Page 326 - (DK) The Classical Music Book - Big Ideas Simply Explained
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VOLCANIC, EXPANSIVE,
DAZZLING—AND
OBSESSIVE
ÉTUDES (1985–2001)
GYÖRGY LIGETI
he term “fractal” was first piano music of Bill Evans and
IN CONTEXT used in 1975 by the Thelonius Monk. To synthesize
T mathematician Benoit these influences, he turned to the
FOCUS Mandelbrot, though the concept is piano study, or étude, a form used
Fractal music
much older. It describes images, by Chopin, Liszt, and Debussy.
BEFORE surfaces, sounds, or other patterns Ligeti’s 18 Études all employ
1915 Debussy’s 12 Études made up of mini-versions of the rhythmic and melodic processes
introduce pictorial imagery whole, which they continue to that interact, conflict, and even
to the études genre. resemble however tiny they are cancel each other out. Their titles,
and however often subdivided. such as Disorder and Vertigo,
1947 Conlon Nancarrow The composer György Ligeti reflect the images their streams of
writes rhythmically elaborate first came across fractals in 1984, notes evoke. Works of fantasy, they
studies for a pianola. in images by the mathematician are a major contribution to the late
Heinz-Otto Peitgen. Ligeti 20th-century repertoire. ■
1959 Ligeti uses what he recognized that the principle of
later called “micropolyphony” internal symmetry had been
in his orchestral Apparitions. present in his music for years. He
1984 Charles Wuorinen’s had used a technique he called
Bamboula Squared employs “micropolyphony,” overlaying
a computer-generated tape multiple closely related versions In my music one finds …
partly inspired by Benoit of the same musical line to create a unification of construction
Mandelbrot’s work on fractals. dense, shimmering textures. with poetic, emotional
AFTER Studies in fractal style imagination.
2003 Ligeti’s student Unsuk Ligeti began to employ ideas György Ligeti
Chin completes her own set derived from mathematics and the
of 12 Études, continuing broader theory of chaos. He had
her teacher’s interest in also become interested in Central
complex rhythms. African music, the pianola studies
of Conlon Nancarrow, and the jazz
See also: The Art of Fugue 108–111 ■ Chopin’s Préludes 164–165 ■ Prélude à
l’après-midi d’un faune 228–231 ■ Pithoprakta 308
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