György Ligeti, Sonata for Solo Cello Capriccio скачать в хорошем качестве

György Ligeti, Sonata for Solo Cello Capriccio

György Ligeti, Sonata for Solo Cello Capriccio – Presto con slancio Raphael Moraly, Cello Ligeti was nearing the end of his schooling in 1948 and had already established himself as a highly gifted student. In this year, he composed the Dialogo, which would later become the first movement of the Sonata, for a female cellist and fellow student at the Budapest Music Academy, Annuss Virány, with whom Ligeti was "secretly in love." Virány purportedly was not aware of the reason behind Ligeti’s generosity; she merely thanked him and never played it. Several years later, in 1953, Ligeti met Vera Dénes, an older and more celebrated cellist, who asked him for a piece of music. Having written only one unperformed cello work to date, Ligeti offered to expand the Dialogo into a "two-movement short sonata," adding a virtuosic Capriccio movement. With the country now a part of the Eastern Bloc, Ligeti was required to subject all his compositions to the scrutiny of the Communist-controlled Composers’ Union, at the risk of losing his job. The title Capriccio was a direct reference to the famously brilliant Caprices for violin by Niccolò Paganini, which Ligeti had encountered as a child. In contrast to the lyrical, rubato Dialogo, the Capriccio is written almost entirely in an unrelenting 3/8 pattern, breaking only once, abruptly in the middle for a truncated reminiscence of the Dialogo. The opening is marked "Presto con slancio" (very quick with impetus) and "forte vigoroso". Two interval-motifs are exclaimed separately, which are then woven together with increasing intricacy in a massive crescendo, which subsides into a modal sounding second theme, the tones of which alternate with a pedal tone of A. This theme and the opening motifs share a tritone relationship, a compositional device prominently used by Bartók. The modal melody is once again reiterated, this time "tremolo sul tasto", (over the fingerboard) and harmonized with a perfect fifth above, a chord planing technique which also reflects Bartók's influence. A new rhythmic section erupts consisting of disjunct perfect fifth chords. This heralds the beginning of a pseudo-development section, in which the second theme is elaborated. The Dialogo returns briefly, and is followed by a full recapitulation and coda, finally ending exuberantly (with tutta la forza) in G major.