . This ostinato is also used in the second movement of Ligeti's Horn Trio. This étude is dedicated to Volker Banfield.
Arc-en-ciel. Andante con eleganza, with swing, ca. 84
The music rises and falls in arcs that seem to evoke a rainbow. This étude is dedicated to Louise Sibourd.
Automne à Varsovie. Presto cantabile, molto ritmico e flessibile, = 132
Its title, Autumn in Warsaw, refers to the Warsaw Autumn, an annual festival of contemporary music. Ligeti referred to this étude as a "tempo fugue". A study in polytempo, it consists of a continuous transformation of the initial descending figure – the "lamento motif" as Ligeti called it – involving overlapping groups of 3, 4, 5, 6, 7, 8, ending up at the bottom of the keyboard. This étude is dedicated to Ligeti's Polish friends.
Book 2
Galamb Borong. Vivacissimo luminoso, legato possible, = 40 or faster – semplice, da lontano
The title sounds Javanese, reflecting the piece's inspiration in gamelan music, but in fact both words are actually Hungarian and mean roughly "melancholic pigeon". As in Désordre, the two hands play complementary scales; in this case, they each play one of the two whole tone scales. This étude is dedicated to Ulrich Eckhardt.
Fém. Vivace risoluto, con vigore, = 30 ( = 180, = 120) The title is the Hungarian word for metal. Based on chords of the open fifth, with short, irregular, asymmetrically grouped melodic fragments playing off one another. This étude is dedicated to pianist Volker Banfield.