Well, for one thing, Ligeti lost his entire family in the Holocaust except for his mother. So even if only for that reason alone, I think Ligeti's Jewishness is incredibly relevant to his music - whether it's the emotionally raw brutality of moments like the pre-recap tutti in the finale of the violin concerto, or the existential absurdism in the farcical apocalypse in Le grand Macabre, or the plaintive lamento motif that becomes pervasive in his music after the loss of his last surviving family member in the 80s... Also, as demonstrated by Phil Bohlman's ensemble at the Ligeti symposium that Imri and I presented at, you can't really separate Ligeti's early music from his upbringing in the context of Jewish Transylvanian village musicality - and you can't really understand late Ligeti without understanding how it returns to and revived elements of his early, pre-Darmstadt style. Finally, it's funny how there's a knee jerk reaction to pointing out a composer's minority identity. Where are comments like these when Rachmaninov is described as the greatest Russian pianist-composer, or talking about Debussy or Ravel as great French composers? Why are you so bothered by an Israeli pianist taking pride in the great accomplishments of a composer from the Jewish diaspora?
Imri's playing is so crystal clear I would swear these etudes couldn't be that difficult.
This was some of the best advice I’ve ever heard for musicians and for life in general.
The bit about bringing a goat into your home? Agreed
@@HenriDucrocq Yes, also the bit about taking a year to learn one piece and taking time off.
Thank you for this. Helpful and thoughtful insights into these challenging works.
Ligeti is amazing. Thanks for the insightful video
Thank you very much for this!
Film composer Leonard Rosenman said that he was influenced by Ligeti in composing cues for the WWII TV series COMBAT!
this was great thank you 🤍
Impressive and inspiring!
Thanks so much,really liked Your wonderful insights and encouraged me to try :)
So true
Imri, my dude, you missed the perfect opportunity to call Ligeti "the GOAT!" 🤣🤣
🙏
Lifelong study maybe...?)
Where are the fakings accents in the Fanfares left hand? Sound like fakin 2/2
Who cares if he's Jewish or not!? What a weird thing to say.
Well, for one thing, Ligeti lost his entire family in the Holocaust except for his mother. So even if only for that reason alone, I think Ligeti's Jewishness is incredibly relevant to his music - whether it's the emotionally raw brutality of moments like the pre-recap tutti in the finale of the violin concerto, or the existential absurdism in the farcical apocalypse in Le grand Macabre, or the plaintive lamento motif that becomes pervasive in his music after the loss of his last surviving family member in the 80s...
Also, as demonstrated by Phil Bohlman's ensemble at the Ligeti symposium that Imri and I presented at, you can't really separate Ligeti's early music from his upbringing in the context of Jewish Transylvanian village musicality - and you can't really understand late Ligeti without understanding how it returns to and revived elements of his early, pre-Darmstadt style.
Finally, it's funny how there's a knee jerk reaction to pointing out a composer's minority identity. Where are comments like these when Rachmaninov is described as the greatest Russian pianist-composer, or talking about Debussy or Ravel as great French composers? Why are you so bothered by an Israeli pianist taking pride in the great accomplishments of a composer from the Jewish diaspora?
His silence speaks volumes. You masterfully and swiftly shut him down my friend
@@maxsilva11Well said Max. Thank you for masterfully shutting down the reactionary.
I’d rather listen to Kapustin played on a toilet than any Ligeti piece played on a Steinway.
Btw, as far as ‘complex’ composers go SORABJI >> Ligeti.
Lolz 😂 I love this comment haha